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Those who fail to enact normative models of gender are punished; those who conform to dominant models of gender are affirmed. This text by Judith Butler suggests not only a major step in perhaps the wrong direction in terms of human equality and understanding, but also the major complexity of the idea of gender and how it is understood. Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory Judith Butler Philosophers rarely think about acting in the theatrical sense, but they do have a discourse of 'acts' that maintains associative semantic meanings with theories of performance and acting. Gender Trouble: Feminism and the Subversion of Identity.Routledge, 1990. Simone de Beauvoir’s The Second Sex(1949) predates Butler’s Performative Acts(1988) by almost 40 years, and suggests the very same notion that gender (specifically, womanhood) is created, not inborn. Again, this is my interpretation, and if I have anything wrong, please let me know. Admittedly, theories are emerging in relation to my personal experience…which perhaps explains my compulsion to theorize them as a way of making them universal (?) This essay explains her conception of gender as performative while producing a critique of feminism at the same time. This essay by Judith Butler has become a feminist classic. It seems to me that what would be useful in all of this, is a more(?!) Admittedly, social notions of collaboration are not as deeply inscribed as those of gender. 519-531. It is performative of an interiority which is itself “a publicly regulated and sanctioned form of essence fabrication” (129). Gender categories and oppression 16th: so why not start with Moya Lloyd! 40, no. Through her essay, Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory, Judith Butler explores the conceptual presence and creation of gender identity within society. The paper also includes a list of key terms with definitions. 1950s = J.L. It argues that yes, gender is performative (with some level of identity %%EOF Thaer Deeb; Judith Butler; Article Keywords. Judith Butler, “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory” (1988) Philosophers rarely think about acting in the theatrical sense, but they do h ave a discourse of “acts” that maintains associative semantic meanings with … You can do this also via certain forms of pragmatism: Davidson and Rorty. http://www.bookslut.com/features/2005_04_005030.php [accessed March 30, 2008]. “What does it mean to say that economics is performative?” In Do Economists Make Markets? 40, No. Mary Anne and I agree it would behoove me to think through various means of describing/negotiating this reflection in my work. The essay draws on the phenomenology of Maurice Merleau-Ponty and the feminism of Simone de Beauvoir , noting that both thinkers grounded their theories in "lived experience" and viewed the sexual body as a historical idea or situation. Butler’s further argument is that the acts that are … I’d really like to know more about comparisons between Goffman, Turckle and Butler…. Log In with Facebook Log In with Google. Gender is something performed and performed as a continuous act. 4, 1988, pp. ‘Essentialism’ being the thread of continuity… There’s a huge political point here – about transformational, democratic politics and where one ‘has’ to start from in order to bring democracy about. Interview by Daniel Nester, Bookslut, April 2005, Tethering her argument to Simone de Beauvoir’s claim that “one is not born, but, rather, becomes a woman” (Butler,120), a phrase reappearing several times throughout the text, Butler asserts that gender involves the stylized repetition of acts. In her essay “Performative Acts and Gender Constitution,” feminist philosopher Judith Butler writes that gender is “a constructed identity, a performative accomplishment which the mundane social audience, including the actors themselves, come to believe and perform in … Still, I am hard pressed to know where to draw the line—what to keep to myself. Performative Acts and Gender Constitution - Butler Judith. Performative Acts and Gender Constitution: An Essay in Phenomenology and … Analysis Of Gender Trouble By Judith Butler. Bullet points: these seem to get to the philosophical core of your research and are well-identified and the JB quote is v pertinent. One possible answer to this issue utilizes Judith Butler’s theory of “gender performativity” put forth in Gender Trouble and expanded upon in her essay “Performative Acts and Gender Constitution: An Essay in Feminist Epistemology”. 1950s = J.L. “The Body You Want” Interview with Liz Kotz, Artforum, Nov. 1992, pp. Butler goes on to say that gender is a construction fabricated, it is a series of acts. We don’t ‘have to have’ biology…theoretically speaking. Butler's agenda is that gender roles are assigned through the "performance" of socially sanctioned practices (from the way we dress to the way we move all the way to the way our social … Full citation: Butler, Judith. Butler, Judith. Judith Butler, “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory” (1988) Philosophers rarely think about acting in the theatrical sense, but they do h ave a discourse of “acts” that maintains associative semantic … 519–531. On Thursday (13 November) we’ll be working in class with four key claims Butler makes. A Succinct Summary of Judith Butler’s “Performative Acts. In this case, gender is constituted in the mundane acts of the body; the performative acts constitute gender. In revealing how “normative” acts of gender perpetuate “normative” notions of gender, Butler seeks to demystify gender as anything but normative and in so doing open up possibilities for contesting and transgressing the reified significance of heterosexual gender as normative. Turkle, Sherry. The individual’s collaborator subjectivities, The individuals’ role(s) as collaborators, The ways these roles may be socially conditioned and therefore performative rather than expressive, The social norms underpinning expectations bound up with these roles, The collaboration as a distinct sphere (like the theatre), The ways collaborators respond to one another (punish or affirm one another) based on their respective performances, The collaborative work produced by these individuals-cum-collaborators. This essay by Judith Butler has become a feminist classic. Through performative acts, we . November 24, 2015. Performative Acts and Gender Constitution - Butler Judith. Certainly, there are general assumptions about what constitutes “a collaborator” in the same way there are general assumptions about what constitutes “a woman.” It might, therefore, be useful to unpick these assumptions and assess how they operate in the service of advanced capitalist culture (Brian Holmes’ notion of the “flexible personality” would be useful here). For example, John Searle's 'speech acts,' those verbal as- endstream endobj 146 0 obj <>stream 4, pp. Thirdly, Butler argues there is no true … h�bbd``b`j�@�q*�Dlˁ��8&FY�,#�?��O� ��� Butler, Judith. » in: Canadian Philosophical Reviews/Revue Canadienne de Comptes rendus en Philosophie. Returning again to de Beauvoir’s observation that “woman” is a role that females (typically) assume through socialization, and summoning Merleau Ponty’s claim that the body is “an historical idea,” not a “natural species” (Butler, 121), Butler situates gender in relation to the historical possibilities that circumscribe both its significance and capacity. 519-531, December 1988. Enter Donald Schön, whose Reflective Practitioner: How professionals think in action I will tackle in a subsequent digest. Another problem with Butler’s approach to the phenomenology of acts and by extension performativity is that it does not take other contingencies into consideration. A Succinct Summary of Judith Butler’s “Performative Acts. This is my first introduction into the iconic Judith Butler's work, and the proper genealogies of gender studies that she pioneered. “Performative Acts and Gender Constitution” is a paper in four parts: Butler begins her discussion by aligning performativity with philosophy rather than theatre, a politically charged distinction further discussed below. It’s a key issue for the way in which CP approaches ‘openness’. Butler’s core argument is that gender is not, as is assumed, a stable identity, but that it is created through the “stylized repetition” of certain acts (gestures, movements, enactments) over time. That is to say: in facilitating equality, does one a) treat everyone as equal or b) compensate difference or both (which becomes very complex)? To deny this, argues Butler, would be to relinquish “…power to expand the cultural field bodily through subversive performance of various kinds” (132), which seems to be her ultimate goal. Using past philosophies and theatrical examples, she discusses the complex nature of gender identity that exists through the false reality of societal values and sanctions. Gender roles are something that is socially constructed. This system gives rise to, and empowers, a heterosexual and sexed hierarchy of power. Performative Acts and Gender Constitution Counter-argument: Simone de Beauvoir Binary Genders and Heterosexual Contract - Sex/Gender: Feminist/Phenomenological Views - Binary Genders and Heterosexual Contract - Feminist Theory: Beyond an Expressive Model of Gender Judith Butler This page was last modified on 24 November 2010, at 14:21. Butler, Judith. I love this cultural history of ‘collaboration’. 10th paragraph: Ah, good a more Foucaultian perspective…! Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory Judith Butler Philosophers rarely think about acting in the theatrical sense, but they do have a discourse of 'acts' that maintains associative semantic meanings with theories of performance and acting. By performative, she means that an act is an act by the very fact of it happening, such as the act of promising by saying ‘I promise’. In one of her most well-known essays, “Performing Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory”, Butler argues that gender is produced through performative acts. Download pdf × Close Log In. Judith Butler’s essay, “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory”, argues that “gender identity is a performative accomplishment compelled by social sanction and taboo (520)”. Euphoria adopts a modified form of Judith Butler’s gender performativity theory. 40, no. After asserting that heterosexual bias hinges on reproduction and kinship systems, Butler observes that the stage is one space where gender transgression is acceptable. 1988: “Performative Acts and Gender Constitution” Gender is performative. You seem to be asking 2 questions – one about phenomenology’s value to Butler and another about the use of performativity and feminism for you! 0. 148 0 obj <>/Filter/FlateDecode/ID[<393EDACEAFA7EAF00D3A18F250C26D70>]/Index[142 16]/Info 141 0 R/Length 52/Prev 297293/Root 143 0 R/Size 158/Type/XRef/W[1 2 1]>>stream It reiterates all I felt and believed about gender and gender roles. 0 In other words, Butler is arguing gender exists because society has placed one’s biological sex on a pedestal of importance. According to Butler, gender is a thing we perform, we act out. Callon, Michel. Performative acts and gender constitution: An essay in phenomenology and feminist theory Butler’s (gendered) subjectivity differs from Erving Goffmann’s view of the self (The Presentation of Self in Everyday Life) as exchanging and assuming various roles within the practice of life because for Butler, gendered subjectivity not only transcends discrete roles it is also constructed in compliance with heavily internalized regulations of socially appropriate gender identity. 7�� 82-89. Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory Judith Butler Philosophers rarely think about acting in the theatrical sense, but they do have a discourse of 'acts' that maintains associative semantic meanings with theories of performance and acting. Returning to my task at hand: “Performative Acts and Gender Constitution” concludes with a tour de force. 12th: but surely, the idea of ‘acts’ (via phenomenology) applies to all forms of subjectivity / being in the world? Four key claims Judith Butler makes in “Performative Acts and Gender Constitution” Posted on November 12, 2014 by Kim Solga. It is my sense there is a tendency to observe people’s performance as collaborators, to assess their behavior based on how well they fulfill this “job description,” even in instances where their work goes unpaid. There is nothing “natural” or “biological” about gender, though the sedimentation of gender helps create this lie of gender as THE TRUTH, which cannot suffer change. Like gender the status quo is neither given nor innate. Anybody who knows Judith Butler knows about her theory of performativity. I’m a bit confused by the bit about ‘gender constitution through performative acts’: surely, according to B there isn’t a subject before such ‘acts’ to be continuous? ��@S�ōD�$���R�-m)��Q�9�33g���Ofש���̗���'�������|' 1988 - Theatre Journal. Butler, Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory (1988) 40(4) Theatre Journal 519-531; Gender Trouble (1990); The Psychic Life of Power 83 (1997). The word “collaborator” has been inflected with new significance since WW2. For Butler, gender is not a “stable identity” but an “identity tenuously constituted… Complicating this claim is Butler’s contention that gender constitution through performative acts tends to be internally discontinuous. Here they are in advance, in case you’d like to get comfy with them. There are several examples of different views of gender that don’t follow the traditional Western viewpoint. Feminist through: beyond an expressive model of gender. Parse Butler’s conclusion: "Gender is what is put on, invariably, under constraint, daily and incessantly, with anxiety and pleasure, but if this continuous act is mistaken for a natural or linguistic given, power is relinquished to expand the cultural field bodily through subversive performances of various kinds." “In the theatre, one can say, ‘this is just an act,’ and de-realize that act, make it into something quite distinct from what is real” (Butler, 128). The Presentation of Self in Everyday Life. Gender varies by time period and culture. After briefly discussing embodiment in terms of gender as a corporeal style, Butler ruminates on the significance of the body as a cultural sign, with gender being a political strategy for survival. JSTOR. « Review of Gilles Deleuze and Claire Parnet’s Dialogues. ”Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” in:Theatre Journal. 7��w!���ҵ�x3��M�[콎�x����4�w*��B�(�Ei�������l�4ke��y~� ����EX�#E��K ˜4 Again taking aim at the feminist use of “woman” as a descriptor-cum-political-tool-cum-univocal-point-of-view, she not only draws attention to the ontological insufficiency of the term but also calls for a critical genealogy of the complex institutional and discursive means through which the presupposition of the category of woman itself is constituted (Foucault’s influence). While exciting (it is thrilling to have a clear focus at last) there are many ways to write this discussion. Critical review of the article Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory by Judith Butler Gender is a difficult term to define. At this point, Butler asks the question: “How useful is a phenomenological point of departure for a feminist description of gender?” Suffice it to say for my purposes here that both Butler’s sense of performativity and feminism’s emancipatory program share an interest in embodiment as a way of grounding identity in lived experience. The post-feminist observes: The second comes from Michel Callon’s reference to Annemarie Mol’s critique of Butler in Callon’s “What does it mean to say that economics is performative?”: The point is that collaborators have biology just like gendered subjects making it necessary to think how this and other characteristics might delimit collaborator subjectivity. 4th paragraph: we move from the ‘subject’ to its ‘body’. Butler says that sex is biological and gender is a performative act. ↓ WHAT IS AN ACT ? "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory", Theatre Journal, Vol. 5th paragraph: I’m confused about where your account of B is going. —. In an argument similar to bell hooks’ assertion that blacks are tolerated in nonessential professions, such as entertainment and sport as opposed to loci of power including politics and education, Butler argues theatrical acts of gender transgression are appreciated because they are unlikely to be perceived as “real” and thus a “real” threat to social conventions. Complicating this claim is Butler’s contention that gender constitution through performative acts tends to be internally discontinuous. Butler again wrestles with the relationship between her partial theory of gender and the broad church of feminism and its political program. In the essay "Performative Acts and Gender Constitution" (Performative Acts), Judith Butler proposes that gender is performative. But we think it’s natural because of gender norms. Xavier Sevilla. And straight away, there are also some things that I'd like to have explained e.g. 4 (Dec. 1988), pp. Illocutionary gestures (Searl’s speech acts [analytic philosophy of language]), action theory (a domain of moral philosophy concerned with what one ought to do), and the phenomenological theory of the “act” provide the backdrop for her theory of gender as socially constructed and thus subject to reconfiguration. “Performative Acts and Gender Constitution.” In The Twentieth-Century Performance Reader. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal, vol. In this case, however, the limits are the scalability of the individual’s experience…including my own. Through “Performative Acts and Gender Constitution,” Judith Butler argues that gender is not biologically established, but is formed through a repetition of acts, or through socially constructed histories of a particular gender. Butler, Judith. Judith Butler’s Performing Acts and Gender Constitution examines the author’s concept of “gender acts.” According to Butler, gender is not inherent but rather “an identity tenuously constituted in time—an identity instituted through a stylized repetition of acts” (392). It’s just often thrust upon us. On the Performativity of Economics, edited by Donald Mackenzie, Fabian Muniesa and Lucia Siu, 311-358. The feedback I receive on my research fingers my investigations into the texture of collaboration (including the intersubjective exchanges involved in this work) as perhaps the most interesting and original. The word once used to brand someone a traitor, a “collaborator” is now more likely to reference a helpful friend. I am apprehensive going into this post because… one has to deny the facticity of the body. Thinking this through further in relation to both Goffmann’s notion of roles and Sherry Turkle’s ideas about distributed presence conditioned by using a cascade of desktop windows (Life on the Screen, 11) could prove useful for coming to terms with the construction and performance of collaborative identities. Princeton: Princeton University Press. Butler, Judith. Though I remain unsure quite how to tackle this in my research, it seems prudent to at least acknowledge identity as a compound-complex phenomenon comprised of but not limited to gender, ethnicity, class and so on. If so, it’s strange that we haven’t seen more mutations in categories of gendered bodies, historically speaking. Does B claim that ‘the body’ is a socialized aspect of subjectivity? It does not proceed itself; it does not preexist its performance. Where’s the praxis? But this does not mean the term “collaboration” is free from connotations. Explanation of Judith Butler’s ‘Performative Acts and Gender Constitutions’ Posted on April 27, 2013 by CredoChe. In “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory” Judith Butler follows up on her thought in publications such as "Gender Trouble", "Critically Queer" and "Bodies that Matter". Garden City: Doubleday,1959. At the same time, Butler is cautious about collapsing all women into the category of “women” (and by extension, all queer subjectivities into the identifier, “queer”), as doing so effaces the lived experience of individuals—their embodied realities. London: Routledge, 1996. “The authors of gender become entranced by their own fictions whereby the construction compels one’s belief in its necessity and naturalness (Butler, 123).” With cycle of performance-persuasion-performance demystified, Butler’s project now involves proposing strategies for transcending this loop. For example, John Searle's 'speech acts,' those verbal as- Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. Sign Up with Apple. In the second part of this essay titled “Sex/gender: feminist and phenomenological views,” the body is framed as a construction situated in time and space. ]?ϝ$�]ϋ�y�|ywOĒ�)�D�;� �ν;�J�'� Performative Acts and Gender Constitution Counter-argument: Simone de Beauvoir Binary Genders and Heterosexual Contract - Sex/Gender: Feminist/Phenomenological Views - Binary Genders and Heterosexual Contract - Feminist Theory: Beyond an Expressive Model of Gender Judith Butler It combines a fertile mix of speech–act theory, which views language as performative, creating events … Goffmann, Irving. London: Routledge, 1996. In outlining Butler's arguments, the paper makes comparisons to other theorists such as Beauvoir and Turner. Rather, what we seem to see, so often, is a use of a supposedly ‘foundational’ (as in anatomical) gender for social inscription. But some also attempt something “better,” an alternative to preexisting structures. Fully recuperated by neo-liberalism, today it resonates positively as a “progressive” way of working. Gender is separate from biological sex. To reach Amherst College, please call: Admission Office: 413-542-2328 Advancement Office: 413-542-5900 Communications Office: 413-542-2321 Controller: 413-543-2101 h�b```a``����������(��ed褬�(�/��?k�[�rl�����3��0nu]��������$O�N�^V��T>��.�糝��X�Ҍ@� � qu � Conclusion Explain how it will help Describe the next steps Refer back to the pros and cons Butler in a nutshell Performatives Evolution She's written so much about performativity and gender that we can synthesize much of her work. x��X�n�6}�W�%�.˺_m�M� �&�u In this piece Judith Butler agues that gender identity is a performative act, an act that we are set to perform and are forced on the indidvidual through the use of social sanctions or laws. Edited by Michael Huxley and Noel Witts. “Performative Acts and Gender Constitution” In The Twentieth-Century However disconcerting, coming to terms with this as a heterosexual involves implicating oneself in the tyranny of heteronormalcy (Butler, 123). This paper provides a summary and critique of Judith Butler's article "Performative Acts and Gender Constitution." 142 0 obj <> endobj 7 Butler, Notes Toward a Performative Theory of Assembly 176 (2015). Both approaches address the personal as political “…insomuch as it is conditioned by shared social structures [and] the personal [is] also immunized against political challenge to the extent that public/private distinctions endure” (Butler, 124). Gender; sex; Body; Performance, Phenomenology; Feminism; Jul, 2018. q2�Ʃ��J�5��5�K4l�x��Ò��'h�`��j�� endstream endobj 143 0 obj <> endobj 144 0 obj <> endobj 145 0 obj <>stream In-text: (Butler, 1988) Your Bibliography: Butler, J., 1988. endstream endobj startxref Butler reminds me that: So the personal is political and, like most things political, there’s signification in the spin. Performative Acts and Gender Constitution-Judith Butler. Consequently, “One is not simply a body, but, in some very key sense, one does one’s body and, indeed, one does one’s body differently from one’s contemporaries and from one’s embodied predecessors and successors as well” (Butler, 122). ACT = Bodily gestures, styles, movements (language as well) = stylized acts that must constantly be REPEATED. Drawing on Edmund Husserl, Maurice Merleau-Ponty and George Herbert Mead, Butler seeks to understand the quotidian ways in which “…social agents constitute social reality through language, gesture and above all the symbolic social sign” (120). In “Performative Acts and Gender Constitution,” Butler asserts a position that, while one might biologically be classified as part of the female sex, one’s gender is actually determined by collective acts performed throughout that person’s life. or. A second premise to Butler’s gender performativity theory is that sex is a strict and rigid binary system. Judith Butler: Performative Acts and Gender Constitution. This aside, the core commonality between gender and collaboration resides in the phenomenological theory of acts. I'd like to know what took you - or got you - to this text. Performative Acts and Gender Constitution: An Essay on Phenomenology and Feminist Theory . To repeat the above, Butler’s argument is that heterosexuality is anything but factic; the body’s enactment of sexuality bears meanings, dramatic meaning, and this meaning is bound up with belief. f_�P��N��/n Ϗ�2`L������1�O�^�o��nu?�۶4�`*���~�&3}�Z�([�,���_�}��W6uu-2�%rb�������? Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory Judith Butler Philosophers rarely think about acting in the theatrical sense, but they do have a discourse of 'acts' that maintains associative semantic meanings with theories of performance and acting. Judith Butler: Performative Acts and Gender Constitution – wordsforthought5. über-theory of social-agency. 'illuctionary gestures' (sound good - but what are they?). 'BpTA�X��$b)�$1��#�5&I����12/*���� ó��y�χ�s�O Mm~���;�Q��������3���PJB�T)�&�,3�y�St�,��gA� (��cN�(�8��v[ݭ[C��|��r+R��$�$��T�*��4^��q���#,�ˌ�n�����{r�t��t�����3N#���e�ջq�ԙ���?o And they both attempt to make visible “that which is not seen” by the dominant order [read: patriarchy]. 2nded. (I am thinking about the historical avant-garde’s experiments of the early 20th century). Could the same be true of collaboration? Reading this discussion on performativity has challenged me to think about the relationships between the following constituents of collaboration: Increasingly, I find myself conceptualizing collaboration in terms of theory, which begs the question: how to fuse this with practice? Recognizing the tension between the collaborative community and social structures seems critical if one is to understand the ways in which individuals might negotiate these two spheres through their acts of collaboration…all this seems very much related to the point above about the limits of the act. become. These alternative structures may nurture different types of community but this does not mean they impact society by extension. [22] Loading Preview. 11th paragraph – I could do with more on the distinction between ‘performative’ and ‘expressive’ identity – as it rests on a notion of performativity in the tradition of Searle and the idea of speech-acts…. These acts do not so much represent subjectivity as it is (which would make them internally continuous); instead they reflect how it should be, a process that Butler asserts must be understood in terms of persuasion: performative acts “constitute…identity as a compelling illusion, an object of belief” that is aligned with social sanction and taboo” (1996, 120). 1$����A��r�¸��v�. Posted on December 6, 2015 December 6, 2015 by mbarreto001. 13th: Paglia’s critique is unfair: if one ‘believes in’ speech acts etc. New York: Touchstone, 1997. These acts do not so much represent subjectivity as it is (which would make them internally continuous); instead they reflect how it should be, a process that Butler asserts must be understood in terms of persuasion: performative acts “constitute…identity as a compelling illusion, … Throughout her … This page has been accessed 22,425 times. 6th paragraph: Wow – a real leap! Like feminism, collaboration is bound up with the a “shared social structure.” Certainly, collaborations are fashioned (sometimes but not always by their members) in relation to society or, more accurately, as part of society in the absence of an outside. This essay by Judith Butler has become a feminist classic. And why does the assertion of something like a ‘moral law’ of gender make subject of these acts ‘discontinuous’. Vol. 1950s = J.L. You could say that it’s the difficult discourse of ‘equal opportunities’ writ large. Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory Judith Butler Philosophers rarely think about acting in the theatrical sense, but they do have a discourse of 'acts' that maintains associative semantic meanings with theories of performance and acting. To Butler our biological sex is something that has been socially constructted through our own repetitive performance of gender.Butler argues that social reality is not… Compiling case studies about the interplay between the lived experiences of individuals and their performances as creative collaborators might also help to tease out tensions between different aspects of their embodiment. … Yes, the word has indeed gone through a ‘U’ turn, which should make us cautious. Far from natural (innate), these acts are socialized—socialized, moreover, with the express purpose of normalizing heterosexual identity.

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