Judith Butler And Gender Roles

Judith Butler And Gender Roles
"For most, gender exists as a binary – you're either male or female. But consider instead a spectrum
– one where we can borrow from seemingly opposite shades, dance along a prism of colors, or
choose to rest outside of it. To live along or outside of this spectrum, to identify as both masculine
and feminine, or neither, is to be considered gender non–conforming. And though the concept may
seem progressive, it has actually been around for hundreds of years." (Casal, 2017, np).
When taking gender into consideration, there is one person who is responsible for many radical
ideas, that is Judith Butler. Butler argues that gender is socially constructed and that instead of being
either male or female from birth, gender is a product of repeated performance in everyday life.
(Butler, 1999).
Judith says, "We act as if being of a man or that being of a woman is actually an internal reality or
something that is simply true about us, a fact about us, but actually it's a phenomenon that is being
produced." (BigThink, 2011, np)
Judith Butler is aware that her ideas may be controversial but she holds tight to her knowledge to
make her points clear. The idea of gender has changed across time, across the globe and across
social classes and it is important for us to see gender through all different angles to fully understand
where Butler's ideas come from along with our personal stance on the issue. Butler is seen as brave
within the gender theorist community for being able to
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Gender and Postmodern
Mapping the Modern
"An argumentative essay on 'Gender' through comparison and contrast of the views of authorities
who are postmodern practitioners"
Introduction
Defining postmodernism as well as gender is an extremely difficult task if not impossible. This
essay is an argument on the two postmodernist's concept on 'Gender'. This essay argues posing
foucauldian postmodernism of Judith Butler against Baudrillardean post modernism of Arthur and
Marilouse Kroker with analysis on both their ideas on gender including sex and sexuality. This essay
also argues that these two approaches are fully flawed for a number of important reasons. This essay
offered an argument on the ideas of two of the most prominent postmodernists in the field of ...
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Butler initially observes that the culturally constructed as well as maintained nature of performance
of gender are fairly based on the uncontentious as well as widely expounded idea of feminist theory
stating that cultural expressions of gender which constitute the cultural manifestations of biological
truth cannot be taken at face value. Butler proposes the concept of differences in sex is a
construction of heterosexuality ideologically designed to legitimize as well as normalize its
existence. Butler notes that manifestations of split as male and female are creations in a self–
legitimizing heterosexuality which is also hegemonic. Butler claims that the coherence of either
gender namely man or woman is internal requiring a heterosexuality which is stable as well as
oppositional. Heterosexuality which is institutional requires as well as produces univocity I each of
the terms gendered constituting limits of gender possibilities inside an oppositional along with
binary gender system. The concept of gender presuppose a relationship which is causal among sex,
desire as well as gender but also suggests that desire reflects and expresses gender and vice versa.
The uity of these three factors are metaphysical ad is truly known as well as expressed in desire
differentiating a oppositional gender which is a form of heterosexuality said to be oppositional.
Butler's argument on

Homosexuality: A Feminist Analysis
Compulsory heterosexuality is defined as the dominant norm for sexual orientation, thus to take on
any other form of sexual orientation outside the norm is seen as a deviant act.1 This means that
everything we perceive and everything we process in the world around us is seen through a
heteronormative lens. My question is, does society play a role in creating this heteronormative
views, or are humans naturally inclined or already born with such ideologies? Feminist theorist
Judith Butler states that binary gender roles are outdated, and then develops the a feminist theory in
which she merges gender and performativity. In an interview with XYZ, Butler stated in an
interview suggests that gender performativity or gender in general proves to be ... Show more
content on Helpwriting.net ...
In Russia, for example, it is normal for women to stay home and take care of the children while the
men are out working and earning enough money for the family. It is even an understood term in
Russia that women are called the "weak gender," whereas men are the "strong gender." Even from
this, you can already see patriarchal dominance at work because men are the ones are providing for
the family, whereas women do not work nor seek advancements within society in order to progress
and become a part of the "strong gender." With this example, you can also see gender performativity
at work because the children are seeing their mother at home and their father out working, which is
already instilling ideologies of gender hierarchies between men and women. According to Valentina
Ushakova, sociologist and director of the Gender Research Institute, these hierarchies are created
because of the division

The Anthropology Of Gender And Its Correlation Between...
1. INTRODUCTION
The study of the archaeology of gender emerged during the 1980s and the 1990s and since then,
archaeologists influenced by post–structuralism, feministic archaeology, and archaeology of the
body have been questioning the biological determinism of gender (Gilchrist, 1999, pp.13–14;
Sofaer, 2006, pp. 89–116). On the contrary, earlier archaeological approaches presumed the
existence of a link between anatomy and social identity, and formed methodological and interpretive
imperatives on issues such as the social composition of a group the division of labor, the cultural
perception of the individuals and finally, their mortuary treatment (Joyce, 2008, pp. 39–40, p.93,
pp.123–124). Based on this polarization towards the interpretation of gender and its correlation to
sex, I will present in this essay the question of whether it is possible or not, to assign a specific
gender and a specific sex on individuals based on past cemetery evidence. However, before
proceeding in discussing gender and sex on mortuary contexts it is essential to establish the
definitions and address the issues concerning the theoretical and the practical approach of the two
pillars of this question, namely: the gender and the sex.
2. GENDER AND SEX IDENTIFICATION
Gender is considered a socially constructed idea that is infused in individuals during their childhood
and it encapsulates a social code of behaviour that will facilitate their later integration in a social
group. Additionally, it

Deborah Cameron Performing Gender Identity
In " Performing Gender Identity: Young Men's Talk and the Construction of Heterosexual
Masculinity" by Deborah Cameron portray a very controversial theory in which Judith Butler
discusses the idea of gender performativity. Butler clearly states that gender must constantly be
reaffirmed and publicly displayed for gender rules to be maintained. This excerpt hints to the main
idea illustrating that one's sex is biological, but gender is constructed, learned, and performed. The
main idea behind the term gender performativity is that, gender itself exists only as it is established
and repetitively performed in society. Cameron states that, " Gender is the repeated stylization of the
body, a set of repeated acts within a rigid regulatory frame

Stereotypes In M. Butterfly, By David Henry Hwang
M. Butterfly is an award winning play written by David Henry Hwang in 1988. In this play, a young
French diplomat by the name of Rene Gallimard, falls in love with a man whom he believed to be a
woman, by the name of Song Liling. This play is based off of a real couple who's real names are
Bernard Boursicot and Shi Peipu. Rene Gallimard sees Song Liling, for the first time at an opera
show. After they begin seeing each other, he gives her the nickname of "his butterfly". From there,
their love grows into a twenty–year relationship, until Rene Gallimard discovers that "his butterfly"
is truly a man as well as a spy for the Chinese government. Overall, the play conveys themes of
racial, sexual, and gender related stereotypes, as well as deceit. ... Show more content on
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One of the most obvious racial stereotypes, is the stereotype of oriental women from a western point
of view, which is what Gallimard believes to be true. According to Google, Orientalism is defined as
"the representation of Asia, especially the Middle East, in a stereotyped way that is regarded as
embodying a colonialist attitude". In other words, it's the view of Asia from outside countries, that
are usually stereotypical. From a western point of view, oriental women are viewed as innocent,
delicate, sexual, "doll like" beings. Song is aware of the stereotypes, and performs the "role" of an
oriental woman, which allows Gallimard to be fooled for over 20 years. The western's stereotypical
racial view of oriental women wasn't the only one in play... along with it was the stereotypical racial
view ofmen. "In line with the theory of Orientalism, both of these stereotypes are derived not from
real evidence or observation, but from an "Othering" of the East as the opposite of the rational,
masculine, and powerful West.". Not only are oriental men degraded in value in a sexual sense, but
as well as in a racial sense, being equal to women, as opposed to western views, where men are
superior to

Gender Performativity In Language : The Philosophy Of...
INTRODUCTION
Since language can be described from the perspective of its structure or function, it provides us two
different pathways to learn what people say. In short, we can focus on the form of the utterance,
which shows speaker's meaning literally, without the influence of the context. Also, we may put
people's utterance in the social or cultural circumstance and pay more attention to pragmatic
analysis. J. L. Austin (1999), who proposes the concept of "performative", shows us the underlying
ability of language that the utterance can actually do things. Based on the work of Austin, Judith
Butler (1999) develops the language philosophy from "performative" to "performativity" in relation
to gender. I will argue that language used to utter a sentence in a proper environment is not merely a
description, but a real action. And in terms of gender, language "performative" is an access to gender
identification. I will firstly examine Austin's idea of performative utterance and illocutionary acts. I
will then look at Butler's gender performativity and how language works on identifying social
gender. In conclusion, I will reiterate my argument and conclude the theory suggested by Austin and
Butler.
REVIEW OF AUSTIN
According to Austin (1999), the philosophy of language is more about the contextualised utterance
instead of the de–contextualised sentences. Thus, he suggests a concept called "performative",
which characterises the utterances as not simply describing or saying

Gender Representation Of Female Gender Roles Affect...
Despite what seems to be positive empowerment of females alike, Mulan in fact does not encourage
the individual empowerment of women through separation of traditional gender stereotypes. In fact,
Mulan emphasizes the roles between binary genders that ensure privilege of men over women.
Additionally, the film shows how such stereotypical gender roles affect society through social
oppression of the minority group. Throughout the film, it is obvious that, although it is possible to
have gender performativity, there is disempowerment of women and a man's life is that which is
more significant than a woman's. For the duration of the movie, the idea of masculinity is
emphasized and its ideas are reinforced. Notably, when Shang, the captain of the army, sings the
song I'll Make a Man out of You (Wilder et al., 1998a), the portrayal of the stereotypical
representation of masculinity is obvious. The lyrics "Did they send me daughters, when I asked for
sons?" further points to the notion that there is only one gender that is worthy and appropriate to
fight (1998). Additionally, the captain's main goal is to make a man out of each member in the army.
The assertion is that femininity is not acceptable; the "womanly" recruits have been transformed into
"real men" in order to competently fight the war. Towbin et al., supports this notion in that "men and
boys are portrayed as rescuers who save the day" (2004). Although the film appears to be supporting
feminist ideals as

An Analysis Of Nice Rodriguez's Throw It To The River
Judith Butler's criticizes the traditional feminist theories that provide a binary division of gender into
man and woman in her article "Performative Acts and Gender Constitution". She suggests that the
conventional approach to gender issues is limited because it categorize gender into two groups (the
man and woman categories) while there could be a possibility for several more genders beyond the
man and woman classification. For instance, traditional feminist theories assume that sex provides
the base for the development of gender and gender provide the foundation for the growth of desires.
In Nice Rodriguez's short story "Throw it to the River", the main character Tess would be
considered a woman using these traditional feminist theories ... Show more content on
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Through Tess and Lucita, the major characters in the short story, we learn that people may have
shared bodily features but different sexual interests. We also learns that sex is destiny, but gender is
not, and that gender is performative through the repetition of acts. Nice Rodriguez's work proves
that Butler's theory of gender is relevant and should be applied in solving the many gender issues
that society

Old Spice Masculinity
On the notion of Masculinity in The Man Your Man Could Smell Like
Old Spice's 2010 Commercial The Man Your Man Could Smell Like paints a truly unique image of
masculinity. On the one hand, the ad's uninterrupted shot and the actor's nonchalant demeanor and
wit leave us in awe. On the other hand, though, it also begs its viewers to sit back and reflect:
"Wait...what did I just see?" The ad markets Old Spice deodorants to female as well as male
audiences by directly associating them with the idea of hyper masculinity, insinuating that men who
use Old Spice deodorants possess the capability to accomplish virtually anything. For instance, the
Old Spice Man is depicted on a boat, possessing diamonds, and riding a horse (Old Spice). While
the comical ... Show more content on Helpwriting.net ...
One can arguably claim that the expedients through which masculinity is portrayed in the video–the
possession of diamonds, an abundance of wealth, an attractive physique–are perhaps some of the
extreme yet most commonly cited characteristics of masculinity in society. They are the "set of
actions" with which we associate masculinity. Thus, the ad seems to capitalize upon these
characteristics in its depiction of masculinity: the Old Spice Man is well endowed with all of these
characteristics–he is the "alpha male." However, the ad targets only a few ideas associated with
masculinity, thus essentializing its performance of masculinity to merely a set of certain hyper
masculine characteristics. This enables us to see the essentially performative nature of masculinity,
and explains the ad's ridiculous simplification of

Theories Of Gender Performativity
Gender performativity was defined in lecture by Dr. Thomas O'Neill as the act of being either male
or female each day (September 21st, 2017). In this essay, I will first be discussing what is meant by
gender performativity, followed by an illustration on how it differs from gender socialization and
interpretive reproduction – two other theories of gender identity formation. Patricia Adler (1992) as
cited by O'Neill in lecture, explains that gender socialization theory emphasizes how children,
through socialization, try and adopt gendered characteristics to develop their own identity
(September 21st, 2017). Interpretive reproduction on the other hand, was a concept established by
William Corsaro and explained by O'Neill in lecture as, the ... Show more content on
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This statement suggests that if you were to disregard the scripts that are assigned to each gender,
something different might come to be. In summary, the theory of gender performativity highlights
that gender performance is habitually and continually acted and performed on a daily basis in
everyday life and gender does not have to be depicted by the set regulations of society.
A gender identity formation theory that exhibits a completely different way of thinking is gender
socialization theory. Karen Wells (2015), explains that gender socialization theories originated from
general theories of socialization which suggest that children learn how to be functional members of
society through daily experiences and arising issues in addition to formal training. Wells (2015)
highlights that gender socialization focuses on socialization into appropriate roles depicted by
gender – this varies drastically from the theory of gender performativity. For example, gender
socialization theory assumes that children learn what is considered to be culturally appropriate for
their gender by using others as role models, imitating and eventually internalizing the role model's
behaviours and attitudes (Hill, 2002 citing Ickles, 1993 as cited by Wells, 2015). Patricia Adler
(1992) describes gender socialization as the internalization of "idealized gender images". As a result,
this creates a socially constructed right and wrong for each

What Is Performativity In Relation To Race And Gender...
This essay aims to explain performativity in relation to 'race' and gender, explaining how
performativity can be used to help people understand racial and gendered identities. Performativity
describes the way 'speech' and 'communication' is not simply used to communicate but rather to 'act
or consummate' an action, or to construct and perform an identity (Butler, 1990). Much has been
discussed regarding 'race' and 'gender' as social constructs; Judith Butler's work highlights the
performativity of gender, while both Shirley Tate and Jose Esteban Muñoz have spoken about 'race'
in a similar manor.
Both race and gender are forms of human categorization, however neither have any biological basis
or grounding within biological sciences. Sociologists ... Show more content on Helpwriting.net ...
The sociology of gender is one of the largest subfields within sociology; sociological gender studies
look at the social construction of gender and how gender interacts with other social structures within
society (Crossman, 2016). It Is important that one understands the difference between sex and
gender to understand the sociology of gender; unlike gender, sex is biologically determined and
relates to the reproductive organs a person has. In order to separate gender and sex sociologists use
different pronouns; when discussing gender, sociologists use the terms man/woman and when
discussing sex sociologists will use the terms male/female (Crossman, 2016). Although most people
fall into wither the category of male or female, some people are born with 'sex organs' that do not
clearly fit into either of the two specific sex categories, these people are known as intersex (Ashley
Crossman, 2016). Gender is described as a social classification based on one's identity and how one
presents themselves to the world; this identity relates to the way one behaves and interacts within
society. Many sociologists view gender as a learned behaviour and look at gendered identities as
being culturally produced which makes gendered identities socially constructed (Crossman,

How Is Gender Performed A Heterosexual, Homosocial Female...
How is gender performed in a heterosexual, homosocial female home?
"Woman is shut up in a kitchen or in a boudoir, and astonishment is expressed that her horizon is
limited. Her wings are clipped, and it is found deplorable that she cannot fly. Let but the future be
opened to her, and she will no longer be compelled to linger in the present."
Simone de Beauvoir – The Second Sex.
2) Introduction 200 – 250 words
Male perspectives write women out of public space and into private space in a very distinct way,
evidenced historically in Jean–Jacques Rousseau's Émile, in which biological determinism is used to
legitimise the gendered construction of the family. Judith Butler's perspective on the construction of
gender through performativity has ... Show more content on Helpwriting.net ...
how then does the performance of gender become visible in the home of two heterosexual women?
Argue that in the absence of a male the female identity becomes more fluid and neutral, due to the
removal of a binary counterpoint. The main argument of this work can also be seen as a
contemporary reworking of the idea that it is suffocating for a woman to be restricted to narrow
gender roles, as outlined in A Room of One's own (Woolf) and The Second Sex (de Beauvoir) and
that removal from these historically constructed roles can be evidenced in the home. The
demonstration of identity is more in tune with individual personality and less related to historical
domestic roles of wife and mother.
3) Methodology. 300 – 400 words
The evidence for this qualitative research is compiled in part from empirical study, whilst also
including auto–ethnographic elements. Existing research around the topic of the home focuses
domestic space in terms of gender as either oppressive or a source of liberation through ownership
by articulation of the self through material culture and domestic routines. However this work pays
attention to heterosexual relationships in terms of the family, with homosexual relationships (family
or not) given as a further site of resistance to gender norms.
There is an opportunity to address homosocial relationships as a further site of complexity in
relation to gender norms – in terms of how identity is performed in the home. To discuss
heterosexual

Butler's Writings In The Classroom, By Judith Butler
Anyone who has ever attempted to read any literature written by gender theorist, Judith Butler,
knows how much of a struggle it is to decode her main points. Even after taking three gender studies
courses, reading multiple articles, and analyzing portions from her books, I still have a difficult time
comprehending just exactly what Judith Butler is stating. One cannot simply read her writing once
and expect fully understand her points. If you say can, then you are lying. I would describe Butler's
writing style as elegantly confusing. Her vast vocabulary and placement of words is so exquisite,
that her message seems to dissipate. The trick to understanding Butler (at least the trick that has
somewhat worked for me) is reading through her writings repeatedly and intensely examining every
single word she wrote. In this essay, I reflect on Judith Butler's writings and express how I
understand those writings in relation to my own life experiences. Our we assigned our gender at
birth, or do we perform one based on the values that we have learned? Butler explores this question
in her article, Critically Queer. According to Butler, gender is not based off of our biological sex at
all; rather gender is performative (Pg. 21, Par. 4, 1993). This is one of Butler's theories that always
seems to find its way into Gender Studies courses and confuses the heck out of me; because there is
a difference between gender being performed and gender being performative. Saying gender is a

Summary Of Gender Is Burning By Judith Butler
Judith Butler is an American post–structuralist philosopher and critical theorist. Her area of
expertise is gender theory. She is most well known for her theory of gender performativity which
states that gender is a social construct which is performative in nature. In simple terms what this
means is that gender is not a quality that people have, but a pattern of behavior that people perform.
The performance of gender, Butler contends, creates and reinforces societal gender norms which are
perceived as "natural" and "normal" but are actually a set of learned behaviors which are fluid and
constantly changing. She first expressed this theory in her book Gender Trouble. Originally
presented as a critique of feminism challenging what she saw as ... Show more content on
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Butler herself wrote about the film in her response to critics of her work. In her essay "Gender is
Burning: Questions of Appropriation and Subversion" she tells those who question her ideas about
the utility of drag to subvert gender that "there is no necessary relation between drag and subversion
and that drag may well be used in the service of both the denaturalization and the reidealization of
hyperbolic heterosexual gender norms" (Butler 384). Gay men (or anyone) who dresses in drag
might, by aggressively portraying stereotypical over–the–top depictions of gender performance,
serve to reify the conception of gender they seek to subvert both by reaffirming those stereotypical
beliefs and also by allowing their performance to make clear that drag is an imitation, without
indicating that gender itself is an imitation. In Gender Trouble Butler writes that all gender is
performance. As drag is a form of gender performance it could be said that all gender is drag. But if
the former idea is extended to the latter, Butler clarifies that "to claim that all gender ... is drag is to
suggest that 'imitation' is at the heart of the heterosexual project and its binarisms" (Butler

##thhnomethodology Of Gender Masculinity And The Role Of...
performativity. As Butler describes "The term "relationality" sutures the rupture in the relation we
seek to describe, a rupture that is constitutive of identity itself" (Butler 2004, 19). In order for a man
to perform his masculinity, it is easier when they are compared to a feminine woman. The
performance of masculinity or femininity will escalate once these two genders are set side by side,
"... power has certain broad historical characteristics, and that it operates on gender as well as on
other kinds of social and cultural norms, then it seems that gender is but the instance of a larger
regulatory operation of power" (Butler 2003, 41). Masculinity performed by men comes across as a
powerful characteristic in a relationship. Through history till now men play and perform the role of
the leader in the household for instance, being seen as the man of the house. In most households, the
man has the most control over trivial yet symbolically important things such as the upper hand over
the remote, sitting at the head of the table and providing the family with the essentials.
Chris Brickell discusses the ethnomethodology of gender performativity and how Harold Garfinkel
analysed his understanding. The basic idea of a stereotypical woman would be that she would cook,
clean and look after the children while the man would work hard, provide for the family and come
home to rest after a hard day of work. Brickell describes, "This "natural attitude" requires one to be
either a male

The Fact Of Blackness By Frantz Fanon
Frantz Fanon's "The Fact of Blackness," a chapter from Black Skin, White Masks describes the
anxiety felt while held in the gaze of the colonizer. A reading of Judith Butler's Gender Trouble in
conjunction with Fanon's work raises questions and possible strategies on how to reject
neocolonialism and contemporary white supremacy. Fanon's idea of blackness is performative but
not for the gain of the black man, rather for the white man. Butler suggests that regaining control of
the black man's fate comes from interpellation, the act, of interrupting the white man's claims or
ideas, or rather their misconceptions of the black man. A way of disregarding the white man's claims
is a form of rejecting that normativity, similar to Butler's analysis of drag where one rejects
normativity altogether. The black man's lack of interpellation enhances the white man's
performativity furthering white supremacy; a way of rejecting neocolonialism that disregards
societal norms.
"Performative utterances do not describe but perform the action they designate" (Culler 96), and the
repetitive assertions from the white man placed upon the black man results in him being inferior.
The white man's performativity about Butler's idea of gender trouble, that gender, sexuality and
biological makeup are not correlated. It also refers to oppressions of genders that do not fit the norm
of society. For Butler gender acts "as a strategy for survival within compulsory systems, gender is
performative with

Butler's Conception Of Drag
Upon its release in 1990, Jennie Livingstone's documentary 'Paris is Burning' elicited both accolades
and criticism from a number of renowned gender theorists. Notably among them, philosopher Judith
Butler and social activist bell hooks take oppositional stances on the film, with the former writing in
favour of the documentary, and the latter strongly criticizing it. In my discussion of these two
theorists' positions, I will focus exclusively on how each individual conceives of the performance of
drag and how it was portrayed in the film. In regards to this issue, I am in concurrence with Judith
Butler's conception of drag, as I find hooks' argument to be overly simplistic and reductive. On the
subject of drag as portrayed in 'Paris is Burning' bell hooks and Judith Butler have divergent
opinions. Operating at the nexus of gender and race, bell hooks argues that drag, in general, has been
used historically as a way for straight black men to gain power in the white supremacist, capitalist
patriarchy by oppressing and ridiculing black women. She extends this argument by evoking the
writings of Marilyn Frye ... Show more content on Helpwriting.net ...
In the context of the documentary 'Paris is Burning', hooks argues that not only is the drag portrayed
fundamentally misogynistic but it is also personified by whiteness, that the film reveals "black
men['s] obsession with an

Gender And Formativity In Disney's Mulan
Judith Butler is a famous American academic who is famous for her theories of the performative
nature of gender and sex, who firmly believes that gender is socially constructed rather than being
innate. One of her most popular beliefs was that there is no 'proper' gender, and that gender is a
'doing', but not a 'doing' by the individual. Gender performativity is not a singular act, but actually a
set of repetitions and recitations; through gestures, a way of dressing, and a way of speaking; that
become ritualized where the effects observed by others make the gender appear natural. Butler takes
a stance on believing that gender is socially constructed and that society influences expectations and
characteristics of being a 'man' or a 'woman', ... Show more content on Helpwriting.net ...
In the film, Mulan is seen as a female who is expected to have a feminine effect by appearing clean,
beautiful with makeup, in traditional female dress wear, and by pouring tea extremely well for
males. Mulan does a poor job with female performativity, and finds it much more interesting to join
the military. At that point in history, only males were allowed to join the military, therefore she
switched gender performativity to appear male and join. She is taught how to spit, walk, and act
tough, which males do to make them 'manly'. The song 'I'll make a man out of you' plays in these
scenes and reinforces how men should appear, what acts they should do and repeat so they reaffirm
to the world that they are a man. By repeatedly practicing acts of males, Mulan becomes successful
in actually portraying a man by gaining the ability to fight and fit in with the other men by using a
deep voice and acting aggressive, without them knowing she is of the female sex. This film
therefore highlights the idea that gender is not an inherent set of traits, but rather is displayed
through a set of acts that are all related to one another. The film reinforces Butler's idea that gender
is only a bodily portrayal because it shows that the gender of male and female can be learned and
outwardly portrayed through acts. Mulan shows that genders are not static behaviour, but are
societally defined and can be

Conflict In The Eudoxia Vatatze
Chapter Two The Eudoxia Vatatzes Affair
I would like to think myself morally justified in being true to what I am–if I knew what that is. I
must discover.
...
Whether the stranger, a naked one at that, was a man or a woman, Monsieur Pelletier could not be
sure...
–– Patrick White, The Twyborn Affair
...a naturalistic paradigm which establishes a causal continuity among sex, gender, and desire...an
authentic–expressive paradigm in which some true self is said to be revealed simultaneously or
successively in sex, gender, and desire...
–– Judith Butler, Gender Trouble
I. Drag: From Eddie to Eudoxia
In the first part of the novel, Eddie appears in the identity of Eudoxia Vatatzes, living in France with
her aged Greek husband Angelos Vatatzes. White doesn't ... Show more content on Helpwriting.net
...
"This conception of gender presupposes not only a causal relation among sex, gender, and desire,
but suggests as well that desire reflects or expresses gender and that gender reflects or expresses
desire" (Butler 30). That is to say, if one is an anatomical female, then she must reveal the female
characteristics widely recognized in the society, like the feminine behavior, dress and makeup, and
the one she loves must be the opposite sex, an anatomical male. This continuum is socially accepted
and regarded as reasonable and stable, which can be deduced from one part to another. So after
Eddie expresses convincing female characteristics by drag, people take it for granted that Eudoxia is
an anatomical female, and Eudoxia and Angelos is a normal couple. In this way, Eddie seems to
successfully solve his identity problem; resorting to the Eudoxia identity, Eddie not only finds an
apparent complete self, but also gets a satisfying relation: Eudoxia thinks that she and Angelos
"have been made for each other, that our minds as well as our bodies fit, every bump to every
cranny, and quirk to quirk"

Gender Performativity In The Wonder Woman Series
This dissertation aims to examine gender performativity in the Wonder Woman series as it
influenced by factors within the cultural field of comics. In order to fully comprehend, the factors at
hand in this examination, foundation must be laid on what a cultural field is and how the comic
industry is a cultural field.
The concept of field within sociology was developed by French sociologist Pierre Bourdieu.
Bourdieu defines what exactly a field as "a field of forces within which agents occupy positions that
statistically determine the positions they take with respect to the field, these determine the positions
that they take with respect to the field, these position–takings being aimed either at conserving or
transforming the structure of relations of force that is constitutive of the field." In other words, fields
are social systems which individuals and other parties share interests, concerns and characteristics.
Those who participate within the field agree and adhere on rules conventions that govern the field.
Within these fields, products are produced and are defined not by the individual creator, but by the
actors within that field from professionals to members of the field audience. This inclusion of
audience is crucial to this dissertation as it is the call of hysteria parents and the rise of social
conservative politics that led to a subcommittee hearing on the contents of comics and whether or
not they had a lasting negative influence on children in the United

Gender Stereotypes And Norms In Mulan
A different approach can be used to analyze the gender stereotypes and norms in Mulan. Queer
theory's concept of gender performativity can be used to analyze the drag components of the film.
Gender performativity argues that gender characteristics and roles are society constructed. These
gender traits, other than physical traits, are not born with us but are imposed on people through the
norms of society, or in this analysis through media. Mulan shows gender performance through the
movie since Mulan the main character dressed as a man throughout the whole story. Being born a
woman, Mulan however is not able to perform 'girl' tasks properly. Through the song "You'll Bring
Honour to Us All" (Mulan 1998) the film shows Mulan getting ready and

The Myth Of Heterosexual Nudity
Butler puts focus on the myth of heterosexual integrity and breaks with the traditional concept of
sexuality within society (Salih 93). According to the myth of heterosexual integrity, people are born
with a biological sex which automatically constitutes their gender (Loidolt) . Furthermore, it is
natural that the object of desire is the opposite sex. The famous feminist denies this view and argues
that we are not born with a certain gender, but it is socially constructed by society and especially
through media and cultural practices (Salih 91). Hence, the role of men and women in society is not
predetermined but their behavior is made up and intensified by society. Butler defines gender as "the
repeated stylization of the body, a set of

Lady Macbeth, By William Shakespeare Essay
The obvious reading of this passage would be of Lady Macbeth as domineering and manipulative in
pursuit of her own goals. But that reading discounts the loyalty and dedication she has shown to
Macbeth and his success. By encouraging violence through questioning his manhood, masculinity
and violence become inextricably linked. This connection essentially defines masculinity as
violence within the world of Macbeth. The relationship between power, violence, and masculinity
alienate women and power and supports the problematic construction of gender. This is problematic
in the world of Macbeth and in society today because it glorifies violence and forbids women from
having power.
Because Lady Macbeth is attempting to be neither male nor female, her relationship to violence and
power is indirect. Rather than committing the violent act like a man would, Lady Macbeth conspires
and manipulates to ensure the completion of these acts. When waiting for Macbeth to return from
killing Duncan, Lady Macbeth says, "Had he not resembled / My father as he slept, I had done't"
(2.2.12–13). If Lady Macbeth was attempting to become male and she sees Duncan as father–like,
she would have a father–son relationship with him. In the hyper–masculine society, the way you
take power is by killing your father. Even when a son waits for his father to die, "succession is
unconsciously always a matter of assassination insofar as it fulfills the successor's wish to succeed"
(Hunter 139). By not killing

The Homosexual Villain In The Talented Mr. Ripley
The trope of the homosexual villain has been well documented throughout film and literary history,
and although this trope seems to be technically applicable to the murderous, sexually ambiguous
protagonist of The Talented Mr. Ripley, it is not: Tom Ripley is a more nuanced character. The
release of the film adaptation of The Talented Mr. Ripley began a queer academic discourse
surrounding the work that was not around during the book's original publication. Yet, the outrage in
response to works that demonize gay characters and portray them as deranged killers was not
projected at The Talented Mr. Ripley. In fact, many LGBT advocacy groups praised the work,
perhaps because author Patricia Highsmith was a lesbian, perhaps because Tom is the protagonist,
perhaps because his killings are the ... Show more content on Helpwriting.net ...
Crimes of passion are prevalent in society, and largely understandable, yet the reader was often left
wondering if Tom Ripley felt any passion toward anything. Although Tom Ripley is hugely flawed,
his sexuality is not one of those flaws, and, arguably, not the cause of his other flaws–it is society's
reaction to his sexuality. Tom's murder victims are victims of society's "own dirty mind."
The trope of the homosexual villain began amid discussions of eugenics in the late nineteenth
century. Homosexuals, a word newly created, were now seen as enemies of the state and future
populations; their behavior was criminal, and considered evil, so this was represented in works at
the time, continuing to this day. However, the first documented instance of the gay villain was
authored by gay men; although being a villain is not a good thing, this subverted the idea being gay
is something to be ashamed of, and gave the gay character a form of power. To be the villain, not the
victim, offered strength that gay men were not accustomed to possessing. Tom Ripley was haunted
throughout

Women, Power, And Time Essay
Trijae Johnson
Eng 190
Glassmeyer
11/20/16
Women, Power, & Time The University of Minnesota's Gender, Women & Sexuality Studies moodle
explains "gender is the social status assigned to men and women. Gender is a set of practices,
behaviors, and expectations we have of men and women which are not 'natural' but socially
constructed." From young ages, little boys are told to be a man, be strong and, be confident. They
learn to act like men and lead both other men and women. While on the other hand little girls are
taught to act like, "girls". Acting outside of what a "girl" should, we often consider breaking the
gender expectations. Throughout this course a huge component for me was how women act and how
they are expected, and how far these rules bend and through the books Jane Eyre, Their Eyes Were
Watching God, and the short story, The Yellow Wallpaper I found that this comparison is continuous
and these same expectations are still applied to women today. For its usage in literature to everyday
life, these concepts actually do affect women as they try to break the boundaries of these concepts
that they are more than often criticized for. As an undecided communications major, I'm able to look
at these concepts and how the affect women in positions seeking power and involving speaking. Do
the opposite of what these concepts say they should.
In Charlotte Perkins Gilman 's, The Yellow Wallpaper, she illustrates the role of a man and his

Gender And Sexuality Chapter 2 Essay
1. How do these videos help illustrate the difference between sex, gender, and sexuality? How do
they illustrate the complex way people come to understand and experience their genders? Do you
hear them say anything that touches on theories of gender development from Chapter 2? Give
examples from the videos to support your answer.
From the videos that I watched, the definition for sex, gender, and sexuality has been explained
plainly compared to the book where it delved deeper. According to Scott Turner Schofield those
three terms aren't all the same. However, our society uses them interchangeably.
Sex is the biological speaking like having specific chromosomes while gender is about identity.
Sexuality, on the other hand, is like gender, it is fluid. It's about romantic and sexual ... Show more
Per example, we expect blue to a boy's color. We expect them to only play soldier toys, or killing
zombies or shooting stuffs in a video game. We expect men not to cry, to be masculine while we
expect girls to like pink and laces. We expect women to be irrational, nurturing, and docile. Those
expectations constrain us. It teaches young children that they only have one role.
Gender performativity like stereotyping seems so harmless, but the impact they create harbors
violence. It contributes to bullying, conversion camp, discrimination in work place, and other cases
of violence against LGBTQ community. In Rocero's video, she explained how transgender
community have higher suicide rate than any other population, gender performativity is one of the
main factors why a lot of transgender feel that they don't have safe environment. If we would follow
Butler's advice about disrupting the gender norms, this world would be an ideal place to raise
children.
4. Is there anything interesting or surprising that jumps out at you or challenges you in these videos?

What Is The Portrayal Of Gender In The Wonder Woman Series?
The heart of this dissertation lays in the examination of the portrayal of gender within the Wonder
Woman series. In order to comprehend the argument, context and explanation of relevant gender
sociological study is needed.
The assertion that gender is a social construct has long been held by sociologists. Gender does not
refer to the physical reproduction attributes of a person that classes them as male or female, but
rather by societal, cultural and political views created by society. The most common classifications
used to describe gender as masculine and feminine, however those categories aren't necessarily
binary, but are considered by some sociologists like Judith Butler to be fluid.
Judith Butler is a well–regarded social theorist who is known for her gender social construction
research and theories. Her most well–known works are Gender Trouble: Feminism and the
Subversion of Identity (1990) and Bodies that Matter (1993). Both books brush upon her concept of
gender performativity.
In the words of Butler in Gender Trouble, gender is "the repeated stylized of the body, a set of
repeated acts within a highly regulatory frame that congeal over time to produce the appearance of
substance." In other words, gender identity is not something that is innate and internal but formed
through continuous actions in accordance with social and cultural norms that reifies the ideas of
"masculinity" and "femininity" as correlated with biological sex and making such binary concepts

The Eyes And The Gaze Of The Male Psyche
The word Gaze can be defined as:" to look steadily and intently, as with great curiosity, interest,
pleasure, or wonder." When using this definition in a theatrical sense it is imperative to determine
who is the one gazing and who is being gazed at. In the instance of David Bowie and Enter Achilles
the gaze and subsequent objectification varies due to the performers wished effect. For instance they
each use techniques to garner their desired gaze from the audience through the use of clothing and
semiotics. Both examples have interesting undertones of sexuality in relation to their objectification
from the audience members. Stereotypically, the male gaze has connotations of men staring and
objectifying women but the two examples create a way for themselves to be gazed upon as opposed
to being the one who gazes. After premiering in 1995 DV8's performance of Enter Achilles was
proclaimed "A funny, cruel exploration of the male psyche" (DV8 website). This performance aims
to challenge the stereotypical characteristics of what it takes to be an alpha male set against the
backdrop of the 90s 'lad culture'. The performance creates a sense of power that males possess
before pushing this to the point of parody, thus, exposing the male weakness. This is shown through
the pack mentality that many of the male characters have. Throughout the performance it is rare to
see a male character who is on their own for a length of time. DV8 show this mentality through
strength in numbers that

Ainsley Gender
Ainsley Tewce is Marian's chaotic and seemingly unconventional roommate, in fact she is different
from Marian for the reason that she does not concerned about societal expectations. In The Edible
Woman one of the most apparent instances of gender performance take place early in the novel once
Ainsley, decides to dress and act as an ultra–feminine young woman. With her bedroom full of
anthropology books, Ainsley as well as enjoys reading about Behaviorism and Psychoanalysis. The
key scene occurs when Marian and her boyfriend (and soon–to–be–fiancé) Peter are dining in a
restaurant with Marian's college friend Len. Once Ainsley overheard Marian and Peter's
conversation about Len, she decided to invite herself to their dinner and surprise them ... Show more
Due to Marian's attitude, the reader understands Ainsley's actions as a performance and a
construction. Considering Ainsley to be authentically feminine, Len is attracted to her. Atwood
through Ainsley illustrates how easily gender can be performed to look "real," which in effect
demonstrates its constructedness, as there is no such thing as "real" gender. Atwood besides shows
the different ways gender can be interpreted–Marian calls Ainsley's performance a "fraud," whereas
Peter is amused but suspicious, and Len is absolutely occupied by her assumed authenticity.
Although Butler highlights the fact that gender is performative, nevertheless, she does not mean to
say that a subject is able to take on gender. The essential part of Butler's theory is that performativity
exists "within a highly rigid regulatory frame"–meaning that it is the expectations and assumptions
of discourse that enable gender's performativity, not subjects themselves (Gender 43–44). Ainsley
does not consciously choose her gender Instead, Ainsley is responding through performance to the
patriarchal expectations that inform this regulatory frame–she dresses as a young and inexperienced
girl not only because she chooses to, but also the regulatory expectations demand this type of
performance from her specially, Len (Fleitz

Soft Masculinity Ideas
The term "soft masculinity" is used by Jung to describe a non–national, hybrid constructed image of
men that combines the traditional image of a seonbi masculine male, with the cuteness of Japanese
kawaii masculinity, and a "global metrosexual" masculinity. This, she says, is characterized by three
performative elements. The first element being, "tender charisma," which Jung considers to be a
masculine "third space," in which the man can be simultaneously gentle and strong. This idea is
connected to seonbi masculinity where it is the Confucian idea of a man with "a tender exterior and
a strong inner will." The second element to Jung's masculinity idea is that of purity and innocence,
while the third is politeness. This form of soft masculinity has translated into the kkonminam (a
word that is a combination between the words for flower and "beautiful man") pretty boy
phenomenon in South Korea, which ... Show more content on Helpwriting.net ...
Its music video demonstrates some of the kinds of hybrid masculinities that Sun Jung points to. The
song touches on the topic of a man's inability to get out of a toxic relationship with a femme fatale
figure. In terms of their clothes, the dance sections feature leather vests and heavy, strong clothing.
In the narrative sections, they all wear simple black suits, which signals could be described as a
"cool," non–descript image of global masculinity. In the dance sections, the wardrobe speaks of
toughness and grittiness. Indeed, their robust, purposeful dance moves signal a certain sense of
power and authoritativeness that is in line with 2PM's jimseungdol image. This power is reflected in
the narrative section where the male figure in the music video, voyeuristically watches the girl
without her knowledge. The dance ends with their faces in their hands. Here is the soft masculinity
that Sun Jung points to––the simultaneity of femininity and

Reflective Assessment : Being That I Am A Sociology Major
Giselle Rivas
Professor Casey
SO6020
4, January 2016
Reflective Assessment #1
Being that I am a Sociology major, I am learning to understand both broad and narrow social
phenomena, concerns and problems in our society. One of the many social phenomena's I have been
interested in during my time at Kingston University is discussing sex and gender because gender is
relational; it concerns both women and men. Primarily, I will discuss Judith Butlers 'performativity'
and explain how females and males gendered roles are performed naturally. Furthermore, Simone de
Beauvoir's novel, The Second Sex hugely became an influential book, which involves sexuality,
family, workplace, and reproductive rights and she distinguishes sex and gender and states ... Show
more content on Helpwriting.net ...
'Doing gender' is something that concerns both men and women and it's different depending on
when and where you live. After making transgendered friends and taking sociology courses I have
learned that sex is what you're born with and gender is one's innate sense of self. This makes sense
because trans means "on the other side of," which means someone whose gender is different from
their assigned sex, and this is significant because gender isn't connected to one's physical anatomy
(Butler, 1988:519).
Gender is not simply what a person is but it's something that a person does. It's having an interaction
with others; it's a product of social interaction. Judith Butler mentions that gender is like a social
ritual. Gender requires a performance that is repeated which in doing so establishes a public action
that creates a stable identity from acts that are done publicly (Butler, 1990). In Judith Butlers,
Gender Trouble (1990), she states, "The effect of gender is produced through the stylization of the
body and, hence must be understood as the mundane way in which bodily gestures, movements, and
styles of various kinds constitute the illusion of an abiding gendered self (Butler, 1990)." Gender is
expressed in many ways: through our clothing, our speech, activities, hobbies, and our behaviors.
Significantly, if gender were announced through acts that are internally irregular, then that would
mean the appearance would be a constructed

The Key Themes Of Gender Trouble By Judith Butler
Since its publication in 1990, Gender Trouble has become one of the key works of contemporary
feminist theory, and an essential work for anyone interested in the study of gender, queer theory, or
the politics of sexuality in culture. This is the text where Judith Butler began to advance the ideas
that would go on to take life as "performativity theory," as well as some of the first articulations of
the possibility for subversive gender practices, and she writes in her preface to the 10th anniversary
edition released in 1999 that one point of Gender Trouble was "not to prescribe a new gendered way
of life [...] but to open up the field of possibility for gender [...]" Widely taught, and widely debated,
Gender Trouble continues to offer a powerful ... Show more content on Helpwriting.net ...
Gender performativity is related to performance and shares elements with it, but it has no subject.
She explains, "The action of gender requires a performance that is repeated. This repetition is at
once a reenactment and reexperiencing of a set of meanings already socially established" (178).
Performativity creates a fictional reality in which gender and its roles are determined according to a
men/women binary distinction. According to her, the category of Women from which the feminist
struggle arises is different from this political, hierarchical myth based on

Drag Culture Analysis
Gillian, Elizabeth, and I explored Drag Queen culture through the lens of the performativity and
liminality ritual theories. Our proposal called for the analyzation of video clips of drag shows found
in the media in order to apply our understanding of liminality and performativity occurring in drag
performances. We originally planned to include annotations and a voiceover in the video clips to
explain each step of the ritual taking place, however we decided that brief descriptions of the
situations would be easier to follow for a viewer. We opted to use a PowerPoint presentation to
make the presentation more organized, which we should have included in our original proposal. In
conclusion, I feel that our project stayed true to examining performativity and liminality in drag
culture, albeit changes in the delivery of the presentation were made to convey our ... Show more
Previously I had little to no understanding of drag culture, in honesty the concept of drag was
daunting to me because I didn't understand why people did it. The application of performativity to
drag culture helped me to understand the reasons people participated in drag performances. I learned
that performativity in drag is not simply pretending to be another gender, it is the de–naturalization
of certain mannerisms associated with femininity and masculinity contingent on biological sex.
People performing in drag shows do not necessarily want to become another gender, it is the idea of
destabilizing the heteronormativity of males being associated to masculinity and females to
femininity that our society is so accustom to. I truly believe that applying both performativity and
liminality to a real life situation in this project helped me to improve my understanding of what the
theories mean in the world, rather than just on

Analysis Of Judith Butler's 'Performance Acts And Gender...
Judith Butler's article on "Performance Acts and Gender Constitution: An Essay in Phenomenology
and Feminist Theory," denotes that gender identity represents a performative accomplishment
induced by social taboo and sanction (Butler 520). Even though Butler's theory on gender
performativity has played an influential role in cultural studies and feminist theory, certain areas of
philosophy provide significant insight into critical social theory. From the perspective of critical
legal thinkers, Butler's idea of performativity is linked with her views on gender and plays an
important role in legality as well as politics. Critical theory in gender performativity presents a
social theory to critique and change the society as opposed to the traditional theory. Similarly,
critical theory has the objective to explore beyond the surface of social life to unveil the assumptions
that limit a proper understanding of how the world functions. The concept of gender performativity
instigated by Butler's book, Gender Trouble, starts by reflecting on the female identity (Fagot 3). In
other words, Butler criticizes the critical approaches to feminism that influence the idea of identity
politics and the notion of female identity. Similarly, the various approaches seem to ignore the idea
that all the various identities come from the effects of repressive regimes and authority as well as the
issues raised by the feminists. The concept of gender performativity has a social and cultural
obligation

Gender Performativity In The Wonder Woman Series
With the implementation of the Comics Code Authority and its domination of the comic field,
Marston's creation that subverted gender norms had become problematic. The Code called for
comics to conform to the social conservative ideals currently held in society and the original Wonder
Woman flew in the face of that. Though Marston's widow begged DC Comics to be given the reins
of the Wonder Woman series after Marston's death, the company handed over control of the series to
Robert Kanigher, who they knew would conform and adhere to the regulation of the Comics Code
Authority. The Code called for an emphasis on "the value of the home and the sanctity of marriage"
and Kanigher absolved to honour and submit to the symbolic power of the Code. All gender
subversion was wiped out of the series. Wonder Woman conformed and under Kanigher's run,
feminine gender performativity became evident. Lepore best describes it: "In the 1950s, Wonder
Woman followed the hundreds of thousands of American women who had worked during the war
only to be told, when peace came, that not only was their labour no longer needed, but it threatened
the stability of the nation by undermining." The following sections will examine how Butler's
concept of gender performativity was present in Wonder Woman series under the height of the
Comics Code Authority's power in the comic field.
Before we discussed the data collected from examination of the gendering within the Wonder
Woman series in the height of the

Ucsb's Westmore: Making Faces For Film
The early 1970's was marked with fervent political activists and the commercialized introduction of
TV sets in middle–class homes, catalyzing a shift in politics, power, and media. Consequently, films
such as Rocky and Breakfast at Tiffany's began to emulate and reproduce the idea of docile women
and macho men through repetitive socialization. Within UCSB's art exhibit, Westmore: Making
Faces for Film, the artifacts center on the well–renowned Westmore family during the 60's and 70's
and their accomplishments in prosthetics and beauty makeup during the "American New Wave."
Aside from the representation of the overtly feminine Audrey Hepburn and the masculine
heterosexual identity of Sylvester Stallone, there is a blatant misrepresentation of ... Show more
Introducing an actual portrait of the five white Westmore men (Fig. 4) alongside prominent Civil
Rights activists would effectively showcase the heterosexual framework the Westmore's makeup art
relies on. Tyburczy explains the motive of queer curatorship as a mode of revealing the "ways in
which objects and bodies are made to relate to one another in space," suggesting that the corporeal
elements can easily be influenced through unconventional means (Tyburczy 199). The literal
"queering" of the space and the introduction of underrepresented LGBT media unravels the social
fabric and overlapping histories of the late 60's and 70's. Within the repetitive boundaries that
Westmore and the curator implicitly enforced now become reversed with subjects that disrupt the
rigid sexual identities of Hepburn and Stallone. Similarly, the physical "queering" of the space
showcases media that interrupts the normal flow of familiar arrangements. Placing a circular display
in the middle of underrepresented communities would inevitably force bodies to walk around the
entire display and confront the discrepancy of representation in 60's media. Accordingly, the
placement of TV screens showing queer people of color constructs a new framework that ignores
hegemonic rules set by mainstream media. Overall,

Hedwig And The Angry Inch : A Closer Look At The Gender...
Performativity and Gender in Hedwig and the Angry Inch
A closer look at the gender performance of Yitzhak in connection with Hedwig.
INTRODUCTION
One of the main struggles in the film Hedwig and the Angry Inch (John Cameron Mitchell, 2001) is
the question of gender and identity, a problem that is constantly addressed by the film's main
character Hedwig. However, other characters question this as well, for example Yitzhak, Hedwig's
husband and bandmate. Portrayed by female actor Miriam Shor, Yitzhak displays male behavior
throughout most of the movie, setting a counter–pole to Hedwig's persona, especially since both
characters struggle with the same issues. At the same time, Yitzhak helps to integrate Hedwig into a
spectrum of gendered behavior and makes the audience think about and question gender, which
would possibly not have been achieved if Yitzhak had been played by a male actor.
I. GENDER AND PERFORMATIVITY
According to Judith Butler, gender is not biologically rooted but socially constructed. Gender is "a
stylized repetition of acts [...] which are internally discontinuous [so that] the appearance of
substance is precisely that, a constructed identity, a performative accomplishment which the
mundane social audience, including the actors themselves, come to believe and to perform in the
mode of belief" (Butler 140–141). Gender is something learned from social surroundings, it is an
imitation of the dominant conventions of gender.
Drag comes into this theory as an

Judith Butler And Gender Roles

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