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Who is Judith Butler? What has she said? Butler notes that feminists rejected the idea that biology is destiny, but then developed an account of patriarchal culture which assumed that masculine and feminine genders would inevitably be built, by culture, upon 'male' and 'female' bodies, making the same destiny just as inescapable. That argument allows no room for choice, difference or resistance. Butler prefers 'those historical and anthropological positions that understand gender as a relation among socially constituted subjects in specifiable contexts'. In other words, rather than being a fixed attribute in a person, gender should be seen as a fluid variable which shifts and changes in different contexts and at different times.
The very fact that women and men can say that they feel more or less 'like a woman' or 'like a man' shows, Butler points out, that 'the experience of a gendered... cultural identity is considered an achievement.' Butler argues that sex (male, female) is seen to cause gender (masculine, feminine) which is seen to cause desire (towards the other gender). This is seen as a kind of continuum. Butler's approach -- inspired in part by Foucault -- is basically to smash the supposed links between these, so that gender and desire are flexible, free-floating and not 'caused' by other stable factors.
Butler says: 'There is no gender identity behind the expressions of gender; ... identity is performatively constituted by the very "expressions" that are said to be its results.' (Gender Trouble, p. 25). In other words, gender is a performance; it's what you do at particular times, rather than a universal who you are. Butler suggests that certain cultural configurations of gender have seized a hegemonic hold (i.e. they have come to seem natural in our culture as it presently is) -- but, she suggests, it doesn't have to be that way. Rather than proposing some utopian vision, with no idea of how we might get to such a state, Butler calls for subversive action in the present: 'gender trouble' -- the mobilization, subversive confusion, and proliferation of genders -- and therefore identity. Butler argues that we all put on a gender performance, whether traditional or not, anyway, and so it is not a question of whether to do a gender performance, but what form that performance will take. By choosing to be different about it, we might work to change gender norms and the binary understanding of masculinity and femininity. This idea of identity as free-floating, as not connected to an 'essence', but instead a performance, is one of the key ideas in queer theory. Seen in this way, our identities, gendered and otherwise, do not express some authentic inner "core" self but are the dramatic effect (rather than the cause) of our performances. David Halperin has said, 'Queer is by definition whatever is at odds with the normal, the legitimate, the dominant. There is nothing in particular to which it necessarily refers. It is an identity without an essence.' It's not (necessarily) just a view on sexuality, or gender. It also suggests that the confines of any identity can potentially be reinvented by its owner... And finally -- what has this got to do with media and communications studies? Well, the call for gender trouble has obvious media implications, since the mass media is the primary means for alternative images to be disseminated. The media is therefore the site upon which this 'semiotic war' (a war of symbols, of how things are represented) would take place. Madonna is one media icon who can be seen to have brought queer theory to the masses.
This text summarising Gender Trouble is copyright © David Gauntlett, 1998. I say that just in case I want to use any of it in a book one day. Quotes from Gender Trouble copyright © Judith Butler / Routledge, 1990.
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See also Queer Theory
| Foucault | Madonna | Identity
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