Butler's Essay 'Imitation And Gender Insubordination'

Gender can be defined as “sex roles” which are conditions that one considers to be for men or women. People tends to mistake it with sex or thinks that they are both the same. We discussed about the patterns of gender which how the authors of The Kaleidoscope of Gender describes it as “regularized, prepackaged ways of thinking, feeling, and acting” (Spade and Valentino,2017). It becomes an identity for us. We believe that there is and can only be two genders, being masculine for men and feminine for women. These roles has been forced onto us since birth: blue for boys, and pink for girls. You can see the roles being push onto a person throughout one’s life, but we don’t notice it since it’s “normal” to us.

In Octavia Butler’s Dawn the idea of gender is deconstructed and reformed from the typical human’s definition. Often people do not consider the role of gender in society today. Usually the first thing one notices when meeting someone new is their gender or their presumed gender. However, there becomes a problem when the person whose gender we perceived identifies as a different gender. Butler forces the reader to examine how they judge and perceive gender. While the ooloi are actually “its” their personalities seem to imply a certain gender. The transgender community often brings up this issue because these assumptions of gender based on our judgments of what defines a male and what defines a female can skew how a transgender person is treated and addressed. In Chapter One of Gender Through the Prism of Difference by Anne Fausto-Sterling, the idea of expanding the number of genders based on one’s biological differences is examined through the five sexes theory. By now the concept of gender being defined solely by one’s biology has mostly been left in the past but the question remains of how do we truly define gender? How does being outside of the social norms that Michael Warner talks about cause us to feel shame when discussing our gender and our perceptions of gender? In this essay, I will argue that preconceived notions of gender create shame when a person’s own perception of their gender does not fit the social norms. This stigma around the limited and strict definitions

In Stephen Mays’ essay “What about Gender Roles in Same-sex Relationships?” published in They Say I Say, the author discusses how people often assign gender roles automatically, even with gay and lesbian couples. Mays stresses the concept of femininity and masculinity, and also shows the difference in their roles, supports them with vivid imagery, and gives a rare example of gay male preferences, all while using the correct diction when referring to personal experiences. Although the author reiterates gender roles and their effect on same-sex relationships, he gives clear examples that support the idea of masculine or feminine qualities.

Judith Butler argues in Performative Acts and Gender Constitution that gender is created by the act of performance and is constructed through the body. She states “gender identity is a performative accomplishment compelled by social sanction and taboo” (Butler 416).The concept of the display of gender through the act of performance is perpetuated within the play Latins in La-La Land by Migdalia Cruz specifically through the characters Sid/Rita and Lorenzo. Both of these characters put on gender and take it off throughout the play, through persona and through representative dress. Gender is a historical space and construction which argues that bodies become gendered through a “legacy of sedimented acts” (Butler 523). The legacy of sedimented acts consists of the habitual performative acts of a person and the build-up of gender norms that produce the outcome of a natural sex. Through this legacy of sedimented acts, gender is reworked within Latins of La-La Land through subversive performing acts by the characters Sid/Rita and Lorenzo.

These physical expressions through “processes of non-traditional literacy production, gender/race/sexuality articulation,” is presented in ways that outside of these spaces, would be “definitionally obscene,” much like the harassment and violence that transgender and gay individuals, along with drag queens, often encountered in 1980s hegemonic spaces (Gregory 28). “The irony is that the very real experience of difference, the heightened awareness that it brings, should help to create a disguise so immaculate that nothing remains but the in-joke of one 's private knowledge,” proving that successful gender performances are not innate nor natural, arguments that 1980s heteronormativity argued to justify oppressive power hierarchies (Hentzi 36). These performances exposed the truth of outside society’s discomfort and defensiveness of their beloved and seemingly meaningful gender, race, sexual, and class boundaries. This is because “if men can be women, blacks can be white, the poor can be rich, and gays or lesbians can be straight (and vice versa in each of these examples), then the necessity and inevitability of these boundaries become suspect,” and these boundaries can indeed be crossed and ceased (Schacht 148). 1980s balls ultimately could prove that “hierarchical borders that previously demarcated superiority and subordination would lose their omnipotent meaning” and these

Judith Butler (Gender Trouble, 1990) argues that rather than sex determining gender-gender determines sex. Sex is shaped by gender discourses which give us scripts to perform according to whether we are biologically classed as male or female. The continual performance of these scripts on a daily basis is what makes us male or female. The classic example of this is the third sex, yes, the third sex and that is the transgender( born male in a female’s body or

In this short story, Butler deconstructs the socially constructed sex and gender roles of men and women by placing female characters as the source of power and domination. As “ the lic government official in charge of the Preserve, and thus the important of her kind to deal directly with Terrans” (Butler 1), the female alien, T’Gatoi, holds a strong and powerful role in the story. Her political position not only puts her beyond her male counterpart but allows her to hold power and privileges that are usually given to men. With T’Gatoi, Butler's several of masculine and feminine role, allows her to display a gender that contradicts the creature's sex. Furthermore, by stepping outside gender binaries, the monstrosity that occurs is the grotesque

On October 6, 2017, I woke up and for an hour I thought about what social norm I was going to challenge for this assignment. After giving it careful thought, I decided I was going to challenge the gender roles, identity, and stereotypes that society has. “Gender roles are sets of behavioral norms assumed to accompany one’s status as male or female.” (Conley, 2017, p.133) I was going to challenge this with my clothing. So, I decided I was going to dress up like a man for the whole day. Gender roles are cultural and personal. They determine and control how males and females should think, speak, dress, and interact within the context of society. In the United States, these gender roles are

The body once established as “natural” and binary sex an unquestioned “fact,” is the alibi for constructions of gender and sexuality, which can purport to be the just-as-natural expressions or consequences of a more fundamental sex. It is on the foundation of the construction of this natural binary sex that the binaries of gender and heterosexuality are likewise constructed as innate. This narrative “gives a false sense of legitimacy and universality to a culturally specific and, in some cases, culturally oppressive version of gender identity” (Butler 329). Without a critique of sex as produced by discourse, Butler claims, the distinction of sex and gender used to contest the constructions of binary gender and enforced heterosexuality would be wholly ineffective.

There are several sources that tell a person how to be a man or woman. Science tells us by recognizing the X or Y chromosomes. The media shows us through the physically ideal celebrities that grace the covers of magazines and flaunt their bodies in commercials. Sports, wrestling, cars, and blue for the boys. Dresses, make-up, painted nails, and pink for the girls. All of these sources, as well as others, have evolved into an expectation that has become institutionalized within society. This expectation, is placement and belonging into the binary system of person: the man or the woman. In Anne Fausot-Sterling's acrticles “The Five Sexes” and the “The Five Sexes, Revisited”, the

Sex and gender categories, such as “men,” “women,” “masculine” and “feminine,” have been in place for generations. They are socially constructed categories and expectations assigned to children at birth, in order to regulate and shape them into this “ideal” heterosexual being. Men are expected to embrace masculine qualities, while women are required to be feminine and submissive to the male authority. Monique Wittig’s article, “One is Not Born a Woman” observes how the class of “women” is not “natural,” but is created by the society and framed by the male ideology, as a way of producing a clear gender difference between men and women. J. M Coetzee reinforces Wittig’s beliefs by sharing similar ideas of hegemonic masculinity and male dominance

For queer theorists, identity has been constructed through performativity, which is based on the opinion of Judith Butler. Butler (1990, p.25) believed that “ there is no gender identity behind the expression of gender; that identity is performatively constituted by the very ‘expressions’ that are said to be its results.” In other words, there is not any factor to produce the identity, but identity creates itself through performativity. One should imitate and repeat the gender expression again and again according to norms, then the identity will be constituted, which also shows that identity is fluid and constructed. Moreover, Jenkins (2000,2004) stated that a dynamic social process generates identity, so identity is not static but fluid and dynamic.

Judith Butler’s essay, “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory” calls for a new way to view sex and gender. Butler argues that “gender identity is a performative accomplishment compelled by social sanction and taboo”. In this case, gender is not constituted by what one is, but rather what one does; the performative acts constitute gender. In other words, gender is not the starting place; it is an identity repeatedly constructed throughout time. Butler is trying to show us a feminist perspective of sex and gender. She attempts to follow Beauvoir’s path in a fight against society norms.

Judith Butler questions the belief that behaviors of either sex are natural. She proposes a rather radical theory that gender is performative and that sex is constructed. When gender is being performed, it means that someone would take on a role, acting in such a way that gives society the idea of their gender and constructs part of their identity. To be performative means that we produce a series of effects.Gender is constructed and is not in any way connected ‘naturally’ to sex.

“Performative utterances do not describe but perform the action they designate” (Culler 96), and the repetitive assertions from the white man placed upon the black man results in him being inferior. The white man’s performativity about Butler’s idea of gender trouble, that gender, sexuality and biological makeup are not correlated. It also refers to oppressions of genders that do not fit the norm of society. For Butler gender acts “as a strategy for survival within compulsory systems, gender is performative with