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Transgender and gender roles
Transgender and gender roles
Transgender and gender roles
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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 …show more content…
constructing their ‘self-identity’ in ways that challenge the traditional socially accepted attributes of sexuality through its absence of the necessity to “involve” sexual organs. The importance of a penis for enforcing masculinity is not absent. Here, we see transformations in the desirability status of the phallus symbol which conflicts Lacan’s Mirror Stage theory formative of the "I" function - the ego. Prior to this stage a child is not a subject but one being caught in imaginary relations (e.g. attachment to the mother). The child then starts to realise the desire of the mother and finds a degree of certainty and jubilation in the image reflected back at him/her even though there is a degree of illusion to image. There is an underlying phallus in this image through the desire of the mother, which explains Lacan’s assertion that "man's desire is the Other's desire".
And this identification of the “ideal I” and the ego’s unity begins to change in this symbolic realm and society. In other words, Butler is against self-identity as mere identification through imaginary contours while Ho cites that the mirror is not the object used by trans-genders to identify themselves. The lesbian phallus thus works precisely where it is not the distinction between appearance and reality that must be clarified but the difference within appearance that needs to be manifested. The phallus is also never securely possessed and its potential absence (based on its actual inexistence) is the source of a perpetual anxiety. We may also relook at Butler’s positing of the lesbian phallus and say that the lesbian phallus does not simply parody what doesn’t exist (the phallus). It can also represent the difference between the way things like the phallus seem to us (in fantasy) and the way they really seem to us (in a reality that is only supportable, only bearable, when shot through with
fantasies).
The most difficult part of any modern theological debate is choosing the authority. With the variety of Christian denominations, individual thinkers, and outside influences, and it is often difficult to reach a general agreement. In her essay, “Homosexuality: A Case Study in Moral Argument,” Catholic theologian Lisa Cahill examines four major authorities and different ways to determine how they work together to produce a cohesive Christian ethic. Though she fails to give a definitive, quantifiable method of describing the interactions between the authorities, her final judgment, approval of some aspects of homosexuality, indicates that she values modern cultural context and general biblical themes over church tradition and specific biblical texts.
In Ruth Gilbert’s At the Border’s of the Human, she discusses society’s interest in hermaphrodites in terms of “people’s desire to examine, scrutinize, and display objects which are alien, strange and other” (6). The anomalous and bizarre spectacle of the hermaphroditic body has drawn the focus of scientists since the early sixteenth century. Hermaphrodites have long evoked a “mixture of disgust and desire, and fear and fascination”(Gilbert 150) that has led to their position as objects of scientific scrutiny. As defined by Random House Webster’s College Dictionary, a hermaphrodite is “an individual in which reproductive organs of both sexes are present”. Besides hermaphrodites challenging society’s physical norms, they challenge and have recently changed its cultural norms as well.
Butler, Judith. "Gender is Burning: Questions of Appropriation and Subversion." Bodies That Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. 121-140.
In this essay, authors J. Michael Bailey and Kiira Triea try to disprove the “feminine essence theory” which they consider to be a misconception of transsexuals. Using research from Ray Blanchard, a University of Toronto professor and sexologist who performed extensive studies on male-to-female transsexuals, the authors explain transsexuals are being part of two separate groups. According to them, a transsexual may either be a homosexual transsexual or an autogynephilic transsexual. Autogynephilia is a term coined by Ray Blanchard and is defined as “inner-directed heterosexuality. That is, autogynephilic males are like heterosexual men, except that their primary sexual attraction is to the image or idea of themselves as women” (Bailey). The authors associate this condition with other paraphilias such as masochism. The authors argue that if you are not homosexual then you are most certainly autogynephilic (Bailey). This essay is relevant to my research because it contradicts the majority of what I have read concerning the “feminine essence theory” and because it summarizes much of Blanchard’s research. However, I do not necessarily agree with this research because it appears that only sexual orientation was taken into consideration towards their concept of gender identity.
On account of cultural influences, gender roles are institutionalized and enacted at the levels of the family, community and society. Culture makes gender roles meet certain inescapable beliefs, assumptions, expectations, and obligations. Cultural practices are treasures of a social group as they are a mark of their identity and assertion. Moreover, certain cultural practices are gender specific and are mandatorymarks of a particular gender. Moreover, there is a lot of meandering in the name of culture that goes into the making of women by patriarchy,as "One is not born, but rather becomes, a woman" (Beauvoir 295). Gender politics camouflaged by cultural norms and governed by patriarchal interests and manifested in cultural practices like ‘Female Genital Mutilation’ or FGM, make the life of women difficult and burdensome. Alice Walker’s fifthnovel Possessing the Secret of Joy(1992)discusses a tabooed cultural practice called female genital mutilation, camouflaged by gender politics, that is used to subjugate women, to protect the interests of men. Walker through the novel has put forth the idea of Judith Butler of how“gender is performatively produced and compelled by regulatory practices of gender coherence . . . constituting the identity it is purported to be."
First, no matter what is represented on stage, the fact that boys are actually playing cross dressing men and women is insistently metaphorical; the literal fact of trans-vestism (that is, the boy actor impersonating either a woman, a woman cross dressed as a man, or a man cross dressed as a woman, not the represented character) is divided between the homoerotic and the blurring of gender. On the other hand, the represented female character who cross dresses functions literally to relieve the boy actor, at least for a time, from impersonating a woman. Represented characters who cross dress may pre-sent a variety of poses, from the misogynist mockery of the feminine to the adroitly and openly homoerotic. In the case of the title character of Jonson's Epicoene, the motif is utilized as disguise intended to effect a surprise ending for Morose and his heterosexual audience, for whom the poet also pr...
In their publication, “Doing Gender, ” Candance West and Don H. Zimmerman put forward their theory of gender as an accomplishment; through, the daily social interactions of a man or woman which categorize them as either masculine or feminine. From a sociological perspective the hetero-normative categories of just sex as biological and gender as socially constructed, are blurred as a middle ground is embedded into these fundamental roots of nature or nurture.To further their ideology West and Zimmerman also draw upon an ethnomethodological case study of a transsexual person to show the embodiment of sex category and gender as learned behaviours which are socially constructed.Therefore, the focus of this essay will analyze three ideas: sex, sex
...ing: Questions of Appropriation and Subversion." Bodies That Matter: On the Discursive Limits of "Sex." 121-156.New York: Routledge, 1993.
Stereotypes have become a socially accepted phenomena in today’s society. So socially acceptable, in fact, they have made it onto advertising billboards and into our daily language. We do not think twice as they pass our tongues, and we do tilt our heads in concern or questioning as they pass into our ears. In Judith Butler’s essay “Besides Oneself: On the Limits of Sexual Autonomy”, stereotypes are exposed and explored. Especially stereotypes pertaining to sexual orientation. Butler explains how stereotypes are unacceptable. She does this in a way which allows her to concurrently explore what it means to be human, and also what humans do or need to make Earth a livable place for ourselves. When examining Butler’s essay, one could say, and
The article “What Makes a Woman” focuses on how transgender should not define a woman because they have not lived their whole lives as a women, have not gone through the struggles, complications and life experiences that women go through. The author also brings in the idea of women and men having different brains to support her argument. The author, Elinor Burkett, effectively uses the three appeals of logos, ethos and pathos to get across her message. The first appeal is ethos that mentions other people’s opinions. The second is pathos by showing Burkett’s emotions. And finally, the third appeal is logos, which includes data statistics.
Gender Outlaws (Smith, 2010) breaks the laws of gender by defying gender normative rules that exclude trans, queer and other non-conforming gender expressions often oppressed by “gender-norming rules,” rules, “expected to observe” or be subject to ridicule and often times labeled as freak by those who consider themselves as normal (p. 28). A gender outlaw seeks to, redefine the notion of gender and are carving out spaces of their own” (p. 30).
The construction of gender is based on the division of humanity to man and woman. This is impossible ontologically speaking; because the humans are not divided, thus gender is merely an imaginary realm. It only exist in the language exercises, and the way that cultural products are conceived in them. This essay is a preliminary attempt to offer an analysis of ‘One Is Not Born a Woman’ by Wittig and ‘The Second Sex’ by Simone De Beauvoir holds on the language usage contribution to the creation of genders and the imagined femininity.
In the challenge to classify and distinguish the sex, gender and gender preference, Judith Butler `s theory about perforsmative acts in her Performative Acts and Gender Consititution: An Essay in Phenomenology and Feminist Theory is very important for us to understand queer. She purposed, the acts of homosexual, bisexual or heterosexual are not a settled identity; it is an act that is constantly changing like a actor. In her opinion, there is no real gender in this society. Gender is a substructure for repetitive act that is histrionic.
In closing, the transgender Ophelia can be read as a palimpsest—of texts, of genders, of cultural constructs—to explore the deep affinity between the transgender Ophelia’s intertextual construction and the everyday sensations and lessons of Arsenault’s transgender embodiment. Arsenault’s Ophelia, like her creator, uses her own body in an Artaudian theatre of cruelty to produce the logic of fascination and the enigma. Arsenault’s spectral return to Shakespeare’s text seems to be born of what Barba calls “[giving] the spectator something to remember even after they have forgotten it” (309). It is this logic born of a sense of wonder with which we must regard the transgender ghost of Ophelia—a look that, registering the audience’s and critic’s
By positing the lesbian as ‘excess’ in the patriarchal system we may fail to note the identities that function as ‘excess’ within our own newly created lesbian community.