Theories
Butler characterizes gender as the effect of reiterated acting, one that produces the effect of a static or normal gender while obscuring the contradiction and instability of any single person's gender act. This effect produces what we can consider to be "true gender", a narrative that is sustained by "the tacit collective agreement to perform, produce, and sustain discrete and polar genders as cultural fictions is obscured by the credibility of those productions – and the punishments that attend not agreeing to believe in them." The performative acts which Butler is discussing she names to be performative and within the larger social, unseen world, they exist within performativity.
On Butler's hypothesis, the socially constructed aspect of gender performativity is perhaps most obvious in drag performance, which offers a rudimentary understanding of gender binaries in its emphasis on gender performance. Butler understands drag cannot be regarded as an example of subjective or singular identity, where "there is a ‘one’ who is prior to gender, a one who goes to the wardrobe of gender decides with deliberation which gender it will be today". Subsequently, drag should not be considered the honest expression of its performer’s intent. Rather, Butler suggests that what is performed "can only be understood through reference to what is barred from the signifier within the domain of corporeal legibility".
Butler suggests in both "Critically Queer" and "Melancholy Gender", that the child/subject's ability to grieve the loss of the same-sex parent as a viable love object is barred. Following from Sigmund Freud’s notion of melancholia, such a repudiation results in a heightened identification with the Other that cannot be loved, resulting in gender performances which create allegories of, and internalize the lost love that the subject is subsequently unable to acknowledge or grieve. Butler explains that "a masculine gender is formed from the refusal to grieve the masculine as a possibility of love; a feminine gender is formed (taken on, assumed) through the fantasy which the feminine is excluded as a possible object of love, an exclusion never grieved, but ‘preserved’ through the heightening of feminine identification itself".
Amelia Jones proposes that this mode of viewing gender offered a way to move beyond the theories of the gaze and sexual fetishism, which had attained much prominence in academic feminism, but which by the 1980s Jones viewed as outdated methods of understanding women's societal status. Jones believes the performative power to act out gender is extremely useful as a framework, offering new ways to consider images as enactments with embodied subjects rather than inanimate objects for men's viewing pleasure.
Read more about this topic: Gender Performativity
Famous quotes containing the word theories:
“The egoism which enters into our theories does not affect their sincerity; rather, the more our egoism is satisfied, the more robust is our belief.”
—George Eliot [Mary Ann (or Marian)
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—J.B.S. (John Burdon Sanderson)
“The real trouble about women is that they must always go on trying to adapt themselves to men’s theories of women, as they always have done. When a woman is thoroughly herself, she is being what her type of man wants her to be. When a woman is hysterical it’s because she doesn’t quite know what to be, which pattern to follow, which man’s picture of woman to live up to.”
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