$header_url = url("taxonomy/term/".$category_belong_tid, array('absolute', TRUE)); Nevertheless she insists that the ‘fixitivity’ of categories must be challenged and that no category captures a person’s identity; she goes on to say that if a signifier labels a person as ‘woman/black/lesbian’ this still doesn’t have sufficient meaning to give a definitive account of a person’s identity (Salih 2004 119). Butler wants identity to be both unified and fluid, and she promotes the idea that gender is performative and can subvert and challenge notions of self-identity and gender roles, nevertheless gender is “troublesome” (Salih 2004 p120).
Claiming that “Identity is performatively constituted”, Judith Butler in her path breaking Gender Trouble (1990) formulated a postmodernist notion of gender, in line with the deconstructive ethos and contradictory to the traditional notion’ , that genders are fixed categories. There is also a consideration of the effect and significance of the gender performativity in literary texts.The initial starting point for Butler’s work is that gender identity cannot be biologically determined. She states that an individual in drag is not ‘one’ prior to gender performance, who then decides to adopt the ‘wardrobe’ of a particular gender; as such drag is not an ‘honest expression’ of the performer’s intent. Although drag performances are superficially a presentation of gender binaries, it is more useful to construe the drag act a hyper-masculine or hyper-feminine gender performance. 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. Registered office: Venture House, Cross Street, Arnold, Nottingham, Nottinghamshire, NG5 7PJ.
The modern and current feminist theory prefers to deconstruct and demystify gender roles and sexuality.
Whereas the female Bella shirks away from violence and “stays a away from pain”, once she adopts the gender role of the male avenger she is not afraid of violence and is ready to accept a little pain if it means she will exact revenge and punishment on the male aggressors and transgressors of her female gendered self. [iii] Butler thinks that gender is performative which sees gender is the effect of a series of acts, how we act and walk and speak and talk in ways that consolidate an impression of being a man or being a woman, we have to nominate ourselves as either male or female, which means, it is constructed through multiple acts of gender practice. The coming out of closet reinforces the existence of the ‘closet’.
Butler challenges the notion of what constitutes a ‘natural’ woman and the suggestion that this can only be construed in the completion of binary opposition in that one can only feel like a ‘natural woman’ if it is in relation to a man (Butler 1990 p128).
She uses binary oppositions to explain that it is heterosexuality which defines the understanding of the other supplementary term homosexuality; however this is only in relation to a homophobic discourse whereby heterosexuality is privileged as binary and homosexuality is the derived or supplementary term. This paper will examine how Butler’s gender performance theories originated in a wider context of the feminist movement and discourse; whereby Butler moved away from the essentialist and centralized ideology of feminism and went on to encompass ideas of ‘Queer Theory’. A key element of gender performativity is the iteration of the act, “Performativity must be understood not as a singular or deliberate “act,” but, rather, as the reiterative and citational practice by which discourse produces the effects that it names” (Butler 1990 2). This wave of feminism addressed questions of gender inequality, critiqued patriarchy and identified the problem of androcentrism and the assertion that sex or gender is an unchanging, fixed, and biological given. She explores the ideological construction of all gender roles, and rejects the view of drag as copy or imitation of true gender identity.
Butler asserts that the idea of ‘true gender’ is a difficult one, because the definition or qualities of gender are only part of a wider narrative that reinforces stereotypes and expectations of what it means to be male or female.
At the meal the father flirts with the ‘boy’ narrator (Duncker 1996 p19), there was in my own personal experience of the text room for interpretation of the narrator as a female. There is an initial essentialist view of social identity whereby gender is determined biologically and gender is an immutable and recognizable physical essence. Because Aretha wants to feel ‘like’ a natural woman, this implies that she wants to be ‘like’ a heterosexual woman; it also means that the feeling is a repeat of something, or copied from what a ‘real’ woman should be (Butler 1990 p133). To make them pay is a woman’s way.” (Zahevi 1991 p83) . Moya Lloyd suggests that the political potential of gender performances can be evaluated relative to similar past acts in similar contexts in order to assess their transgressive potential: "Even if we accept that there are incalculable effects to all (or most) statements or activities, this does not mean that we need to concede that there are no calculable effects".
Here Butler argues that there is an iterability and repetition involved in gender performativity, which results in immense difficulty in trying to escape the constructions of naturalized restrictions of sex and gender through making conscious daily performative choices.The question of gender performance is related to ideas of gender identity in society, whereby certain codes of behaviour are assigned according to gender.
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