In this article, the author uses the autoethnographic process to study the significance of dislocation for herself, her family, and the Portuguese in and through writing and the making of visual work. She contends that the dislocation and its significance emerge in and through the very process of making the work. By describing this process and by examining what emerges in and through it, she attempts to create an account of the inter-relationship among personal, familial, and social-historical circumstances in the formulation of subjectivity.
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