Em meio às mudanças políticas e sociais no Brasil da segunda parte do século XX, Lygia Fagundes Telles começa a se destacar literariamente através de seus romances e coletâneas de contos com caráter intimista. Apesar de não se considerar naquela época uma escritora militante, ela era engajada socialmente e realizava sua crítica de maneira sutil utilizando-se de táticas literárias, como a presença do gênero fantástico. Ela escreve durante uma época de extrema censura e repressão, aonde o conservadorismo impera principalmente nos moldes familiares. A sociedade continha um modelo de como cada homem e mulher deveria agir para se encaixar e ser aceito. A fim de criticar o pensamento da sociedade retrógrada da qual ela fazia parte, Lygia escreve os contos fantásticos: “Venha ver o pôr do sol”, “A caçada”, e “As formigas”. Através de acontecimentos insólitos e aterrorizantes, os personagens enfrentam a realidade acerca de seu gênero e encontram as limitações impostas dos estereótipos mantidos pela sociedade conservadora. Nesses contos, Lygia encontra três possibilidades finais para quem pretende ir contra o tradicional: prisão pessoal, morte lenta ou fuga.

This work explores Junot Daz as an author of decolonial imagination, and more specifically, how the carnivalesque nature of Dominican machismo as influenced by Trujillos el tguere masculinity creates liminal space for self-determination in opposition to colonial imagination. In exploring Dazs primary masculine characters, Oscar de Leon and Yunior de Las Casas, I trace the initial decolonial turn engendered by tigueraje performance, namely its projective creation of self outside of colonial domination. El tguere machismo as empowering for Dominican males, however, is problematized by its reciprocal domination of both women and men who fail to meet the tigueraje ideal. It becomes an attempted cure that is ultimately symptomatic of the extent to which the effects of insidious ideologies and political policies, in this case, imperialism, perpetuate themselves across time, space, and perhaps most significantly, cultures. Ultimately, identifying Junot Daz as decolonial author is a misrepresentation; though Daz writes to break free of coloniality, his failure to largely acknowledge in his writing the cost and damage done to Dominican women reveals a narrow focus antithetical to the larger goals of decoloniality.

[EN] The main purpose of our study are artistic practices that focus on violence against women, captive and silenced, in the structural heart of the cultural idea of family and home, but also will consider the invisibility of women in the sphere of art or low participation. Discuss how building since patriarchy has imposed home and family far, in many cases, be a place of safety and love as advocated, and that protected the privacy of the four walls, abuse, violence comment before emptying into the femicide. We have limited the period of the first decade of our century, between 2004- 2014, but significant work covering both Spanish and foreign artists, in order to provide a rough picture of what type of representation is circulating critically about violence gender and femicide in the field of family and home, Moreover, what types of representations are being carried out by these committed artists and what they have spread through fairs or art institutions, in order to see if the invisibility extends to the field professional woman artist. / [ES] El objeto principal de nuestro estudio son las prácticas artísticas que se centran en la violencia contra la mujer, cautiva y silenciada, en el seno estructural de la idea cultural de familia y de hogar, si bien además, contemplará la invisibilidad de la mujer en la esfera del arte o su baja participación. Analizaremos cómo la construcción que desde el patriarcado se ha impuesto de hogar y familia dista, en muchas ocasiones, de ser un lugar de seguridad y de amor como se propugna, y que protegido por la intimidad de las cuatro paredes, se comenten abusos, violencia hasta desembocar en el feminicidio. Hemos acotado el período a la primera década de nuestro siglo, entre 2004-2014, pero abarcando obra significativa tanto de artistas españolas como extranjeras, con el fin de ofrecer un panorama aproximado sobre qué tipo de representación está circulando de modo crítico sobre la violencia de género y los feminicidios en el ámbito de la familia y del hogar, dentro del arte. Por otra parte, qué tipos de representaciones se están llevando a cabo por parte de estas artistas comprometidas y qué difusión tienen a través de las ferias, o instituciones de arte,con el fin de ver si la invisibilidad se extiende hasta el ámbito profesional de la mujer artista. / [CA] L'objecte principal del nostre estudi són les pràctiques artístiques que se centren en la violència contra la dona, captiva i silenciada, en el seno estructural de la idea cultural de família i de la llar, si bé a més, contemplarà la invisibilitat de la dona en la esfera de l'art o la seva baixa participació. Analitzarem com la construcció que des del patriarcat s'ha imposat de llar i família dista, en moltes ocasions, de ser un lloc de seguretat i d'amor com es propugna, i que protegit per la intimitat de les quatre parets, es comenten abusos, violència fins a desembocar en el feminicidi. Hem acotat el període a la primera dècada del nostre segle, entre 2004-2014, però abastant obra significativa tant d'artistes espanyoles com estrangeres, per tal d'oferir un panorama aproximat sobre quin tipus de representació està circulant de manera crítica sobre la violència de gènere i els feminicidis a l'àmbit de la família i de la llar dins l'art. D'altra banda, quins tipus de representacions s'estan duent a terme per part d'aquestes artistes compromeses i què difusió tenen a través de les fires, o institucions d'art, per tal de veure si la invisibilitat s'estén fins a l'àmbit professional de la dona artista. / Galán Huertas, M. (2015). Cautivas del silencio. Representaciones en el arte contra la violencia simbólica y estructural en el hogar (2004-2014) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/57489 / Premios Extraordinarios de tesis doctorales

Este trabalho de pesquisa tem como objetivo fundamental a análise relacional nos estudos de casais violentos, propondo-se a interpretar especificamente as construções discursivas de mulheres de classe média, com ensino superior e autonomia financeira que, mesmo sendo alvo de violência física e psicológica, permanecem por longos anos convivendo com seus parceiros íntimos. Optou-se por esta categoria de mulheres, pelo vácuo existente nos trabalhos que investigam este tipo de população, já que a maioria dos estudos sobre o fenômeno enfoca mulheres de baixa renda, justificando que a dependência econômica feminina como resultante da vinculação ao poder patriarcal. Quanto ao corpus de pesquisa, esse advém dos relatos de mulheres alocados no site eletrônico <wwwgilbertoresponde.com>. Trata-se de relatos sob forma de perguntas que procuram uma saída para o sofrimento amoroso. O site eletrônico é concebido pelas usuárias como uma plataforma de autoajuda. Também foram acrescentadas ao corpus, duas outras análises. O estudo de caso da autobiografia de Oliveira (2011) e uma entrevista com sete participantes do grupo de “Mulheres que Amam Demais Anônimas” (MADA), de 2016. Com o propósito de produzir conhecimento para a aplicação prática, dirigida à solução de problemas encontrados na realidade cotidiana, optou-se pela modalidade de trabalho denominada de Pesquisa Aplicada (BARROS; LEHFELD, 2000; GIL, 2002). Foi usado como método e referencial teórico a Análise de Discurso segundo Foucault (2012; 1986). Em relação ao escopo teórico, esta pesquisa guiou-se pelo diálogo entre a Antropologia, a Filosofia da Linguagem, a História, a Sociologia e contribuições da Psicanálise. A violência dos casais é analisada pela perspectiva dialógica-relacional de Santos e Izumino (2005), tendo como um dos objetivos problematizar o dualismo de certos discursos feministas que concebem a violência como sendo um produto originário e exclusivo da masculinidade. As antropólogas Gregori (1993) e Machado (1998), por exemplo, substituem a polarização da violência até então unilateralmente atribuída aos homens para uma forma relacional de se compreender o fenômeno, por intermédio do estudo de “casais violentos”. Sobre o machismo, adotamos a premissa da psicóloga Castañeda (2006) de que nem o machismo é um discurso exclusivamente dos homens e nem a violência um produto exclusivamente de um dos polos da relação ou do indivíduo particularizado. Violência e machismo não são apenas práticas concretas. Trata-se de um longo processo de socialização microscópica da “dominação simbólica” do homem Bourdieu (2009, p. 138). A violência entre casais não está localizada em um único lugar e/ou indivíduo, mas sim endentada no que Foucault (1982, p. 244) define como “dispositivos”. Selecionamos do corpus de pesquisa três dispositivos que alimentam a violência. São eles, o dispositivo de “amor-paixão” em Rougemont (1988), de sexualidade e de machismo. Esses dispositivos encontram uma fértil reverberação na seara de uma sociedade tremendamente violenta, emotiva, hierárquica e paradoxal como é o Brasil (DAMATTA (1987; 1990; 1993). Partimos também das contribuições teórico-políticas de Foucault (1982) sobre o poder para entendermos a violência enquanto uma “microfísica da violência” (FANINI, 1992; FOUCAULT, 1982;1984). Alguns dos resultados deste trabalho dão conta de que os argumentos da baixa renda e da falta de conscientização política das mulheres vítimas de violência orientaram boa parte das pesquisas feministas nos anos de 1970 e 1980. No entanto, atualmente, sabe-se que a violência contra a mulher “não se origina exclusivamente das desigualdades de classe” econômica, conforme Heilborn e Sorj (1999), nem da falta de consciência política e tampouco da sua condição financeira, considerando os intensos avanços da mulher no campo do trabalho e da vida pública. Pesquisas como Grossi (1991), Gregori (1993), Santos e Izumino (2005) relativizam as práticas de atendimento a mulheres espancadas nos anos de 1980, pois alguns grupos feministas da época que atendiam a mulheres vítimas de agressão, concebiam a violência, restringindo-a muitas vezes à uma produção masculina, quando ela é na realidade um fenômeno macroscópico da cultura da agressão. Outro aspecto a salientar sobre o atendimento a vítimas da violência e sobre as pesquisas feministas é a pouca importância dada ao discurso do amor-paixão (ROUGEMONT, 1998). As mulheres esperam muito do amor (BOURDIEU, 2011, p. 82-83) e dependem mais dele do que esperam os homens. Se elas são prisioneiras da lei do amor, eles estão presos à virilidade e à violência como uma “carga” nos termos de Bourdieu (2011, p. 64) destinados a carregá-la. Entende-se que, entre casais violentos, é tão difícil para a mulher desocupar o lugar da vítima, como é para o homem, sair do lugar da violência. / This research work has as main objective the relational analysis in the studies of violent couples, proposing to interpret specifically the discursive constructions of middle-class women, with higher education and financial autonomy that, although being the target of physical and psychological violence, remain for long years living with their intimate partners. This category of women was chosen because of the vacuum that exists in the studies that investigate this type of population, since most of the studies on the phenomenon focus on low-income women, justifying that women's economic dependence as a result of their attachment to patriarchal power. As for the corpus of research, this comes from the reports of women allocated on the electronic website <wwwgilbertoresponde.com>. These are stories in the form of questions that seek a way out of the suffering of love. The website is designed by users as a self-help platform. Two other analyzes were also added to the corpus. The case study of Oliveira's autobiography (2011) and an interview with seven participants from the 2016 group of "Women Who Love Too Much Anonymous" (MADA). With the purpose of producing knowledge for practical application, aimed at solving problems Found in the daily reality, we opted for the modality of work called Applied Research (BARROS; LEHFELD, 2000; GIL, 2002). The Discourse Analysis according to Foucault (2012, 1986) was used as method and theoretical reference. In relation to the theoretical scope, this research was guided by the dialogue between Anthropology, Philosophy of Language, History, Sociology and contributions of Psychoanalysis. The violence of the couples is analyzed by the dialogical-relational perspective of Santos and Izumino (2005). One of the objectives is to problematize the dualism of certain feminist discourses that conceive of violence as an original and exclusive product of masculinity. The anthropologists Gregori (1993) and Machado (1998), for example, replace the polarization of violence hitherto unilaterally attributed to men to a relational form of understanding the phenomenon, through the study of "violent couples." On machismo, we adopt the premise of the psychologist Castañeda (2006) that neither machismo is a discourse exclusively of men nor violence a product exclusively of one of the poles of the relationship or individualized individual. Violence and machismo are not just concrete practices. It is a long process of microscopic socialization of Bourdieu's "symbolic domination" (2009: 138). Violence between couples is not located in a single place and/or individual, but is indented in what Foucault (1982, p244) defines as "devices." We select from the research corpus three devices that fuel violence. They are the device of "love-passion" in Rougemont (1988), of sexuality and machismo. These devices find fertile reverberation in the heart of a tremendously violent, emotional, hierarchical and paradoxical society such as Brazil (DAMATTA (1987; 1990; 1993). We also draw on Foucault's (1982) theoretical-political contributions on the power to understand violence as a "microphysics of violence" (FANINI, 1992; FOUCAULT, 1982;1984). Some of the results of this study indicate that the arguments of low income and lack of political awareness of women victims of violence have guided much of feminist research in the 1970s and 1980s. However, it is now known that violence against women. The woman "does not originate exclusively from economic class inequalities," according to Heilborn and Sorj (1999), neither of the lack of political awareness nor of its financial condition, considering the intense advances of women in the field of work and public life. Researches such as Grossi (1991), Gregori (1993), Santos and Izumino (2005) refer to practices of care for women beaten in the 1980s, since some feminist groups of the time attended to women victims of aggression conceived violence, often to a male production, when it is in reality a macroscopic phenomenon of the culture of aggression. Another aspect to emphasize regarding the care of victims of violence and feminist research is the little importance given to the discourse of passion-love (ROUGEMONT, 1998). Women expect much of the love (BOURDIEU, 2011, pp. 82-83) and depend more on it than men expect. If they are prisoners of the law of love, they are bound to virility and violence as a "burden" in Bourdieu's terms (2011, 64) intended to carry it. It is understood that between violent couples, it is as difficult for the woman to vacate the victim's place, as it is for the man, to leave the place of violence.

This Master thesis focuses on the dynamic of the development and rethinking of the concept of the traditional Latino patriarchal family built up around male dominance. This work explores the changes of the traditional concept under the pressure of society of the United States in novels written in English by authors of Latino origin awarded for their novels after 2000. The most significant of them being Junot Díaz and his The Brief Wondrous Life of Oscar Wao; the other two are Mexican Female authors Stella Pope Duarte with If I Die in Juárez and Reyna Grande with Across a Hundred Mountains. The first part is purely theoretical, stemming from the concepts of traditional Latino masculinity, the role of the female and children in the patriarchal family in order to explain the clash of values and family crises which Latinos undergo once they are confronted with the different system of values of the United States and the consequences for all family members. In the second part, all three books are analyzed on the basis of the male - female polarity. Consequences for families are explored as seen by Latino/a authors. Finally, solutions and possible ways of escaping the vicious spiral of violence and tensions created by the changed paradigm penetrating the Latino family life as suggested in the novels are...

What is the meaning of the Mexican-American's job displacement and participation in a training program? To answer this question, this study adopted hermeneutic phenomenology as a methodological approach. My intention was to search for deep meaning of job displacement followed by entering an educational program. Ten Mexican-American individuals who had been displaced from their job due to economic and trade reasons, and who later participated in a retraining program, were interviewed. Tentative themes were drawn from the analysis, and 15 thematic categories were confirmed after follow-up interviews. The themes were: Mexican-American Culture, Machismo, Self-determination, Resilience, Union Membership, Job Security, Have Someone Advocate for Their Rights, Job Displacement, Trade-related Closure, Breach of the Psychological Contract, Emotional Distress, Education and Retraining, Entrepreneurship and Problems with Workforce Benefits. The themes were expanded based on participants' words and then discussed through a post-analysis literature review. Recommendations were made to government and non-government organizations advocating for a potential change in policies. Recommendations were also provided to healthcare providers and to U.S. American workers. Finally, recommendations were made for future research.

Esta tesis analiza el lienzo Mi madre y yo que plantea una forma específica de representar la maternidad, lo cual nos ha permitido sospechar que existen múltiples formas de representarla. Esto en sí mismo, responde críticamente a aquella posición esencialista que defiende una sola representación de la maternidad. Mientras el discurso hegemónico propone una sola representación de la maternidad basándose en la naturalización de la diferencia sexual, nosotros nos hemos servido de los aportes de Foucault para observar que dicha naturalización invisibiliza otras formas de representar la maternidad, por lo cual sostenemos que la representación de la maternidad del discurso hegemónico depende más bien de prácticas y relaciones de poder que han sido invisibilizadas a través de dicha naturalización. En este lienzo, los cuerpos ocupan un lugar protagónico, y desde los aportes de Elizabeth Grosz y Lucy Lippard podemos leer al cuerpo como una categoría política que tiene todo el poder que necesita para interpelar explicaciones racionalistas, naturalistas o biológicas deterministas a favor de procesos corpopsico-y socio libidinales, que son mas culturales que naturales. Así mismo, los aportes de Norma Fuller, Elizabeth Badinter y Robert Connell, nos han permitido entender que la representación de la maternidad es una categoría relacional, por lo cual la hemos contrapuesto a la categoría de la masculinidad hegemónica. Consiguientemente, los aportes de Freud nos han permitido tomar consciencia de una angustia masculina que surge en los varones al confrontarse con su carácter bisexual. Opinamos que dicha ansiedad está ligada a la representación de la maternidad por que concibe a la diferencia sexual a partir de una oposición jerárquica entre los sexos que es característica del discurso hegemónico. Hemos analizado los elementos de la obra a partir de categorías psico analíticas, postcoloniales y estéticas a fin de esclarecer la importancia de dichos elementos en relación a la representación de la maternidad. El fondo de la obra ha sido analizado desde la categoría psico analítica freudiana de la madre de la cloaca, con el fin de evidenciar el repudio hacia lo femenino. El cuadro del florero que aparece en la representación de la maternidad de Christian Bendayán ha sido 3 interpretado como un símbolo de la pintura de bodegón que, entendido desde una perspectiva feminista y post colonial a través de los aportes de María Lugones, Oyéronké Oyewùmí y Griselda Pollock visibilizan la segregación de las mujeres en las artes entre los siglos XVI y XVIII a nivel institucional, y, por último, hemos debatido la presencia del anillo matrimonial cuestionando tanto su materialidad simbólica, como los fundamentos del contrato social y sexual desde las perspectivas de Gayle Rubin y Carol Pateman. Concluimos este análisis mostrando cómo el artista utiliza estrategias “antiestéticas” para socavar sistemas hegemónicos. Palabras claves: representación de la maternidad, masculinidad hegemónica, diferencia sexual, bisexualidad, Christian Bendayán, “Mi madre y yo”. / This thesis analyzes the painting “Mi madre y yo” (My mother and I) which is a work of art which uniquely displays motherhood. This allows us to suspect that there are multiple ways of representing motherhood which is in itself a way to respond critically to an essentialist position that considers only one-way of representing maternity. While the hegemonic discourse proposes only one representation of maternity based on the naturalization of sexual difference, we have used Foucault’s contributions to observe that this naturalization actually blinds us from conceiving other ways of representing maternity. We rather hold a view by which the hegemonic discourse’s representation of motherhood depends on practices and relations of power that have been naturalized In this painting, bodies occupy a prominent place, and from Elizabeth Grosz’s and Lucy Lippard’s contributions we can read the body as a political category which has all the power it needs to question rationalist, naturalist, or biological determinist explanations in favor of corporeal, psychological and socio libidinal processes which are more cultural than natural. As well, the contributions of Norma Fuller, Elizabeth Badinter and Robert Connell, have allowed us to oppose the category of hegemonic masculinity to the representation of maternity understanding it as a relational category. Consequently, Freud’s contributions have made us aware of a male anxiety that appears when he has to deal with its bisexual character. We believe that this anxiety is linked to the representation of motherhood because its way of conceiving sexual difference is characteristic of a hegemonic discourse that is based on a hierarchical opposition between sexes. We have analyzed the elements of the picture from psychoanalytical, post colonial and esthetic categories in order to clarify the importance of these elements in relation to the representation of motherhood. The background of the painting has been analyzed from a Freudian psychoanalytic theory called the cloaca mother to evoke a rejection towards the feminine. The painting of the flowerpot in Christian Bendayan’s representation of motherhood has been 5 approached from a feminist and postcolonial perspective through the contributions of authors like María Lugones, Oyéronké Oyewùmí and Griselda Pollock to show that the still life genre can be understood as part of an institutional segregation towards women in the arts between the xvi and xviii centuries. And finally, we have debated the presence of the matrimonial ring in its symbolic materiality and from the foundations set by Gail Rubin and Carol Pateman in relation to the matrimonial social and sexual contract. We have concluded this analysis by showing how the artist uses anti esthetic strategies to undermine hegemonic systems. Key words: Representation of motherhood, hegemonic masculinity, sexual difference, bisexuality, Christian Bendayán, “Mi mother and I”.

Esta investigación parte de las siguientes preguntas: ¿qué noción de amor está transmitiendo el discurso de la autoayuda amorosa que consumen los peruanos urbanos de clase media y popular? y ¿qué peligros ideológicos trae consigo esta noción? Estas preguntas cobran relevancia porque la autoayuda es un discurso cada vez más influyente en el Perú –especialmente en los sectores urbanos de clase media y popular– que está intentando moldear y controlar al amor, una fuerza muy poderosa que es tan capaz de liberarnos y hacernos trascender (Badiou 2012, 2002 [1992]; Person 2008 [2007]) como de convertirse en un instrumento de dominación y control social (Beauvoir 2011 [1949]; Ferrer y Bosch 2013; Esteban y Távora 2008). Las preguntas en cuestión se vuelven todavía más urgentes si sabemos que hay una importante tradición de estudios que señala a la autoayuda como un dispositivo de control que difunde creencias funcionales al sistema capitalista (Papalini 2006, Ponce 2007, Pizarro 2016). Los objetos analizados son libros de autoayuda amorosa de Walter Riso (2012) y Tomás Angulo (2013), dos terapistas de pareja muy leídos en el país, y el discurso de los foristas que participan en la sección “Amor y vida en pareja” del portal ForosPerú , el foro más grande y representativo del país. Aunque no sea habitual llamarlos así, los foros son también importantes espacios de autoayuda a los que la gente recurre cuando necesita orientación sobre temas amorosos. Estos objetos son analizados a la luz del pensamiento filosófico de Alain Badiou (2012, 2002 [1992]) y Zygmunt Bauman (2011[2003]), la teoría psicoanalítica de Jacques Lacan (1975 [1972]) y el posmarxismo (Sennett 1980, Jameson 1991 [1984], Harvey 1998 [1990]). Los resultados muestran que el discurso de la autoayuda amorosa que se consume en el Perú tiene tres dimensiones: la racionalidad, el machismo y el cinismo. El discurso de los especialistas se construye a partir de la fantasía de un amor romántico racional y machista, mientras que el discurso de los foristas tiende más bien a ubicarse en una posición cínica desde la cual se sostiene que el amor no es más que la sublimación del sexo, la costumbre y la conveniencia. Aunque puedan parecer discursos totalmente distintos, pues para el primero el amor es una realidad ontológica, mientras que el segundo niega su existencia, ambos no son más que el anverso y el reverso de un mismo discurso: el discurso del romanticismo cínico, una ideología que entraña una serie de peligros para las personas: desde sus facetas racional y cínica, busca producir una subjetividad funcional al sistema; desde su faceta machista, contribuye a la reproducción de la violencia de género en el país y, como consecuencia de todo esto, impide el acceso de los sujetos al amor verdadero, tal como lo entiende Alain Badiou.

This thesis focuses on patriarchy and machismo and the long lasting political, economic, and social effects that their practice has had on women in the United States and Latin America. It examines the role of the Catholic Church, political influences, social, cultural, economic and legal issues, historic issues (such as the Industrial Revolution), the importance of the family's preference for sons rather than daughters, and the differences in the raising of male and female children for their adult roles.

The research project 'This is my Face: Audio-visual practice as collaborative sense-making among men living with HIV in Chile' is an interdisciplinary project that explores 'collaborative mise en-scène' as a method to further understand the sense-making processes around the biographical disruption caused by HIV. It combines Anthropology and Arts methods as part of the PhD in Anthropology, Media and Performance, a practice-based program that fosters interdisciplinary approaches to the production of original knowledge, based on self-reflexive and critical research practices (The University of Manchester, 2018). Relying on the specific competences of photography and film and the co-creation of an ethnographic context based in hermeneutic reflexivity, the collaborators on the project created and explored representations of critical life events, in order to make sense of the disruption HIV brought to their lives. The collaborators were highly stigmatised individuals living with HIV, which hindered their possibilities for sharing narratives and for reflection, and as such, made it more difficult for them to come to terms with a diagnosis they described as a 'fracture' in their lives. This project analyses the creative process of 'collaborative mise-en-scène' as a way to provide further opportunities for reflexivity and sense making, a method that departs from their everyday face-to-face encounters as means of understanding what they are going through. Representations of life events emerged from our practice, as well as evocations, which provided a means by which to understand their experiences with HIV, and opened up ways to resignify their past experiences and projections of the future. Photography and film offered their specific expressive competences to the project, but also gave the possibility of making visible the collaborators' experiences in order to promote a dialogue with others, moving beyond our creative encounters. Therefore, their evocations became 'statements' of what it means to live with HIV in Chile, and at the same time, by taking part in its creation, it provided access to the particularities of the sense-making process in which those images were embedded. This collaborative creative process opened up ways to highlight the relevance for sense-making in face-to-face encounters, demonstrating that hermeneutic reflexivity as a practice-based form of mutual questioning can promote a critical engagement with life trajectories and with others beyond our practice.