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Essay on gender social construction
Essay on gender social construction
Essay on gender social construction
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How effective are strategies of parody and performance in addressing the nature of identity?
Judith Butler argues in her essay ‘Performative Acts and Gender Constitution’ that “gender identity is a performative accomplishment compelled by social sanction and taboo” (Butler, 2003). Butler suggests that in no way is gender a stable identity but rather instituted though acts. She suggests that gender is constituted in the mundane acts of the body and so the performative acts constitute gender. What butler meant by this is that, we did not start off with gender as it is and identity that as been constructed repeatedly through time. Identity as Butler puts it is a “compelling illusion, an object of belief”. Identity is always constructed though the body. One does not have gender first, then performs; rather, gender is the creation of the performance. The performance is enlightened by the historically constituted idea of gender and thus performed by the individual though acts.
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Dan Harries says in ‘Film Parody’ that parody as a critical tradition is ‘…lauded as an anti-canonical, incongruity-generating mechanism by obliterating conventionalized codes through disruptive disunifying techniques.’ (Harries, 2000, p. 6). Furthermore, Judith Butler explains in her other essay ‘Subversive bodily acts’ that overall ‘gender is open to parody and improvisation in modes which undo the dominant ways of perceiving male/female’ and that ‘parodying and mimicking corporeal styles (drag) becomes an act of sexual
...he importance of gender performance. Devor says how gender identity is a lifelong process, a central means of developing one’s self and a key to becoming a member of society (140,143). Since Devor’s essay teaches about early stages of life and development, we can then see that when Messner and Montez de Oca continue on the topic of gendering one’s self and performance of gender as a means of acceptance (405), it is true that finding your gender identity is a lifelong process.
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
perspective on the concept, arguing that gender is a cultural performance. Her careful reading of
In “performative acts” Judith Butler argues gender identity a success induced by social sanction, she argues that we are not born into gender, gender is created by your performance. She always believes gender is a topic that should not be binary, the fact that gender is binary makes people think they only have two choices and thinking they don’t have their own choice to make. When the author says performance he means performance by acts of the body. Butler reflects gender as a coming from and spirit within the inside of you
...mance as Ixion gained rave reviews, but when she moved to another theater, the reviews took an abrupt shift to the discourse of burlesque. They called it the “leg business” and the “nude drama,” and performers were recast as “brazen-faced, stained, yellow-haired, padded limbed creatures” (Allen 16). Burlesque became to be known as a vehicle to over-sexualize women and an opportunity for women to parody masculinity. William Dean Howells wrote an essay on burlesque, he declared: “[T]hough they were not like men, [they] were in most things as unlike women, and seemed creatures of a kind of alien sex, parodying both. It was certainly a shocking thing to look at them with their horrible prettiness, their archness in which was no charm, their grace which put to shame” (Allen 25). Burlesque could be said to be grounded in the aesthetics of transgression and the grotesque.
Gays and transsexuals establish “drags” and “houses” to define their rules freely in an environment where they are committed to each other. In drags, femininity is performed through male bodies, which brings an innovative question to the forefront; whether gender is a performance or not. The individuals in the film are born as male but i...
Drag shows is a form of comedy entertain that has its own unique twist. This form of entertain is very important to the gay community. To me, drag shows were emphasized in this class mentioned in some of the readings, like the navy base in Rhode Island. From stories about same sex companionship, like Alice and Freida and Weston’s stories, being gay or showing same sex romantic feelings were thought of as an embarrassment. In Alice and Freida’s case, Alice’s family disproved of such relationship, and in many of Weston’s stories, many were debated about the idea of coming out, because they were afraid that they would be shamed upon. The reason why drag shows, especially drag queens, work so well in the gay community is because the idea of norms are flipped in this environment. Outside of the drag show, the idea of crossdressing is thought of as weird and wrong, but in a drag show, it is encouraged. Within the drag show, homosexuality is treated as the norm, whereas outside, homosexuality is not “normal”. This almost provides a safe environment for homosexuality.
Though its primary function is usually plot driven--as a source of humor and a means to effect changes in characters through disguise and deception—cross dressing is also a sociological motif involving gendered play. My earlier essay on the use of the motif in Shakespeare's plays pointed out that cross dressing has been discussed as a symptom of "a radical discontinuity in the meaning of the family" (Belsey 178), as cul-tural anxiety over the destabilization of the social hierarchy (Baker, Howard, Garber), as the means for a woman to be assertive without arousing hostility (Claiborne Park), and as homoerotic arousal (Jardine). This variety of interpretations suggests the multivoiced character of the motif, but before approaching the subject of this essay, three clarifica- tions are necessary at the outset.
In discussing the subject of male identity, especially as compared to female identity, Farrell is very careful to remain very objective throughout his rhetoric. Part of his balanced approach to proving his argument, is the use of an objective point of view. Farrell’s deliberate objectivity can be seen in aspects of his piece such as his word choice, free of denotative language, his lack of any first hand anecdotes, a removal of any indication of his gender (except his name), and a strict third person style throughout his piece. All of these characteristics combine to make his argument effective to a large demographic of people, unlike many pieces on gender identity, whose audience is usually limited to at most a spe...
Gender is a performance according to Judith Butler . All bodies, she claims, are gendered from birth; sometimes even earlier now we can determine sex in the womb . For Butler society dictates ones gender and the individual reinforces that gender through performance . “The deeds make the doer” in Butler’s words; there is no subject prior to performance. Butler’s concept of gender, however, leads us to question: what of those who are incapable of performing the gender ascribed to them? If one is unable to perform are they left genderless, lacking subjectivity and social identity? If no human is without gender , as Butler claims, then where does this leave her theory? Either gender is more than simply performance or one can exist without gender.
Judith Butler argues in The Lesbian Phallus and the Morphological Imaginary that the material and the discursive are not independent. With references to Freud, Kristeva, and Lacan’s writings, Butler refers to the lesbian phallus as a “useful fiction” because it dissociates the phallus from the penis in a way that reaffirms but also displaces its signifying power, destabilizing the heterosexual matrix. On the other hand, Josephine Ho explains the phallus in Embodying Gender as something which is “not part of the self” and in need “to get rid of it”. Ho illustrates the contradictions and difficulties faced by trans-genders in their construction of the ‘self-identity’, and how the body is shaped with the image of self through modification of their bodies. Ho references how the trans-genders of Taiwan are
Gender identity is a sexualized norm that is continually pronounced as foundational ideals by reasons of their repetition. According to Casey Charles, an Assistant Professor of English at the University of Montana. People are not necessarily born with gender; it is learned to perform what gender is about. Viola’s dressing as a man introduces the subject of cross-dressing which can be unruly in the play. Casey Charles, an Assistant Professor of English at the University of Montana said, “the performance of cross-dressing can be disruptive… to the extent it reflects the mundane impersonations by which heterosexually ideal genders are performed or exposes the failure of heterosexual regimes ever fully to legislate or contain their own ideals” (Charles 123). Viola’s dressing as a man concentrates on the topic of gender in Shakespeare’s play. A person can choose to be a man or a woman based on the individual’s cultural meanings. Viola’s decision to cross-dress reveals transvestism in the Shakespearean play. Casey Charles argues that Viola’s cross-dressing not only upsets essentialist constructs of gender hierarchy by successfully performing the part of a man as a woman, but in her hermaphroditic capacity as a man and a woman, she also collapses the polarities upon which heterosexuality is based by becoming an object of desire whose ambiguity renders the distinction between homo- and hetero-erotic attraction difficult to decipher. (Charles
For example, the representation of women on television was for a long time restricted to roles of “loving wives, dutiful daughters, gossiping girlfriends, fashion plates, and the occasional dowdy maid, nanny, or granny” (Zeisler 2008, p. 9), which is a reflection on the roles it was considered ‘acceptable’ for women to take on in real life. Often going against the hegemonic gender ideal is used as shorthand for comedy within popular culture, such as men dressed femininely being played for laughs on countless sitcoms. Popular culture that genuinely challenges hegemonic ideology often faces backlash, as was the case when Ellen DeGeneres’ character coming out on Ellen (1997), as did the actress in real life, resulted in the show being cancelled after only one more season. This is reflective of what was the pervasive belief, that heterosexuality is the only acceptable option, though the changing attitudes about this can be seen through the increased inclusion of gay and bisexual characters in pop culture over the past two decades. Looking at the relationship between gender and popular culture consequently becomes important to the field of gender studies as it provides a way to study not only what is considered to be the gender norms in a society, but how these norms have
Judith Butler’s theoretical understandings have described drag to a larger extent and clarified it more commonly. She states that the way in which we dress and present ourselves, in terms of behaviourally and aesthetically hold particularly gendered semiotics that create a specific ‘identity’ due to collectively ‘conventional’ signs that resemble with each sex. These contrasting definitions allow for a more thorough investigation of drag in relation to the performative and performativity, an investigation that leads away from its common associations and investigates the claim that “It’s all