Judith Butlers Concept of Gender Performativity - Essay Example

Judith Butler’s Concept of Gender Performativity

Performativity refers to the capacity of communication and speech to consummate an action, act, or construct and perform (Chambers & Carver 2007). Some philosophers and theorists including Judith Butler claim that speech acts and commonplace communications are performative as they aid to define identity. As such, performativity changes the notion that identity is the source of most secondary actions such as gestures and speech. Furthermore, performativity embarks on constructing identities which are triggered by performative actions, gestures, and behaviours. Initially, Butler coined the gender performative concept in the book “Gender Trouble” (Butler 2007). In particular, the book features theories on gender performance and gender identity based on destabilizing gender categories and identities. Butler’s gender theories are related to Austin’s work on performance concept. In addition, her work is similar to that of Derrida on repetition and reiteration. Butler considered the meaning of signifier “woman” in connection to the post-structuralism point of investigating signifiers and signs. In these considerations, this essay aims to analyse Butler’s concept of gender performativity in connection with examples of female and male performance art.

Origin of Gender Performativity Concept

Butler’s concept of gender performativity was founded on the basis that identity cannot be determined biologically. In her book, Butler claims that one is not born a female but rather becomes one. As such, gender is deemed a social construct that is centred on the biological or “natural” differences between the sexes. In addition, Butler makes use of Foucault’s notions on the construction of self-identity to establish gender performative concepts (Butler 1988). In this context, Butler argues that gender should be considered as something that is flexible in nature, hence; open to change. In support of Foucault's work, she posits that the body is viewed as a prison of sexuality. Additionally, Butler argues that society is inscribed on people external physical bodies as well as their internal gender and sexuality. With these claims and arguments, her concept of gender performativity can be considered to have been constructed basing on the idea that gender identity is played or performed by societal reflections.

Butler’s theory is constructed on the idea that discourses the impact of people’s behavior (Butler 2007). In this case, gender performance is considered a habit continually performed and acted rather than being a part played and developed by an individual creatively. Through her examination of various drugs performance, Butler argues that the performativity role that individuals are given to perform can be challenged through the use of creativity. Butler’s main perceptions are centred on the concept that gender perception is a deep-rooted psyche that plays out of behavior and identity, hence; a clear link between sexuality, gender, and sex does not exist. Consequently, gender performative roles depend on reiteration and repetition in developing an identity which can potentially result in instability.

Butler’s model of gender performativity arose out of the broader context of feminist and feminism movements deliberated within the framework of social, political, and theoretical discussions on feminist speeches. In particular, the ground breaking feminist movement took place in the 1800s and 1850s and challenged the women status rather than sexualities or gender roles of women in the society. The second feminism movement that occurred proclaimed that questions of sexuality and sex roles needed to be evaluated in connection to both political and personal spheres (Butler 1988). Notably, this movement addressed gender inequality, criticized patriarchy, identified challenges of androcentrism, and in addition, asserted that gender and sex are biologically assigned. The third upsurge of feminism movement occurred during the late 19th century and still prevails presently. Thus, the existing feminist concept attempts to elucidate and deconstruct sexuality and gender roles. Notably, gender is considered a social construction that has been established through history, thus; biological aspects do not designate gender. Besides, not all cultures believe in the existence of two genders. According to Butler (2007), traditionally sexuality and gender are viewed as heterosexuality and normalized societal behavior. As such, heterosexuality is determined by the binary perceptions of gender and sex as female and male.

Gender Performativity about Male and Female Performance Art

Butler utilizes post-structuralism theories to develop the relation between gender and performativity concept and performance art of both male and female. She also applies feminist perspectives to theorize and explore the female gender and male gender roles. In doing so, Butler combines the concept of performativity with that of gender identity with her main points being gender roles are founded on the constructed gender identity (Butler 2007). Remarkably, this is an effective performance “acting out” of either being gendered as a female or a male. In this case, such gender performance implies that individuals are tied to particular gender roles that determine their performance art. According to Chambers and Carver (2008), the idea of normal gender roles that is male or female is restrictive since a person’s gender behavior or presentation can sometimes have an opposing aspect resulting in instability in the male or female performance art. In this context, Butler considers the notion of true gender as challenging since qualities of gender are merely portions of a broad account that emphasizes expectations and stereotypes of the meaning of male or female.

Butler argues that bodies are originally indeterminate gender although they are destabilized further to realize gender performativity as well as by other facets such as sexuality, class, and race that only destabilize the performative. According to Butler, the arts which are performed indicate a broad social, behavioural performance in society and culture, although it is not renowned for “performance.” Instead, behaviours and performances of males and females are rooted in the individual’s psyche and their appearance to society.

To illustrate the concept of gender performativity about female performance art, Butler wrote an essay entitled “Imitation and Gender Insubordination” although she did not want to be deemed a “Lesbian” theorist. However, at times she realized that labels might be significant. Besides, she insisted that no category captures one’s identity hence if a signifier brands an individual as “lesbian, black, or woman” this cannot provide sufficient account of one’s identity (Salih 2007). In light of this, Butler’s essay is an example of female performance art in reaction to social and political effects of gays and women liberation. It also presents thoughts of her new account of female identity in stimulating the liberation of essentialism. Through this work, Butler endorses the notion that gender is performative since it challenges the ideas of gender roles and self-identity. Butler’s ideas show the role of women in performing a gender personality through the deconstruction of her lesbian personality. The presented performance art challenges the notion of gender performativity. Furthermore, through writing as the performance art, Butler challenges the subject “I” claiming that it cannot be used as a totalization of identity hence the lesbian identity is unknown. This is because all lesbians do not share the same traits and in the same manner heterosexuals do not share similar individualities. Thus, the terminology lesbian can be a signifier but what it denotes is undefined. Butler also suggests that sexuality cannot be captured or revealed in performance art because any person who can write or speak can as well use the signifier “I.” However, the signifier is out of control in understanding the perception of the receiver. Therefore, it is important to have signifying terms and labels in performance art to define sexuality.

Butler‘s models of gender performativity can be utilized to study the literal presentation of male and female roles. For instance, in Helen Zahavi’s “Dirty Weekend” fluidity of gender performativity is represented. In particular, the primary female character is represented in the novel as a weak and victimized. As the novel progresses, gender role of the main female character assigned by the wider society is challenged as she is identified as weak, passive, and docile. In addition, she is ignored by the men and the entire society (Zahavi 1991). Towards the end of the Zahavi’s novel, Bella, the main female character is not willing to perform feminine gender roles since she is not prepared to be victimized or abused. In this situation, the new Bella is deemed a fluid in her acting roles as she assumes the characteristics of female gullibility externally because she is undergoing through “masculine” aggression and anger internally.

The flexibility of gender performativity can influence the gender allotted roles to particular characters. For instance, in Jeanette Winterson's novel, the speaker’s gender is unrevealed. As such, there is a fluidity of the narrator’s gender depending on the mood of the character. For instance, Louise is the narrator’s desire and love hence he or she is positioned as a female. In addition, to understand resolution to Louise’s sickness, male or female perspectives were adopted because the doctor could be either a female or male (Winterson 2011).

Conclusion

In conclusion, despite the notion that Butler’s concept of gender performativity is questioned and criticized; it is significant in raising critical issues around identity and performance. In particular, gender performativity provides a major connection in hypothetical feminist agendas within the context of postmodernism and feminism speeches. In addition, Butler’s concept outlines the issues of destabilizing classifications of gender and sex.

Butler’s model of gender performativity arose out of the broader context of feminist and feminism movements deliberated within the framework of social, political, and theoretical discussions on feminist speeches. In particular, the ground breaking feminist movement took place in the 1800s and 1850s and challenged the women status rather than sexualities or gender roles of women in the society. The second feminism movement that occurred proclaimed that questions of sexuality and sex roles needed to be evaluated in connection to both political and personal spheres (Butler 1988). Notably, this movement addressed gender inequality, criticized patriarchy, identified challenges of androcentrism, and in addition, asserted that gender and sex are biologically assigned. The third upsurge of feminism movement occurred during the late 19th century and still prevails presently. Thus, the existing feminist concept attempts to elucidate and deconstruct sexuality and gender roles. Notably, gender is considered a social construction that has been established through history, thus; biological aspects do not designate gender. Besides, not all cultures believe in the existence of two genders. According to Butler (2007), traditionally sexuality and gender are viewed as heterosexuality and normalized societal behavior. As such, heterosexuality is determined by the binary perceptions of gender and sex as female and male.

Gender Performativity about Male and Female Performance Art

Butler utilizes post-structuralism theories to develop the relation between gender and performativity concept and performance art of both male and female. She also applies feminist perspectives to theorize and explore the female gender and male gender roles. In doing so, Butler combines the concept of performativity with that of gender identity with her main points being gender roles are founded on the constructed gender identity (Butler 2007). Remarkably, this is an effective performance “acting out” of either being gendered as a female or a male. In this case, such gender performance implies that individuals are tied to particular gender roles that determine their performance art. According to Chambers and Carver (2008), the idea of normal gender roles that is male or female is restrictive since a person’s gender behavior or presentation can sometimes have an opposing aspect resulting in instability in the male or female performance art. In this context, Butler considers the notion of true gender as challenging since qualities of gender are merely portions of a broad account that emphasizes expectations and stereotypes of the meaning of male or female.

Butler argues that bodies are originally indeterminate gender although they are destabilized further to realize gender performativity as well as by other facets such as sexuality, class, and race that only destabilize the performative. According to Butler, the arts which are performed indicate a broad social, behavioural performance in society and culture, although it is not renowned for “performance.” Instead, behaviours and performances of males and females are rooted in the individual’s psyche and their appearance to society.

To illustrate the concept of gender performativity about female performance art, Butler wrote an essay entitled “Imitation and Gender Insubordination” although she did not want to be deemed a “Lesbian” theorist. However, at times she realized that labels might be significant. Besides, she insisted that no category captures one’s identity hence if a signifier brands an individual as “lesbian, black, or woman” this cannot provide sufficient account of one’s identity (Salih 2007). In light of this, Butler’s essay is an example of female performance art in reaction to social and political effects of gays and women liberation. Read More