Journal articles on the topic 'Butler's notion of performativity'
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1
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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Brylla, Catalin. "Performativity on the Margin: Pornography: The Musical (2003)." Film Studies 18, no. 1 (2018): 70–83. http://dx.doi.org/10.7227/fs.18.0005.
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Brian Hill’s musical documentaries embody the essence of Judith Butler’s notion of ‘performativity’ as the discourse used in identity formation. By asking his characters to sing their stories in addition to traditional interviews, Hill creates multiple screen identities, which elicits an embodied intimacy that is as much about freeing marginalised people to enact themselves in front of the camera as it is about revealing the director’s own performance. This article uses a cognitive framework to explore how Hill’s documentary, Pornography: The Musical (2003), leads the spectator to challenge existing social stereotypes of sex workers, as well as schematic ideas about traditional documentary form and function.
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Collins, Rory W. "Modeling Gender as a Multidimensional Sorites Paradox." Hypatia 36, no. 2 (2021): 302–20. http://dx.doi.org/10.1017/hyp.2020.11.
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AbstractGender is both indeterminate and multifaceted: many individuals do not fit neatly into accepted gender categories, and a vast number of characteristics are relevant to determining a person's gender. This article demonstrates how these two features, taken together, enable gender to be modeled as a multidimensional sorites paradox. After discussing the diverse terminology used to describe gender, I extend Helen Daly's research into sex classifications in the Olympics and show how varying testosterone levels can be represented using a sorites argument. The most appropriate way of addressing the paradox that results, I propose, is to employ fuzzy logic. I then move beyond physiological characteristics and consider how gender portrayals in reality television shows align with Judith Butler's notion of performativity, thereby revealing gender to be composed of numerous criteria. Following this, I explore how various elements of gender can each be modeled as individual sorites paradoxes such that the overall concept forms a multidimensional paradox. Resolving this dilemma through fuzzy logic provides a novel framework for interpreting gender membership.
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Laketa, Sunčana. "Between “this” side and “that” side: On performativity, youth identities and “sticky” spaces." Environment and Planning D: Society and Space 36, no. 1 (August 2, 2017): 178–96. http://dx.doi.org/10.1177/0263775817723632.
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In this article, I investigate the performativity of everyday practices – doings and sayings – that work to constitute identities and spaces through different affective intensities. In doing so, I attempt to bridge a gap between Judith Butler’s account on performativity and affect theory by developing the notion of “sticky” space that I define as a performative embodied space saturated with affect. The site of the study is a post-conflict city of Mostar in Bosnia and Herzegovina, a place that appears mired in stark divisions and continued “ethnicization” of city space. Drawing on participant observation, interviews and a photography project with Mostar’s high school students, this article argues that variations in affective and emotional intensities become crucial in enabling and arresting young Mostarians’ social and spatial relations.
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Penn, Leslie Rech. "Room for monsters and writers: Performativity in children’s classroom drawing." Contemporary Issues in Early Childhood 21, no. 3 (January 4, 2019): 208–23. http://dx.doi.org/10.1177/1463949118819456.
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Much research on children’s classroom drawing emerged from an interest in the relationships between drawing and early writing and focused on drawing as a pedagogical tool to engage young children in planning, generating, and illustrating story ideas. In an eight-month case study of children’s drawing in a kindergarten language arts curriculum, the author focused on children’s classroom drawing not as a pedagogical intervention, but as an emergent event in which the intra-actions of children, drawing, and discourses coalesce. Of the many findings from this project, prevalent is the notion that children’s drawing and drawings function as vehicles for more than just pre-literacy—that drawing and drawings produce critical, creative, and constructive thinking and learning. In this article, the author discusses children’s drawing and drawings as events in which the often divergent interests of children, teachers, and curriculum materialize. Butler’s and Barad’s notions of performativity—the ways in which bodies materialize larger social discourses, such as gender—help the author to make sense of the ways children perform popular culture discourses, such as “monster,” or local classroom discourses, such as “writer,” in the kindergarten classroom. In looking at children’s drawing and drawings as material, discursive, and productive events, the author hopes to expand perceptions of children’s drawing beyond indicators of development, aesthetics, or literacy acquisition into critical, creative, and constructive learning experiences with significant cultural implications.
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Sadjadi, Bakhtiar, and Sirwe Hojabri. "Gender, Performativity, and Agency in Virginia Woolf: A Butlerian Reading of Orlando." Khazar Journal of Humanities and Social Sciences 22, no. 4 (December 2019): 5–23. http://dx.doi.org/10.5782/2223-2621.2019.22.4.5.
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The present paper attempts to closely study Virginia Woolf’s Orlando in terms of Judith Butler’s concepts of gender, performativity, and agency. Woolf examines women, their struggles and positions in literary history, and their needs for independence. Themes in her works consist of gender relations, class hierarchy, and the consequences of war. In most of her novels, she moves away from the use of plot and character and, instead, emphasizes the psychological aspects of her characters. In Orlando, the protagonist lives through centuries and Woolf allows her character to transform into a female halfway during the novel. The novel is directly engaged in the women’s position and mentality through the lines, dialogues, and events. The principal question of the present study focuses on the perspectives through which gender is presented and the way it could be observed in relation to Butler’s theory of gender as performance. The current survey is further concerned with the angles through which the novel reflects gender troubles and identity crisis of the women, conventionally defined as a minor category, according to Judith Butler’s poststructuralist approach to the analysis of identity. Consequently, there is a confluence between the development of Woolf’s female characters in the novel and Butler’s critical notion concerning the subject’s attempts to present performativity in the form of an active agent.
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Abdi, Muna. "Performing Blackness: Disrupting ’race’ in the classroom." Educational and Child Psychology 32, no. 2 (June 2015): 57–66. http://dx.doi.org/10.53841/bpsecp.2015.32.2.57.
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This paper looks at the experience and performance of ‘race’ in the classroom, through the narrative of a young Somali man; Ahmed. The paper explores the notion of Blackness and primarily draws on Fanon’s (1967) work on the ‘doubled’ self, Althusser’s (1971) ‘interpellation’, and makes some reference to Judith Butler’s (1990) work on ‘subjection’, to examine the function of racial performativity in the classroom. The paper examines the role of White privilege in the construction of imposed ‘Blackness’ in the classroom, and through an analysis of Ahmed’s narrative, disrupts the racialised discourses of the classroom.
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Schep, Dennis. "The Limits of Performativity: A Critique of Hegemony in Gender Theory." Hypatia 27, no. 4 (2012): 864–80. http://dx.doi.org/10.1111/j.1527-2001.2011.01230.x.
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Recently, Judith Butler refused to accept an award for civil courage at the Berlin Christopher Street Day, because she felt the event had become too commercial, and the event's organization had failed to distance itself from certain discriminatory statements. This, as well as many of her works, suggests that more than any other contemporary feminist author, Butler is aware of the risk of implication in exclusionary politics; a risk she might therefore successfully avoid. However, in this essay I argue that to the extent her theory of performativity has become a hegemonic framework within the field of gender studies, it leads to the foreclosure of certain possible gendered identities. Using Nancy's notion of finite thinking, I argue that a different approach to universality may lead to a less exclusionary way of conceptualizing gender.
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Samata, Susan. "Linguistic precariat: Judith Butler’s ‘rethinking vulnerability and resistance’ as a useful perspective for applied linguistics." Applied Linguistics Review 10, no. 2 (May 26, 2019): 163–77. http://dx.doi.org/10.1515/applirev-2017-0060.
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AbstractIn the twenty years since the publication of Judith Butler’s Excitable Speech, more so since Gender Trouble (1990), political and cultural landscapes have changed considerably. One general aspect of this change has been a move away from binary oppositions and discrete categories, and towards recognition of multiplicity and plasticity across many areas, including Butler’s central focus of gender, but also perceptions of race, nationality, and language. Butler’s recent publication, ‘Rethinking vulnerability and resistance’ (2016), may also have significance for the field of Applied Linguistics. It is not only the intentional act, for example of promising (Austin 1962) or incitement (Butler 1997), but any utterance has elements of performativity in that it situates a speaker vis-à-vis their surroundings. In any situation that crosses some socio-linguistic boundary, be it across languages, dialects, or markers of class, a delicate calculus of identification and subjectivity is in play. There are echoes here of Bourdieu’s (1991) notion of the types of personal capital, and of Claire Kramsch’ observation that language indexes social relations; ‘Any harmony or disharmony … is registered on this most sensitive of Richter scales.’ (Kramsch 1998: 77) (Italics in original). This paper will discuss the possible application, to language-centred issues facing second generation migrants and others, of Judith Butler’s theory of vulnerability in resistance (Butler 2016). In this theory, vulnerability is framed not as a prima facie need for protection, but as the very ground for resistance.
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Ortlieb, Renate, and Barbara Sieben. "Balls, Barbecues and Boxing: Contesting gender regimes at organizational social events." Organization Studies 40, no. 1 (November 16, 2017): 115–34. http://dx.doi.org/10.1177/0170840617736941.
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What do the relaxed social events held by companies and organizations do for continued gender inequality? This article argues that outings, barbecues and parties offer opportunities for members of an organization to challenge unequal gender regimes. But they can also end up maintaining these inequalities instead. The article draws on Joan Acker’s theory of gendered organizations, and Judith Butler’s notion of gender performativity. Based on 208 accounts of organizations’ social events, it identifies the following four areas of gender performativity and their varying significance in reaffirming or challenging unequal gender regimes: gender images, status differences, the body and sexuality. The findings indicate that practices reaffirming unequal gender regimes outnumber practices that possibly balance or break them. Paradoxically, practices that challenge unequal gender regimes, when joined with powerful responses from the hitherto privileged party, can form a vicious circle which again ends up continuing unequal gender regimes. The article provides a more nuanced understanding of ambivalences and the contested nature of gender regimes which is important in identifying avenues for gender equality.
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Ge, Liang. "Problematizing heteronormativity: Performativity, resignification and A/B/O fiction in Chinese danmei literature." East Asian Journal of Popular Culture 7, no. 2 (October 1, 2021): 241–54. http://dx.doi.org/10.1386/eapc_00051_1.
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The literary form of danmei, in which male–male romance and/or erotica is portrayed, is a flourishing genre in China which has received significant attention from academia in recent years. This article focuses on a notorious subgenre of danmei, A/B/O fiction, which introduces three additional sexes, alpha, beta and omega, into mankind, alongside the male/female binary sex/gender system. By focusing on a popular but atypical example of this subgenre, this study aims to contribute to the understanding of how female danmei writers constantly question the hierarchical and heteronormative system in the A/B/O world and interrogate the fixed identities of gender, sexuality and class, by imagining love, sex and intimacy among male protagonists. Drawing on Judith Butler’s gender performative theory and resignification politics, this article suggests that the behaviour of the characters in these texts engenders reciprocal and equal relationships, reverses the various heteropatriarchal norms through the employment of technology, and questions the compulsory regulatory power embodied in the biological pheromone in A/B/O. Simultaneously, this study also identifies the notion of ‘love’ itself as a limiting factor of this genre of male–male romantic and/or erotic writing.
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Dasgupta, Ranita Chakraborty. "Gender Performativity: Reading Mahasweta Devi’s Draupadi and Luisa Valenzuela’s Other Weapons." IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 5, no. 3 (December 30, 2016): 173. http://dx.doi.org/10.21013/jems.v5.n3.p6.
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<p><em>In this paper I propose to read and discuss two short stories, Luisa Valenzuela’s <span style="text-decoration: underline;">Other Weapons</span> and Mahasweta Devi’s <span style="text-decoration: underline;">Draupadi</span> under a comparative spectrum. This apparent unlikely comparison from two distinct social, political, linguistic and cultural paradigms, as diverse as Latin America (Cuba?) and Bengal, is the result of my curious attempt to decipher Laura and Dopdi on the lines of Judith Butler’s notion of ‘gender performativity’. </em></p><p><em>In these two stories, quite distinct and diverse from each other in terms of the story line, the plot and the construction of the characters, I am more than intrigued on coming across this subtle yet compelling similarity between the ways in which the two female protagonists conduct their selves. I do suspect that both the authors from their given cultural positionings are carrying out a premeditated purposeful experiment. They make Laura and Dopdi/Draupadi render their individual resistance and protests in coherence to the world in terms of the body, its performance and their gender. I am yet to articulate this somewhat uncanny link that I can feel is there but have to discover it through a very careful process of unlayering. </em></p>
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Amaefula, Rowland Chukwuemeka. "Gendered Performance, Fluid Identities and Protest in Tess Onwueme’s Then She Said It." Journal of Language and Cultural Education 7, no. 1 (May 1, 2019): 118–38. http://dx.doi.org/10.2478/jolace-2019-0008.
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Abstract This study examines the social constructions of gender as the encapsulation of reiterated human conducts within varying sites of performance. Contrary to the notion that gender roles are fixed by socio-cultural forces, this paper focuses on the fluidity of human dispositions in differing circumstances. Adopting Judith Butler’s theory of gender performativity, the researcher analyses Tess Onwueme’s Then She Said It. This protest play attests to the variability of gender performance. The characters in the drama, especially the protagonists and antagonists, exhibit considerable alterations in gender performance in different situations. Thus, the study argues that the rigid classification of gender roles along sex lines (on both biological and gendered sexuality) in protest drama in Nigeria is incongruous with the characters’ dispositions in the plays. Indeed, characters adopt cross-gendered performances as a strategy of protesting against overbearing conditions.
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Gerdin, Göran. "The ‘Old Gym’ and the ‘Boys’ Changing Rooms’." YOUNG 25, no. 4_suppl (February 1, 2017): 36S—53S. http://dx.doi.org/10.1177/1103308816677120.
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This article examines how space and pleasure are discursively interlinked in boys’ performances of gender in school physical education (PE). Although previous research has implicated spaces in the production of gendered identities and unequal power relations, there exists a gap in the current literature focusing on how space also contributes to pleasure in PE. This article draws on an ethnographic account of boys’ PE, and Gregson and Rose’s (2000) concept of ‘performative space’, an extension of Butler’s (1990) notion of performativity, to illustrate how the pre-existing spaces of PE come to matter or become meaningful through the boys’ performances with/in those spaces. I argue that the boys derive pleasures as the productive effect of the power (Foucault, 1985) articulated in and through the spaces of PE. This article accordingly contributes to understandings of the complex nature of how PE is constituted and constitutive of gendered performances, spaces and pleasures.
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Pyscher, Tracey. "Domestic Violence and Girlhood: The Making and Breaking of a Disordered Subjectivity." Cultural Studies ↔ Critical Methodologies 17, no. 5 (October 19, 2016): 399–405. http://dx.doi.org/10.1177/1532708616674992.
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This article examines the resistive actions and discourses that shape and reshape the hegemonic and resistant interplay between female youth with histories of domestic violence (HDVs) and educators. Taken out of a larger critical ethnographic study, discussion demonstrates how one urban middle school girl with an HDV is positioned as an object of “emotional and behavioral disorder” and how she responded to violating pedagogies through performances of cultural resistance built out of her social experience of domestic violence. The article draws upon theoretical and methodological insights, including Butler’s notion of performativity, Scott’s theory of resistance, Hill-Collins’s standpoint theory, as well as Scollon and Scollon’s mediated discourse analysis. Similar to the girls in this study, sharing an identity of being a survivor of domestic violence herself, the author discusses how she and female participants (re)worked and (re)wrote agentic social moments in the field. Telling girls’ stories through counter-narratives and participatory research practices helps to reposition the often deficit subjectivities ascribed to girls with HDV.
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Daniel-Hughes, Carly. "‘‘Wear the Armor of Your Shame!’’: Debating Veiling and the Salvation of the Flesh in Tertullian of Carthage." Studies in Religion/Sciences Religieuses 39, no. 2 (June 2010): 179–201. http://dx.doi.org/10.1177/0008429810362315.
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In the early third century, Tertullian (approx. 150—220 C.E.) penned On the Veiling of Virgins to cajole unveiled virgin women to cover their heads. While scholars have read the treatise primarily as evidence of his misogyny or his attempt to establish a male ecclesiology, this article examines it as evidence of a debate between Tertullian and virgin women in Carthage over the nature of a woman’s flesh and the possibility of its transformation. Employing Judith Butler’s conception of performativity, I consider how Tertullian connects veiling to his conception of the salvation of the flesh, and why he perceives the virgins’ unveiling a visible contestation (or, in Butler’s terms, a performative undoing) of that vision. For Tertullian, the flesh is both corruptible and shameful and only transformed through Christ’s death and resurrection. Across his writings, women’s flesh serves as evidence of the degradation of the human condition. The notion that women’s flesh indicates sordidness also underlies his complaint against the virgins who ‘‘expose’’ their heads. In On the Veiling of Virgins, Tertullian employs a host of cultural discourses—most especially the notion that a woman’s head indicates her genitalia, and materialistic conceptions of vision that cast the gaze as erotic and intrusive—in order to establish veiling as the outward sign of a Christian woman’s shame. Ultimately, however, connecting his vision of salvation to the performance of veiling, he reveals why unveiling threatens this link. When virgins refuse to veil, they suggest that their flesh does not signal shame, but instead reveals their exalted spiritual status.
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Hernández, Elsa Adán. "Nan King’s Orientation in Sarah Waters’s Tipping the Velvet: A Journey of Gender and Sexual Self-Discovery Following “The Slantwise Direction of Queer Desire”." Gender Studies 20, no. 1 (December 1, 2021): 59–74. http://dx.doi.org/10.2478/genst-2022-0005.
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Abstract In Tipping the Velvet (1998), Sarah Waters explores the notion of “gender performativity” as studied by Judith Butler (1990, 1993). Its protagonist, Nancy Astley, becomes aware of her sexuality and comes up with doubts about her gender as responding to the stable label society has put on her. This naïve girl moves from performing gender on stage to cross-dressing off-stage amid the crowds of London, not following, as Sarah Ahmed (2006) puts it, “the straight line” (p. 70). The aim of this paper is to explain how this straightness – both in terms of direction and heterosexuality – is the term Nancy, later on renamed Nan King, does not feel comfortable with. Throughout the novel, Nan’s discovery of a whole world of sexual and identity possibilities leads her to look for her own orientation, as her position in relation to the rest of “objects” around her is a queer one.
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THORPE, ASHLEY. "Transforming Tradition: Performances of Jingju (‘Beijing Opera’) in the UK." Theatre Research International 36, no. 1 (December 21, 2010): 33–46. http://dx.doi.org/10.1017/s0307883310000702.
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Jingju (‘Beijing opera’) is China's most iconic traditional theatre, marketed as a global signifier of Chinese theatre and national identity. Although troupes from mainland China regularly tour Europe, audiences in the UK have also had access to Jingju via two indigenous organizations: the UK Beijing Opera Society (now defunct) and the London Jing Kun Opera Association (now in its ninth year). These organizations consist of Chinese, overseas Chinese and Western performers performing both Jingju and Kunju (‘Kun opera’). Where there is a mix of ethnicity, can ‘traditional Chinese theatre’ still be conceived of as ‘traditional’? How is Jingju mapped onto non-Chinese bodies? Can Jingju performances by ethnically white performers reflect diasporic identities? Drawing on the theories of Judith Butler and Homi Bhabha, this article argues that by highlighting the performativity of identity, the performance of Jingju by non-Chinese performers challenges the notion of Jingju as a global signifier of ‘authentic traditional Chinese theatre’.
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Revellino, Silvana, and Jan Mouritsen. "Ex-citable accounting and the development of pervasive innovation." Qualitative Research in Accounting & Management 14, no. 4 (October 9, 2017): 448–66. http://dx.doi.org/10.1108/qram-01-2017-0002.
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Purpose The purpose of this paper is to explain the role of the performativity theory for understanding how the calculative instruments of accounting provoke innovation and participate in the generation of values by activating processes that pervade everything rather than being limited to categorical spaces. Design/methodology/approach The paper draws on Judith Butler’s work and her notion of excitability to explain how multiple values may arise when accounting interacts with innovation. Through this lens, accounting, as a language based on signs, can be theorised as an ex-citable force involved in provoking and transforming innovation and its associated values, notably beyond innovators’ initial intentions. Thus, innovation is not a stable object but a pervasive movement diffusing multiple values. Findings By introducing the notion of pervasiveness, the paper argues that even if values can be imagined ab origine, they may not be contractible to a plan. The calculative instruments of accounting provoke innovation and participate in the generation of value(s) by activating processes that pervade everything rather than being limited to categorical spaces. In the course of this pervasive process, innovations, which are born to develop private interests, can possibly generate public goods. Originality/value The notion of pervasiveness the paper advances is used to challenge the division between business and social innovation. It well expresses the effects that ex-citable calculative practices put in place when interacting with innovation. It suggests that it is only possible to create productions – to assemble things – in ongoing processes, and the value(s) produced in such movements are always evolving and multiple. However, in this sense, they are social.
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Damian Martin, Diana, and Theron Schmidt. "Sites of Appearance, Matters of Thought: Hannah Arendt and Performance Philosophy." Performance Philosophy 5, no. 1 (November 30, 2019): 1–7. http://dx.doi.org/10.21476/pp.2019.51291.
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This editorial introduces this special issue on the thresholds, borders, and dialogues between Hannah Arendt’s work and performance philosophy, bringing together contributions that investigate political resistance, thought, and practice. Arendt’s relevance to our times is ubiquitous: from the near constant citation of The Origins of Totalitarianism in relation to the recent rise in strong-man politics and resurgent ethnic nationalism, to her diagnosis of the plight of refugees, denied even the rights belonging to those that have broken the law, but instead placed outside the law. Contemporary political philosophy also bears numerous influences, in the thinking of Mouffe, Rancière, Nancy, Agamben, Brown, Butler, and more. For performance philosophy, we might engage with Arendt’s performative notion of politics itself, as exemplified in her idea of ‘spaces of appearance’, but also the performativity of thought, as well as the implications of Arendt’s work for phenomenology, governmentality, rights, and ecology. Contributors to this special issue also think through the relevance of Arendt’s work for an anti-colonial and anti-racist political praxis, and for post and non-human political ethics, judgment, and thinking.
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Guignard, Sophie. "The irrational and the shift of human boundaries in contemporary novels by Castillon, Martinez and NDiaye." Bergen Language and Linguistics Studies 10, no. 1 (November 7, 2019): 10. http://dx.doi.org/10.15845/bells.v10i1.1403.
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The infiltration of magical, marvellous and fantastic features in novels which have a realist anchoring is a remarkable trend in contemporary literature by women writers in French. In order to reveal the issues conveyed by such an imagery built on various literary traditions, I examine the representations of the irrational in recent novels by three authors: Eux (2014) and Les Pêchers (2015) by Claire Castillon, Du Domaine des murmures (2011) and La Terre qui penche (2015) by Carole Martinez and Ladivine (2013) by Marie NDiaye. I use the term “irrational” as a comprehensive notion referring to the fantastic and supernatural elements in the novels, including altered perceptions, paranormal and strange occurences, metamorphosis, staging of an alter ego, monstrosity and animality in human beings, life-after-death issues, emphasised relations to nature, and other phenomena and states that can not be explained by logic. Formulations of the irrational theme exploit a literary patrimony, related in particular to the traditions of medieval marvellous literature, the fairy tales, fantastic literature, surrealism and fantastic realism. I find that the irrational articulates a shift in human spatiotemporality towards vegetal states, animality or monstrosity, and initiates an altered approach to the world. A displaced sense of reality stemming from irrational phenomena and perceptions leads to a dislocation of human consciousness which is performed through the narrative voices. The framework for the analysis consists of a feminist and posthumanist conceptualisation which involves the notions of ‘performativity’ and ‘traces’ developed by Butler and Derrida.
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Safariants, Rita. "From Pugacheva to Pussy Riot." Canadian-American Slavic Studies 56, no. 2 (May 10, 2022): 200–230. http://dx.doi.org/10.30965/22102396-05602012.
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Abstract The officially sanctioned popular music genre of Soviet estrada has traditionally been an industry where both male and female performers have been able to achieve high levels of success and public exposure. Meanwhile, within the genres of underground and unofficial popular music – rock, punk, and rap – the male-dominated gender disparity has been much more pronounced. This article investigates the reasons behind this dynamic within a Russo-Soviet context. In dialogue with Judith Butler’s notion of gender performativity as well as recent scholarship on gender in Western rock and punk movements, the present essay considers the evolution of performative strategies of female artists in Russo-Soviet popular culture. The discussion spans the Soviet, late-Soviet, and post-Soviet historical periods, focusing on the gendered performative dimensions in the musical careers of Alla Pugacheva, Yanka Diagileva, and the art-punk collective Pussy Riot, in an effort to account for the glaring dearth of female performers in traditionally “transgressive” popular genres. I present the argument that Russian and Soviet women performers working in rock, punk, and rap, or when forging new directions in estrada, have evolved to mitigate the genres’ prescriptive masculinity by relying on performing “otherness” as a conduit to mass appeal, celebrity status, and acclaim for artistic individuality.
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Costache, Ioanida. "Reclaiming Romani-ness." Critical Romani Studies 1, no. 1 (April 13, 2018): 30–43. http://dx.doi.org/10.29098/crs.v1i1.11.
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Drawing on theories of identity postulated by cultural theorists, scholars of gender identity, and critical race theorists, I explore issues of identity politics and “Otherness” as they pertain to Romani identity, history and activism. By critiquing the latent bifurcation of identity and subjectivity in Judith Butler’s theory of performativity as well as her explicit adherence to universalism, I begin to outline a (post-Hegelian) hermeneutic in which narratives of self enable political processes of self-determination against symbolic and epistemic systems of racialization and minoritization.[1] Roma identity both serves as an oppressive social category while at the same time empowering people for whom a shared ethnic group provides a sense of solidarity and community. In re-conceptualizing, reimagining and re-claiming Romani-ness, we can make movements towards outlining a new Romani subjectivity – a subjectivity that is firmly rooted in counterhistories of Roma, with porous boundaries that both celebrate our diversity and foster solidarity. I come to the subject of Romani identity from an understanding that our racialized and gendered identities are both performed and embodied – forming part of the horizon from which we make meaning of the world. I wish to recast the discourse surrounding Romani identity as hybridized and multicultural, as well as, following Glissant, embedded into a pluritopic notion of history.
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Cnossen, Boukje. "Whose home is it anyway? Performing multiple selves while doing organizational ethnography." Journal of Organizational Ethnography 7, no. 2 (July 9, 2018): 176–85. http://dx.doi.org/10.1108/joe-12-2017-0068.
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PurposeThe purpose of this paper is to nuance the idea of natural access proposed by Mats Alvesson in his description of at-home ethnography, and to offer a performative view of Alvesson’s suggestion that, in at-home ethnography, the ethnographer must work with “the processual nature of the researcher’s self.”Design/methodology/approachThe author offers a reflection on the several years of ethnographic research the author conducted, of which some parts were done in a living community of which the author was part. Being literally at home, as well as being very familiar in the other research settings the author describes, allows for a critical reflection on what “at-homeness” means.FindingsUsing Butler’s notion of performativity, the author argues that “the processual nature of the researcher’s self” Alvesson speaks of, can best be understood as multiple selves, of which some emerge during the research process. The author furthermore problematizes Alvesson’s use of the term “natural access,” by arguing that this kind of access is neither easy, nor devoid of power relations.Originality/valueThis paper uses an experience of conducting research in the home, as well as an experience conducting research in a setting where the researcher arguably blent in well, to question what the “at-home” in at-home ethnography means, and how the researcher can deal with it.
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Pugh, Alexandra. "Scrambling Sex and Gender with Rachilde." Connections: A Journal of Language, Media and Culture 1, no. 1 (November 5, 2020): 21–30. http://dx.doi.org/10.29173/connections13.
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Taking Monsieur Vénus (1884) as its focus, this article expands upon the limited critical discourse connecting the work of Rachilde (1860-1953) to queer theory. Monsieur Vénus and queer theory are mutually illuminative: Butler’s theory of performativity allows us to interpret the unstable bodies in Rachilde’s text, while Monsieur Vénus in turn elucidates, or at least exemplifies, some of the questions at the heart of queer studies. For example: can sex exceed the human body? Can a transgender person live a heteronormative life? What is the relationship between queerness and reproduction? In asking such questions, this article grounds a piece of Decadent, fin-de-siècle French literature in the context of queer, feminist and trans studies, and thereby maps the connections between Rachilde’s work and these contemporary cultural conversations. As the author of Pourquoi je ne suis pas féministe (1928), Rachilde rejected progressive social movements. I therefore borrow Lisa Downing’s notion of the ‘proto-queer’ (Downing, ‘Notes on Rachilde’ 16) to guard against the complete recuperation of Rachilde into the queer canon. Regardless of its author’s positionality, however, I am seeking to frame Monsieur Vénus as part of our queer literary heritage. Monsieur Vénus is more playful and provocative than it is political, but Rachilde succeeds in ‘scrambling’ sex and gender in that the two categories become muddled, unfixed and denaturalized.
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Arruzza, Cinzia. "Gender as Social Temporality: Butler (and Marx)." Historical Materialism 23, no. 1 (March 25, 2015): 28–52. http://dx.doi.org/10.1163/1569206x-12341396.
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This article addresses the notions of gender performativity and temporality in Butler’s early work on gender. The paper is articulated in four steps. First it gives an account of the role and nature of temporality in Butler’s theory of gender performativity. Second, it shows some similarities and connections between the role played by temporality in Butler’s theory of gender performativity and its role in Marx’s analysis of capital. Third, it raises some criticisms of Butler’s understanding of temporality and historicity, focusing in particular on the lack of historicisation of her own categories in bothGender TroubleandBodies that Matter. This deficit is a consequence of the epistemological framework within which she is operating, in particular of her understanding of social practices and relations through the lens of linguistic concepts extrapolated from their theoretical context. The article concludes by referring to Floyd’s and Hennessy’s analyses of the formation of sexual identities as examples of the fruitful historicisation of gender performativity, which also sheds some light on the ‘the abstract character’ of the temporality of gender performativity.
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Patel, Geeta. "Gender Trouble in South Asia." Journal of Asian Studies 79, no. 4 (November 2020): 947–67. http://dx.doi.org/10.1017/s0021911820002399.
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It is the thirtieth anniversary of the publication of Gender Trouble by the feminist philosopher of gender, sexuality, and governmentality, Judith Butler. When Gender Trouble came out in the United States, it hit the stands like a hit; it transformed and unraveled the modalities through which ontologies and epistemologies of gender came to be. This was especially the case with the trouble, the disturbances, the turbulence that Gender Trouble carried along with it. Gender Trouble's thematics sometimes syncopated against familiar habits of belief that were and are carefully nursed and held to one's heart, upending them in sometimes unexpected ways. The concept of “performativity,” for instance, generated a buzz, partly because it unhinged and reoriented several fail-safe, deeply felt materialized beliefs, such as the ontological immutability of gender cohering resolutely and unremittingly in and through an inveterate notion of the biological (belief certainty in the sense that the philosopher Ludwig Wittgenstein might intend as the unnoticed grounding of one's sense of and use of language itself laid in so deeply that it disappeared from immediate purchase). Gender Trouble also asked us to address the seemingly intransigent separations between interiority and exteriority and the obdurate artifice of an “interior core” (psyche, soul, etc.), which, because it was constituted as a priori, meant that people believed it lay beyond being touched or constituted by any social, economic, or political exigencies, “regulations,” or “disciplinary practices” and thus “preclude[d] an analysis of the political constitution of the gendered subject.”
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Barthold, Lauren Swayne. "True Identities: From Performativity to Festival." Hypatia 29, no. 4 (2014): 808–23. http://dx.doi.org/10.1111/hypa.12106.
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Some feminists have criticized Judith Butler's theory of performativity for providing an insufficient account of agency. In this article I first defend her against such charges by appealing to two themes central to Hans‐Georg Gadamer's hermeneutics. I compare her emphasis on the sociohistorical nature of agency with Gadamer's insistence on the historical nature of knowledge, and I examine the significance Butler assigns to repetition and note its affinities with Gadamer's conception of play. In the final part of the article I argue that in spite of providing an adequate account of agency, Butler's theory of performativity provides no way to allow us to evaluate performances. I show how Gadamer's account of festival, which builds on his concept of play, is useful in helping us make sense of how we might delineate true from false performances, and thus identities.
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Villarreal, Julio Francisco. "Voluntarismo heurístico e historicidad en los estudios de género: un debate epistémico = Heuristic Voluntarism and Historicity in Gender Studies: An Epistemic Debate." EUNOMÍA. Revista en Cultura de la Legalidad, no. 16 (March 29, 2019): 129. http://dx.doi.org/10.20318/eunomia.2019.4695.
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Resumen: El presente trabajo provee a indagar respecto a las condiciones metodológicas y epistémicas que limitan la praxis heurística de todo aquel que se vea llamado a indagar sobre los estudios de género. Se sugiere aquí que en tanto el investigador social pretenda cuestionar los límites valorativos, axiológicos y gnoseológicos sobre los cuales se instituye la tradición de los estudios de género, tal investigador deberá poder renunciar, al menos iniciáticamente, a toda pretensión de cientificismo para su obra (a tal fin se apelará, cual ejemplo paradigmático, a la noción de la “performatividad de los cuerpos” de Butler). En tal sentido, se sugerirá que, a fin de cuentas, el costo de oportunidad teórico relativo a tal cuestionamiento puede ser exorbitantemente alto en tanto el mismo suponga coartar la libertad heurística del investigador de referencia. A lo largo de este ensayo, el autor no apelará a bibliografía filiada en el corpus teórico de los estudios de género, sino a contribuciones de la epistemología y la sociología del conocimiento. Por otro lado, tampoco se proveerá aquí a debatir sobre los derechos de aquellos grupos a cuyo análisis se abocan los estudios de género sino, por el contrario, a consideraciones epistemológicas relativas en tal disciplina.Palabras clave: Epistemología de los estudios de género, sociología del conocimiento, performatividad de los cuerpos, voluntarismo de los estudios de género, historicidad de los estudios de género.Abstract: The present work is intended to investigate the methodological and epistemic conditions that may constrain the heuristic realms of anyone who is devoted to the gender studies. It is suggested here that as long as the social researcher intends to question the values, mindset and gnoseological constructs on which the tradition of gender studies is instituted, such a researcher should be able to renounce, at least initially, to any claim of scientism to his work (to such an end, the author will appeal, as a paradigmatic example, to the notion of the "performativity of the bodies" of Butler). In such a sense, it will be suggested that, in the end, the theoretical cost of opportunity related to the abovementioned inquiry can be exorbitantly considerable as long as it supposes restricting the heuristic freedom of the researcher. Throughout this essay, the author will not appeal to bibliography related to the theoretical corpus of gender studies, but to contributions from epistemology and sociology of knowledge. On the other hand, the current essay is not grounded to discuss the rights of those groups which the gender studies attention is focused on, but, on the contrary, it will provide to exert some relative epistemological considerations within such a discipline.Keywords: Epistemology of gender studies, sociology of knowledge, performativity of bodies, voluntarism of gender studies, historicity of gender studies.
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Nakamura, Lisa. "Cyberrace." PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1673–82. http://dx.doi.org/10.1632/pmla.2008.123.5.1673.
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Remember cyber? surely one of the most irritating and ubiquitous prefixes of the nineties, cyber quickly became attached to all kinds of products (the Sony Cybershot camera), labor styles (cybercommuting), and communicative practices (cyberspace) that have now become so normalized as already digital that the prefix has dropped out of the language. Photography, work, and social discourse no longer need be flagged as cyber since we can more or less assume that in postindustrial, informationalized societies they usually are. Cyber migrated widely during the nineties, but the legal scholar Jerry Kang's article “Cyber-race,” which appeared in the Harvard Law Review in 2000, was the first to attach this prefix to race. Kang answers the question “can cyberspace change the very way that race structures our daily lives?” with an affirmative: “race and racism are already in cyberspace.” He then proposes three potential “design strategies” for lawmakers to deal with the problem of race and racism in cyberspace: the abolitionist approach, in which users take advantage of the Internet's anonymity as a means of preventing racism by hiding race; the integrationist approach, in which race is made visible in online social discourse; and the most radical one, the transmutation approach. Strategies for transmuting race in cyberspace reprise some of the discourse about identity and performativity that was often associated with Judith Butler—“it seeks racial pseudonymity, or cyber-passing, in order to disrupt the very notion of racial categories. By adopting multiple racialized identities in cyberspace, identities may slowly dissolve the one-to-one relationship between identity and the physical body” (1206).
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Paavolainen, Teemu. "Magnitudes of Performativity." Nordic Theatre Studies 30, no. 2 (March 13, 2019): 78–98. http://dx.doi.org/10.7146/nts.v30i2.112953.
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The article presents the Trump presidency and the human-derived geological epoch of the Anthropocene as two arguable extremes among current notions of ‘performativity’: (1) a traditionally vertical model based on individual action and antagonism – where ‘facts’ matter less than ‘making things great’; and (2) the more extended, horizontal human performance of things like global warming (“All the world’s a stage”). Drawing freely on George Lakoff and Timothy Morton, it is argued that these models differ fundamentally in ‘magnitude’: where the one is direct, singular, vertical, and fast, the other is systemic,plural, horizontal, and slow beyond human perception. With Judith Butler and Naomi Klein, it is also argued that to actually confront the twin crises at issue, we need to acknowledge the kind of ‘plural performativity’ – of repetition, norms, and dissimulation – that brought them into being in the first place.
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Ismailee, Sania. "Polemical encounters: Ambedkar and Savarkar on Muslim performativity." Performing Islam 8, no. 1 (December 1, 2019): 107–27. http://dx.doi.org/10.1386/pi_00007_1.
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Abstract The concept of Muslim performativity and the perception of the image of an ordinary Muslim are the central themes of this article. It outlays V. D. Savarkar's and B. R. Ambedkar's views on Muslim performativity ‐ performance of Muslimness or Islamic religiosity. It primarily engages with Savarkar's Essentials of Hindutva (1923) and Ambedkar's Pakistan or the Partition of India ([1945] 2013) and extracts their comments on Muslimness with reference to Muslim invasions and alleged divided loyalty. Apart from highlighting the convergences and divergences in their views on Muslim performativity, it describes their debate as performance. Further, this article argues that a hangover of Savarkarite and Ambedkarite comments on Muslim performativity permeates through the legal production of the Muslim community. By discussing the Muslim community's multifarious attempts to reform family law, this essay engages with the lived reality of Muslim performativity to stress the heterogeneity of Muslimness. By posing the lived reality of Muslim performativity against the dominant discourse in the aforementioned thinkers' works, it contributes a novel approach towards the conceptualization of performativity and departs from Judith Butler's concept of performativity.
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Berger, Robert L. "Manfred’s Quest as Limit Test: A Genealogy of Knowledge, Exile, and Gender." Interdisciplinary Literary Studies 24, no. 1 (March 1, 2021): 114–41. http://dx.doi.org/10.5325/intelitestud.24.1.0114.
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ABSTRACT This article explores Lord Byron’s Manfred as a contemporary text with the critiques of Michel Foucault, Giorgio Agamben, and Judith Butler. I argue that Manfred’s quest operates as a form of “limit test,” an approach to knowledge that subverts or questions what is taken to be “universal.” This article traces a genealogy of Byron and Foucault’s shared interest in finding a way out for carceral figures who are confined by guilt and “Enlightened” forms of knowledge. Referencing Agamben’s Homo Sacer and the potentiality of being, I suggest Manfred tests the limits of the “truth of being” in its relationship to Power and deconstructs Manfred’s exile from human society. I connect Manfred’s representation of gender and sexuality to Judith Butler’s work in Gender Trouble, wherein she describes homosexuality, bisexuality, and gender mobility as a form of “incest” to society. I invoke Judith Butler’s conception of gender performativity as new way to understand the Manfred/Astarte relationship and link gender with the “truth of being” itself. Read this way, Byron’s work entangles contemporary notions of gender, exile, and knowledge through tropes of incest, sin, love, and resurrection and death, and this positions his work as a confluent site of discourses in biopolitics.
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Janicka, Iwona. "Hegel on a Carrousel: Universality and the Politics of Translation in the Work of Judith Butler." Paragraph 36, no. 3 (November 2013): 361–75. http://dx.doi.org/10.3366/para.2013.0099.
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The purpose of this article is twofold. First, it aims to confront Hegel's ideas on the interaction between universality, particularity and singularity with those of Butler and to show that Butler's universal is dynamic and infinitely self-renewing. Second, it aims to engage with Butler's politics of translation and to demonstrate how a Levinasian perspective on Hegelian dialectics changes the functioning of the universal. In relation to this claim, the article will also demonstrate how the structural failure in translation and performativity allows for the constant circulation of the universal and, as a consequence, brings about social and political transformation.
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Magnus, Kathy Dow. "The Unaccountable Subject: Judith Butler and the Social Conditions of Intersubjective Agency." Hypatia 21, no. 2 (2006): 81–103. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01095.x.
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Judith Butler's Kritik der ethischen Gewalt1 represents a significant refinement of her position on the relationship between the construction of the subject and her social subjection. While Butler's earlier texts reflect a somewhat restricted notion of agency, her Adorno Lectures formulate a notion of agency that extends beyond mere resistance. This essay traces the development of Butler's account of agency and evaluates it in light of feminist projects of social transformation.
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Supardan, Admiral Indra. "Gender Performativity in Stieg Larsson’s 'The Girl with The Dragon Tattoo'." Rainbow: Journal of Literature, Linguistics and Cultural Studies 9, no. 1 (April 30, 2020): 103–15. http://dx.doi.org/10.15294/rainbow.v9i1.37993.
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This study investigates the issue of gender performativity in Stieg Larsson’s novel The Girl With The Dragon Tattoo (2008). Judith Butler’s ideas on gender performativity serve as the theoretical framework of this study. A qualitative method is preferred as the study is heavily permeated with textual-analysis. The main objective of this study is to center on Larsson’s presentation of Lisbeth Salander in challenging boundaries in terms of how gender is presented and perceived. The study also provides analysis of other female characters, to see if they challenge or conform to the socially accepted notions of what it means to be a woman. The findings show that Stieg Larsson imbues his novel with the idea of challenging female stereotypes by developing fluidity within Salander’s gender identity. Larsson further ingrains gender performativity in all the female characters – they perform their gender identities differently in order to protect themselves from male-dominated society. However, the novel proves to be paradoxical as it shows an incessant reference to female characters in inferior circumstances.
Keywords: Feminism, Gender, Identity, Performativity, Stereotypes
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Karhu, Sanna. "Judith Butler's Critique of Violence and the Legacy of Monique Wittig." Hypatia 31, no. 4 (2016): 827–43. http://dx.doi.org/10.1111/hypa.12271.
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Although Judith Butler's theorization of violence has begun to receive growing scholarly attention, the feminist theoretical background of her notion of violence remains unexplored. In order to fill this lacuna, this article explicates the feminist genealogy of Butler's notion of violence. I argue that Butler's theorization of violence can be traced back to Gender Trouble, to her discussion of Monique Wittig's argument that the binary categorization of sex can be conceived as a form of discursive violence. I contend, first, that Butler starts to develop her notion of “gender violence” on the basis of her reading of Wittig, and second, that Butler's more recent writings on military violence and the ethics of nonviolence build on her early interpretation of Wittig. On the basis of my reading, I suggest, in contrast to recent criticism, that Butler's later critique of violence is not at odds with but rather expands upon her prior work on violence.
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Kim, Jeong-Eun, and Hyun-Kun Shin. "Becoming Deconstructive Subject of Sports Viewed from Butler's 'Performativity' Concept." Korean Journal of Physical Education 56, no. 1 (January 30, 2017): 43–51. http://dx.doi.org/10.23949/kjpe.2017.01.56.1.4.
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Halsema, Annemie, and Lilian Halsema. "Jobs that matter: Butler's “performativity” in the Dutch police force." Critical perspectives on international business 2, no. 3 (July 2006): 230–43. http://dx.doi.org/10.1108/17422040610682809.
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Helberg, Natalie. "Insubordinate Plasticity: Judith Butler and Catherine Malabou." Hypatia 35, no. 4 (2020): 587–606. http://dx.doi.org/10.1017/hyp.2020.34.
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AbstractIn this article, I explore the relationship between performativity, as it appears in Judith Butler's work, and plasticity, as it appears in the work of Catherine Malabou. I argue that these concepts are isomorphic. Butler and Malabou both hold that resistance to contemporary forms of power, or “insubordination,” is contingent on a subject's ability to become other than what it is; Butler articulates this ability in terms of performativity, and Malabou articulates it in terms of plasticity. I reveal the social-constructivist dimension of Malabou's work while also making apparent the extent to which Butler's work, contrary to her own way of conceptualizing it, and hence surprisingly and uneasily, presupposes a biologically basic capacity for change. Plasticity is this biologically basic capacity. Both thinkers affirm the idea that insubordinate forms of transformation can be impeded by the discourse that conditions what a subject can think. I suggest that this is an insight that must be heeded, even as I seek to affirm a form of plasticity beyond discourse.
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Godoy, Elsa Daniela. "Educación Sexual Integral y Performatividad: un Abordaje Filosófico Feminista." Educação Formação 6, no. 2 (March 17, 2021): e4448. http://dx.doi.org/10.25053/redufor.v6i2.4448.
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A philosophical analysis of J. Butler's performativity in relation to Comprehensive Sexual Education is carried out, which allows us to understand the implicit heterosexist matrix of intelligibility in pedagogies of gender and sexuality. In the context of implementation of Comprehensive Sexual Education in Argentina and based on research on its achievements and challenges, it is argued that this gender perspective contributes to overcoming binary approaches that stigmatize sexual diversity. As an interdisciplinary contribution to the educational field, reflection from performativity enhances changes in curricular content that Queer and feminist movements demand, as well as liberating displacements of the norms in school practices.