Relevant bibliographies by topics / Butler's notion of performativity

Academic literature on the topic 'Butler's notion of performativity'

Author: Grafiati
Published: 10 December 2022
Last updated: 19 February 2023

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Journal articles on the topic "Butler's notion of performativity"

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Sullivan, Shannon. "Reconfiguring Gender with John Dewey: Habit, Bodies, and Cultural Change." Hypatia 15, no. 1 (2000): 23–42. http://dx.doi.org/10.1111/j.1527-2001.2000.tb01078.x.

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This paper demonstrates how John Dewey's notion of habit can help us understand gender as a constitutive structure of bodily existence. Bringing Dewey's pragmatism in conjunction with Judith Butler's concept of performativity, 1 provide an account of how rigid binary configurations of gender might be transformed at the level of both individual habit and cultural construct.
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Jarin, Tasnim, and Aftab Ur Rahaman Zahin. "Inter-Caste Gender Performativity in Indian Hindu Culture: A Postcolonial Gender Study in Mulk Raj Anan’s “Untouchable” and Arundhati Roy’s “The God of Small Things”." OPSearch: American Journal of Open Research 1, no. 3 (December 20, 2022): 116–24. http://dx.doi.org/10.58811/opsearch.v1i3.37.

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This paper attempts to evaluate the inter-caste gender performativity in Indian Hindu Culture through Judith Butler's ‘gender performativity’ by analyzing the texts, Mulk Raj Anand’s Untouchable and Arundhati Roy’s The God of Small Things. In Indian Hindu culture, inter-caste relationship is dogmatically and traditionally antagonistic whereas some autobiographical documents kept evidences of consensual and ‘non-theatrical inter-caste relationship’ which crosses the margin of untouchability. Women, the gender subalterns in inter-caste consensual relationship, never possess the certainty of their caste. They never inherently belong to any caste of them, rather, they are traditionally found to be tagged off the caste of the men whoever touched them. The non-consensual inter-caste relationship are always oppressive and non-theatrical keeping women silent by the forceful touch of upper caste men but such relationship does not determine or modify women’s rank. It’s a double standard and both contexts are dominated by upper castes. The non-theatrical context subverts the upper caste notion of the belief in after life punishment of inter-caste touch and the elitist discourse of ‘impurity’. Such relationship proves that the theatrical notion is nothing but a bourgeois-political weapon of the upper caste to oppress the lowers. It is a qualitative research which has been done by closed textual reading method. This paper explores how both the writers are affected by inter-caste gender performativity in Indian Hindu culture and analyses the gender performativity of Hindu castes from four separate contexts: theatrical nontheatrical, public and private spheres. The research proves that both the writers are separately affected by socially prescribed gender performativity having distinctive stand points; and the Indian Hindu castes have conditional gender performativity in both theatrical and nontheatrical contexts.
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Nijhawan, Amita. "Performativity and Nomadic Subjectivity in Shobana Jeyasingh's TooMortal." New Theatre Quarterly 33, no. 1 (January 10, 2017): 22–30. http://dx.doi.org/10.1017/s0266464x16000609.

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In Shobana Jeyasingh's TooMortal, a contemporary dance piece made for historic churches in Britain and Europe, six dancers enact rituals of life's journey. They use the pews as coffins and cradles and in doing so they interact with the architecture and rituals of the church space in new and disruptive ways. In this article Amita Nijhawan utilizes Judith Butler's notion of performativity and Rosi Braidotti's concept of nomadic subjectivity to suggest that through these encounters the dancers construct the church as a space where women can find power, refuge, agency, and perhaps sensuality. The dancers start by engaging with church rituals and imperfectly reiterating them in such a way that the performance takes on a performative function. The dancers’ bodies show the potential for dancing female bodies to disrupt patriarchal spaces and, therefore, the normative social order. Amita Nijhawan is a Teaching Fellow in Dance at the University of Surrey. Among others she has published in Media/Culture Journal, South Asian Popular Culture, and PAJ. She is a kathak and yoga practitioner, and a creative writer.
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Powell, Jason L. "Subjection, Social Work and Social Theory." International Letters of Social and Humanistic Sciences 21 (February 2014): 107–20. http://dx.doi.org/10.18052/www.scipress.com/ilshs.21.107.

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Reflecting on Judith Butler’s conception of ‘performativity’, this paper argues that the notion has important implications for contemporary debates over agency, subjection and ‘resistance’ in social work. Using, wider social theory drawn from post-structuralist Butler, makes sense of complex professional-service user relations. The article explores the possibilities and problems for resisting dominant power relationships in micro and meso settings.
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Jaworski, Katrina. "Suicide and gender: Reading suicide through butler's notion of performativity1." Journal of Australian Studies 27, no. 76 (January 2003): 137–46. http://dx.doi.org/10.1080/14443050309387832.

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Duarte, André De Macedo. "DIREITO A TER DIREITOS COMO PERFOMATIVIDADE POLÍTICA: reler Arendt com Butler." Caderno CRH 33 (December 18, 2020): 020014. http://dx.doi.org/10.9771/ccrh.v33i0.35322.

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<p><span>Este texto discute o significado da noção de um “direito a ter direitos”, introduzida por Hannah Arendt no contexto de sua análise dos elementos sócio-históricos e políticos que se cristalizaram na forma de domínio totalitária. Num primeiro momento, apresento rapidamente o contexto em que a noção fez sua aparição no interior da obra Origens do totalitarismo. Num segundo momento, apresento a interpretação proposta por Seyla Benhabib para aquele preceito arendtiano, que o situa num plano teórico epistemológico-moral e o refere ao projeto de um cosmopolitanismo neokantiano. Num terceiro momento, argumento a favor de uma leitura propriamente política daquela noção arendtiana, divergindo da leitura de Benhabib. Finalmente, num quarto e último momento, apresento a interpretação proposta por Butler para a noção arendtiana do direito a ter direitos, a qual explicita sua dimensão político-performativa, revelando-se assim sua importância para pensarmos manifestações políticas contemporâneas em um contexto de privação de direitos. Concluo que a interpretação de Butler é mais consoante com o pensamento político de Arendt.</span></p><p><span><br /></span></p><div><p class="trans-title"><strong>RIGHT TO HAVE RIGHTS AS POLITICAL PERFORMATIVITY: Rereading Arendt with Butler</strong></p><p class="sec">ABSTRACT</p><p>This text intends to discuss Hannah Arendt’s notion about the “right to have rights”, introduced in her analysis of the socio-historical and political elements that later crystalized in the totalitarian domination. In a first moment, I briefly present the original context in which thatArendtian notion was proposed in The Origins of Totalitarianism. In a second moment, I present the way Seyla Benhabib interpreted that Arendtian notion, byemphasizingits allegedly epistemological and moral implications in the context ofa Neokantian cosmopolitanism. In a third moment, I shall argue for a political interpretation of that Arendtian precept, in a clear contrast to Benhabib’s reading of it.Finally, in a fourth moment, I present Judith Butler’s interpretation of the Arendtian notion about the right to have rights, which emphasizes its political-performative dimension, thus highlighting its importance to understand certain contemporary political movements performed under conditions of deprivation of rights. I conclude that Butler’s interpretation is more akin to Arendt’s political thinking.</p><p><strong>Key words: </strong>Arendt; Right to have rights; Benhabib; Butler; Political performativity</p></div><div><p class="trans-title"><strong>LE DROIT À AVOIR DES DROITS COMME PERFORMATIVITÉ POLITIQUE: rélire Arendt avec Butler</strong></p><p class="sec">ABSTRACT</p><p>Ce texte se propose de discuter la notion de Hannah Arendt autour du « droit à avoir des droits », introduit dans son analyse des éléments socio-historiques et politiques qui se sont cristallisés dans la domination totalitaire. Dans un premier moment, je présente brièvement le contexte original dans lequel la notion d’Arendt était formulée dans Origines du Totalitarisme. Dans un second moment, je présent la manière dont SeylaBenhabib a interprétée cette notion, en affirmant sa portée epistémologico-moral dans le contexte du projet d’un cosmolopolitisme d’inspiration néokantien. Dans un troisième moment je propose une interprétation notamment politique du précepte arendtien, dans un sens divers de celui proposé par Benhabib. Finalement, dans un quatrième moment, je présent l’interprétation du droit à avoir des droits tel que proposée par Judith Butler, laquelle relève sa portée politico-performative et, donc, son importance pour réfléchir sur des mouvements politiques menés à bout dans des conditions de privation de droits. Je considère que la lecture de Butler est plus en syntonie avec la pensée d’Arendt.</p><p><strong>Key words: </strong>Arendt; Droit à avoir droits; Benhabib; Butler; Performativité politique.</p></div>
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Gabriel, Fleur. "Sexting, Selfies and Self-Harm: Young People, Social Media and the Performance of Self-Development." Media International Australia 151, no. 1 (May 2014): 104–12. http://dx.doi.org/10.1177/1329878x1415100114.

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As platforms for self-expression, social media sites require users to consciously, visibly, and deliberately perform their identity. While a dominant developmental discourse encourages young people to test and explore different identities, a self-conscious and highly visible performance of identity via social media brings into question the form and value of this activity. This article reviews a range of popular arguments about how young people use media, and demonstrates how this use comes into conflict with a broader developmental discourse. It proposes that this conflict contributes to the perception that young people's media use is dangerous for healthy development, and that a different kind of approach to youth is needed. Engaging Judith Butler's notion of performativity, the article argues that social media and the structures of performative display are a way to reconceptualise youth and the relationship between social media and young people's self-development.
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Mamona, Asra Khan, and Uzma Sadiq. "Unveiling ‘Reality’ behind ‘Social Reality’: Breaking Gender Stereotypes and Reconstructing Identities in Hamid’s Exit West." International Journal of Linguistics and Culture 3, no. 1 (June 20, 2022): 171–84. http://dx.doi.org/10.52700/ijlc.v3i1.101.

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The present paper is aimed at uncovering the fact that people’s gender identities which appear as ‘real’ turn out to be society’s predefined notions about men and women. Therefore, this study is intended at unveiling the existence of diverse gender realities hidden behind the socially constructed realities with reference to Hamid’s novel Exit West (2017). In order to analyze this perspective on gender in the said novel, Butler’s (1999) concept of ‘performativity’ serves as a valuable lens. Her concept of ‘performativity’ revolves around the importance of ‘doing’ rather than ‘being’ in defining one’s gender identity. By putting an emphasis on this notion of ‘doing’, the present research focuses on the analysis of the central characters namely Saeed and Nadia in Hamid’s novel. Maintaining Butler’s (1999) view, this study explores that Saeed and Nadia’s gender identities depend on what they ‘do’ in different contexts, rather than on what they ‘are’. It exposes how the protagonists have to assume certain roles under the compulsion of social norms in order to fit in the society they live in. In this sense, this research paper determines that Hamid’s novel not only unmasks certain gender stereotypes, but also breaks them by depicting its protagonists’ performance of alternative gender roles in different contexts. In the light of analysis done with the implication of Butler’s (1999) concept of‘performativity’, the paper also suggests that Exit West (2017) can be regarded as an important initiative to redefine and reconstruct the notion of gender identities through text.
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Wu, Lin, and Chenyu Bai. "Analysis of Female Masculinity During Wartime in The Night Watch From the Perspective of Gender Performativity." Theory and Practice in Language Studies 11, no. 5 (May 1, 2021): 528–32. http://dx.doi.org/10.17507/tpls.1105.10.

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The novel The Night Watch（2006）by Sarah Waters, a contemporary British novelist, tells the story of four women whose fortunes were intertwined before and after World War II. By Judith Butler’s theory of gender performativity, this paper analyzes the wartime female images in the novel. Women’ s wartime drag subverts the binary opposition of people’s presupposed notion about sex and women’ s occupation of men’ job that breaks the fictitious perception of gender opposition; the lesbian love affairs challenge the compulsory heterosexuality. Through the interpretations of the feminist thoughts conveyed by Waters in The Night Watch and Butler’s theory of gender performativity, it can be discovered that the nature of gender identity is actually fictional and can be constructed, reflecting the appeal for gender equality.
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YANG, HON-LUN HELAN. "Colonialism, Cosmopolitanism, and Nationalism: The Performativity of Western Music Endeavours in Interwar Shanghai." Twentieth-Century Music 18, no. 3 (October 2021): 363–93. http://dx.doi.org/10.1017/s1478572221000177.

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AbstractThis article examines the meaning of Western music performances in interwar Shanghai through the theoretical framework of performativity that originated in John Austin's speech act and Judith Butler's notion of identity as performed. The early concerts of the Shanghai Municipal Orchestra (SMO), I suggest, were an assertion of settler sovereignty in a treaty port such as Shanghai. Therefore, Chinese musicians performing Western music – propagated through the establishment of the National Conservatory of Music by Chinese elites in Shanghai's French Settlement in 1927 – was the embodiment of three contradictory ideals: colonialism, nationalism, and cosmopolitanism. Zooming in on four SMO concerts that featured Chinese musicians in 1929, I argue that they were sites of identity and power negotiation, the SMO and the Chinese musicians asserting quite distinct performative utterances. On the one hand, the performing Chinese body enacted the cosmopolitan outlook that the Municipal Council was eager to project, not only for the sake of ideology but also to increase SMO's concert revenue by appealing to the increasing number of Chinese concert attendees. On the other hand, it meant national glory to Chinese residents in Shanghai, marking Chinese musicians participating in a global musical network. Lastly, this study draws attention to the diverse geographies of Western music in the twentieth century and its coeval development beyond the West, testifying to the timely need for a global music history in which the musicking of Western music in so many Asian cities should be interwoven into its narrative.
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Dissertations / Theses on the topic "Butler's notion of performativity"

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Hallihan, Mark. "The biological subject : reworking Judith Butler's theory of gender performativity through Henri Bergson's matter and memory." Thesis, Manchester Metropolitan University, 2015. http://e-space.mmu.ac.uk/582253/.

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This thesis expands the currently available approaches to theorising the relation between subjectivity and the body – by developing a notion of an embodied subject. This is done by exploring the implications which Henri Bergson’s process philosophy has for understanding Judith Butler’s theory of gender performativity. I undertake an analysis of Butler’s account of the gendered subject, demonstrating its value for thinking the politics of sexual difference but emphasising its methodological short comings. Specifically, I criticise her reduction of the body to a signifying effect, her exclusion of a notion of self-reflexivity, and the way she explains the psychic investment in gender through a principle of melancholia. Taken together, I argue that these theoretical perspectives become problematic because they radically limit an understanding of how and why hegemonic subjects repeat normative signifying practices. In turn, this limitation distorts Butler’s understanding of how subversive repetitions can effectively de-naturalise gender norms. Following this critique, I use Bergson’s temporalised understanding of the relation between consciousness and language to theorise an account of the gendered self which conforms to Butler’s ideas concerning regulated subject positions, but provides the possibility of attaining reflexive distance from the norms of gender intelligibility. I then develop Bergson’s sensory-motor conception of the body, and its relation to consciousness and memory, in order to re-evaluate the lived dynamics of repetition, gender investment, and identification. Through Bergson, I will demonstrate how historically sedimented gender practices are reproduced by forming the motor habits of individual bodies. This allows me to explain the circulation of gender norms in terms of bodily processes and tension rather than signifying effects and, I argue, grounds the basis of gender investment in the familiarity which habits provide for action. I then use Bergson’s principles that consciousness expands when action is indeterminate, and that memory forms general ideas in response to the present moment of action, to explore how variable processes of gender identification develop when habits are subverted. Through these perspectives I re-describe Butler’s notion of performativity as a lived, embodied process in which gender investment and identification are contingent upon an individual subject’s reflexive responses to the immediate social conditions of action. In order to clarify the nature of these responses I then call upon Yaak Panksepp’s neurological theory of emotion to characterise several prominent tendencies and, ultimately, argue that the effectiveness of subversive repetition depends upon producing the right emotional response. This, I suggest, provides a more diverse explanation of the naturalisation and potential transformation of signifying practices than is available in Butler’s own theoretical framework.
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Gearside, Anne Louise History &amp Philosophy Faculty of Arts &amp Social Sciences UNSW. "Meaning, agency, and corporeal identity: "simultaneity" as a condition of Butler's performativity and Merleau-Ponty's bodily interntionality." Awarded by:University of New South Wales. History & Philosophy, 2007. http://handle.unsw.edu.au/1959.4/40600.

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This thesis examines Judith Butler's account of performative agency in relation to its critics, in particular, the question of whether Butler's thesis disavows materiality and thereby agency. These questions are answered by reading Butler's work through the work of Merleau-Ponty, in particular, by comparing Butler's account of performative agency to Merleau-Ponty's account of bodily intentionality. It is argued that a common ground underlies these featured concepts. I identify this common ground through the institution of the concept "simultaneity" to express a relationship of reciprocity between meaning and materiality through which ontological and epistemological significance is, reciprocally, sedimented and transformed; stabilised and destabilised.
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Howland, Elizabeth E. E. Douglass Thomas E. "A search for authenticity : understanding Zadie Smith's White teeth using Judith Butler's performativity and Jane Austen's satire." [Greenville, N.C.] : East Carolina University, 2009. http://hdl.handle.net/10342/1896.

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Thesis (M.A.)--East Carolina University, 2009.
Presented to the faculty of the Department of English. Advisor: Thomas Douglass. Title from PDF t.p. (viewed May 4, 2010). Includes bibliographical references.
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(14030764), Patricia K. L. Goon. "Subjectivity and its discontents: Theories of subjectivity and contemporary cultural contexts." Thesis, 1999. https://figshare.com/articles/thesis/Subjectivity_and_its_discontents_Theories_of_subjectivity_and_contemporary_cultural_contexts/21433626.

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This thesis aims to examine the notion of subjectivity in terms of the theories posed by specific schools of thought, particularly with regard to the notion of resistance within the contexts of contemporary culture. It will be concerned primarily with the theories of Jacques Lacan, Michel Foucault, Judith Butler, Donna Haraway, Pierre Bourdieu and Michel de Certeau, as well as the contributions made by Theodor Adorno and Walter Benjamin.

The thesis begins with a discussion of theories which consider subjectivity as a narrative of commoditisation that sets up the potential for both violence and resistance. These theories include Lacanian psychoanalysis, Foucault's notion of power as production and prohibition, Bourdieu's theory of habitus and Butler's notion of performativity, all of which highlight the central issues of commoditisation and contingency as subjectivity's inherent anxiety or 'discontents'. The notion of the cyborg, a primary symptom of this anxiety in postcolonial times, is central to the project's argument of a recursive subjectivising process which must necessarily involve violence, if it is to provide any possibility for emancipation. The thesis goes on to examine the processes of contemporary cultural commoditisation in relation to the hegemonies cultivated by technology and the culture industry, using specific texts from the popular culture genres of science-fiction film and manga.

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Books on the topic "Butler's notion of performativity"

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Lamberti, Edward. Performing Ethics Through Film Style. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.001.0001.

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Emmanuel Levinas’s ethical philosophy has had a significant influence on film theory in recent years. This book proposes a relationship between Levinasian ethics and film style. It argues that films can convey Levinasian ethics not just through their subject matter but also through their use of style. The book brings this relationship between ethics and style into a productive dialogue with theories of performativity, such as J. L. Austin’s speech-act theory, Jacques Derrida’s notion of originary performativity and Judith Butler’s reconfiguration of performativity within the socio-political sphere. It explores Levinas’s influence on film through the study of three directorial bodies of work: those of the Dardenne brothers, Barbet Schroeder and Paul Schrader. The book focuses on a range of films, including the Dardennes’ Je Pense à Vous (1992), La Promesse (1996), Le Fils (2002) and The Kid with a Bike (2011), Schroeder’s Maîtresse (1975), Reversal of Fortune (1990), Terror’s Advocate (2007) and Our Lady of the Assassins (2000) and Schrader’s American Gigolo (1980), Mishima: A Life in Four Chapters (1985), The Comfort of Strangers (1990), Dominion: Prequel to the Exorcist (2005) and Adam Resurrected (2008). In doing so, it demonstrates how films can perform a Levinasian ethics through different styles.
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Liu, Chih-Chieh. Denaturalizing Coco’s “Sexy” Hips. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.018.

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This chapter, starting from a seemingly standardized dance promotion in Mandarin pop, one of the dominant music genres in East Asia, attempts to reveal the cultural logics and to denaturalize the corporeal discourses behind what is commonly perceived as the “naturally” spectacular hip movement of a Chinese-American superstar, Coco Lee, whose dance is, in Taiwan, often linked with the idea of “sexiness” and “American-ness.” Calling upon Judith Butler’s idea of performativity (1990) in tandem with Richard Dyer’s notion of star image (1979) and the concept of the dancing body (Thomas 1995; Foster 1996), this chapter, using music video analysis (Vernallis 2004; Beebe and Middleton 2007), delineates Coco’sHip Hop Tonight(2006) to point out the contradictions and reversals of the body in contemporary multimedial context in that “sexiness” is desexualized, “American-ness” is Sinocized, and the meaning of “Chinese-ness” continues to shift according to local cultural and political sensibilities. In this process, music video becomes an intersecting point in which cultural boundaries negotiate and body politics fight to gain the upper hand, revealing a web of complex power struggles in Taiwan where meaning of the body is locally produced yet globally contested.
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Chao, Shih-chen. Cosplay, Cuteness, and Weiniang. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390809.003.0003.

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This paper analyzes gender performativity in the form of cross-dressing cuteness through cosplaying by a popular male-cosplaying-female fan group “Ailisi Weiniang Tuan (Alice Cos Group)” based in China. Drawing from cute studies, gender/queer studies, and fan studies, this paper examines the phenomenon of fake girls as a venue of redefining the boundaries of identity and gender using cosplaying and the notion of cuteness to achieve queerness to address the issue of gender performativity through queered cuteness in today’s China.
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Weisband, Edward. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677886.003.0001.

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This chapter introduces the often ignored problematic in the study of genocide and mass atrocity: why perpetrators demand that their victims suffer before death. The analysis underscores the relationship of culture and self-deception. It thus introduces the notion of performativity in human violation as a function of perpetrator demand for a “truth” that is ideologically desired but functionally unattainable. How are perpetrators, as theorized political subjects, constructed? The answers underscore the influences of desire, envy, and mimetic rivalry. Genocide, mass atrocity, and enemy-making are thus framed by political and social psychology, as well as by psychosocial theory, emphasizing disorders of will, self-deception, and the logics of illogic generated by emotional and psychological disorders of will demonstrated by perpetrator narcissism and sadistic cruelty that demands victims become complicit with their own humiliation.
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Nuyts, Jan. Analyses of the Modal Meanings. Edited by Jan Nuyts and Johan Van Der Auwera. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199591435.013.1.

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This article deals with the semantic analysis of the notion of modality, surveying the most important traditional views in linguistics. After pointing out the problems encountered in the literature in trying to define the category, it first discusses the in the literature most common basic types of modality, namely, dynamic modality, deontic modality, and epistemic modality, as well as the less common basic category of boulomaic modality. It then goes on to survey a variety of alternative views on how the semantic domain of modality may be organized. The article also considers the types of criteria that have been proposed to motivate the “cover category” of modality. Finally, it outlines a few features and properties frequently referenced in the literature on modality as characteristic of (some of) the modal categories, including subjectivity vs objectivity or intersubjectivity, performativity vs descriptivity, informational status, and the semantic scope of qualificational dimensions.
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Strawson, Galen. Transition (Butler Dismissed). Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691161006.003.0012.

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This chapter examines John Locke's theory of personal identity, which he has defined in terms of the reach of consciousness in beings who qualify as persons (being in particular fully self-conscious, able to think of past and future, and “capable of a law”). It starts with the notion that a person is an object of a certain sort, and must exemplify a certain sort of temporal continuity, if it is to continue to exist. Locke assumes that any candidate person has such continuity. The chapter also considers which parts of a subject of experience's continuous past are features or aspects or parts of the person that it now is before concluding with an analysis of Joseph Butler's incorrect identification of consciousness with memory in his objection to Locke's argument that a person can survive a change in its thinking substance even if its thinking substance is immaterial.
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Book chapters on the topic "Butler's notion of performativity"

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Zaharijević, Adriana. "On Butler’s Theory of Agency." In Bodies That Still Matter. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463722940_zaharijevic.

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This essay addresses the notion of agency in Judith Butler’s work. Its central claim is that her political philosophy revolves around a specific understanding of agency, even a theory of agency, which has not as yet received due attention. The first part of the essay examines two main thought traditions in which agency became an operational notion, through the lenses of intentionality and constraints, voluntarism and determinism. The second part elaborates on the centrality of the body, the social, and the power in Butler’s understanding of agency, conjoining agency with performativity. The essay argues that agency in Butler exceeds freedom, autonomy, and liberation, and has a potent political meaning of its own.
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Butnor, Ashby, and Matthew MacKenzie. "Enactivism and Gender Performativity." In Feminist Philosophy of Mind, 190—C10.P77. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190867614.003.0011.

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Abstract The enactivist paradigm of embodied cognition represents a powerful alternative to Cartesian and cognitivist approaches in the philosophy of mind. On this view, the body plays a constitutive role in the integrated functioning of perception, affect, and other cognitive processes. Enactivism shares many of the central themes of feminist theory, and is extended to apply to social and political concerns. Following a discussion of the key components of the enactive approach, this chapter applies it to explain more complex social manifestations, specifically gender performance and its reproduction through time. By employing Judith Butler’s notion of performativity, the chapter argues that gender, as one marker of social identity and difference, emerges through processes of embodied and embedded sense-making as articulated by enactive theory. More attention to embodied and embedded values allows for the interruption and transformation of histories of oppressive practices and opens the door to more liberatory possibilities.
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Bianchi, Emanuela. "Nature trouble." In Antiquities Beyond Humanism, 211–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805670.003.0011.

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This chapter interrogates the search for origin in classical antiquity alongside the search for an underlying reality in contemporary physics. Drawing on Butler’s notion of gender performativity as well as a phenomenological approach to the natural world that brings to bear the thinking of John Sallis, Alphonso Lingis, and Luce Irigaray upon early Greek texts, Bianchi develops a phenomenological and elemental account of nature as itself thoroughly performative, a theater of display, effect, and response that may never succumb to full epistemic illumination. In so doing, she at once radicalizes the Heideggerian account of ancient physis, while mounting an intervention into what she sees as the reductionism and scientism of contemporary theorists of the posthuman such as Karen Barad.
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Wilkinson, Ben. "Which Man I Am : God’s Gift to Women (1997)." In Don Paterson, 29–44. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800855373.003.0003.

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This chapter focuses on Paterson’s second collection, God’s Gift to Women. It argues that inventive and interrogative use of poetic personae is the book’s defining hallmark, fuelling the poems’ attempts to unpick subject matter from a broad range of intellectual and emotional perspectives. The chapter discusses how personae functions in the poems’ explorations of the book’s two central themes: gender and sexual violence, and the search for a kind of godless spiritualism by way of reimagining the via negativa, attempting to reconceptualise the divine by negation from a position of modern scepticism. In doing so, it draws on T. S. Eliot’s theory of poetic impersonality, Judith Butler’s notion of the performativity of gender and identity, and the influence of John Donne and John Keats on Paterson’s poetic thinking.
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Dumler-Winckler, Emily. "Imitating Christ." In Modern Virtue, 121—C3.N159. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197632093.003.0004.

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Abstract Innovatively imitating Christ, Wollstonecraft suggests, calls for a “revolution in female manners” and a denial of “sexual virtues.” Chapter 3 demonstrates that Wollstonecraft’s account of the virtues is radical in the dual sense of that term. Rooted in a premodern perfectionist theological anthropology, her account nonetheless revolutionizes those of her forebears in keeping with what Judith Butler calls performativity. But whereas Butler alternately celebrates virtue as critique or provides a critique of virtue, Wollstonecraft presents an account of ethical formation in the virtues of social criticism. These enable one to distinguish true virtues from their sexed semblances. Her denial of sexual virtues means the cultivation of virtue is neither determined by sexual difference as some worry, nor completely disconnected from embodied differences as others charge. This chapter also presents Wollstonecraft’s extensive list of the virtues, ultimately comparing her notion of modesty with Saba Mahmood’s findings.
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Nilsson, Johan, and Claes-Fredrik Helgesson. "Epistemologies in the wild: local knowledge and the notion of performativity." In Marketing Performativity, 16–36. Routledge, 2018. http://dx.doi.org/10.4324/9781315300238-2.

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Jones, Tiffany. "Queer Theory in Education Research." In Educational Research in the Age of Anthropocene, 36–53. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5317-5.ch003.

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This chapter discusses queer theory definitions and methods. It explores some key queer research study examples in education, including policy research, curriculum and textbook analysis, studies of classroom talk, student surveys and other study types. It provides some key questions that can be used in basic queer reading strategies and linguistics for policy, curriculum and classroom talk analysis; Butler's most well-known concept of performativity; and the potential usefulness of less widely applied concepts including overplay, transference and erasure, as well as other approaches. The chapter finally considers the value of key critiques of queer theory and the way the theory questions the privileging of certain models of time and space, including the Anthropocene age itself.
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Özdemir, Berceste Gülçin. "Thinking About the Concept of Social Gender With a Film." In Advances in Media, Entertainment, and the Arts, 228–47. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0128-3.ch013.

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The concept of social gender is an interdisciplinary matter of debate and is still questioned today. Making sense of this concept is understood by the ongoing codes in the social order. However, the fact that men are still positioned as dominating women in the contrast of the public sphere/private sphere prevents the making sense of the concept of gender. This study questions the concept of social gender through the female characters and male characters presented in the film Tersine Dünya (1993) within the framework of Judith Butler's thoughts regarding the notion of the subject. The thoughts of feminist film theorists also bring the strategies of representation of female characters up for discussion. Butler's thoughts and the discourses of feminist film theorists will enable both making sense of social gender and a more concrete understanding of the concept of the subject. The possibility of deconstruction of patriarchal codes by using classical narrative cinema conventions is also brought up for discussion in the examined film.
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Brend, Denise Michelle. "Meaning Making Change." In Overcoming Fieldwork Challenges in Social Science and Higher Education Research, 96–117. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-5826-3.ch005.

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This chapter describes how an interpretive phenomenological analysis (IPA) study generated perceived risk for stakeholders and for participants. Here, perceived risk was interpreted through discourses and practices specific to intimate partner violence contexts that influenced intimate partner violence professionals' subjective experiences. These risk-responses were a fundamental threat to the purpose of the research: to contribute to meaningful change for the participants in their contexts. The clash between the research aim and the risk-responses opened a theoretical space for reflection about power and knowledge relationships in lived experience and meaning-making in IPA research. Specifically, this chapter addresses the question of whether the current epistemological stance grounding IPA research leads to meaning-making that reproduces knowledge in a form that overlooks the omnipresent influence of power and knowledge dynamics. Butler's philosophies of power, knowledge, subjectivity, and performativity are explored as means of expanding the epistemological foundation of IPA.
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Zimmerman, Aaron Samuel, and Andrew S. Herridge. "Campus Climate and the Theory of Gender Performativity." In Research Anthology on Feminist Studies and Gender Perceptions, 318–34. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-4511-2.ch019.

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The objective of this chapter is to outline the theory of gender performativity and to discuss its implications for researchers and policymakers in higher education. This chapter will examine the manner in which the measurement tools and recruitment methods utilized by research in higher education may serve to reinforce particular ontological assumptions about gender. If institutions of higher education aspire to serve their diverse student populations as inclusively as possible, it may be valuable for researchers and policymakers to consider the notion that gender is a social construct that is continually open to experimental performance.
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