Butler Performativity Quotes

The misapprehension about gender performativity is this: that gender is a choice, or that gender is a role, or that gender is a construction that one puts on, as one puts on clothes in the morning, that there is a 'one' who is prior to this gender, a one who goes to the wardrobe of gender and decides with deliberation which gender it will be today.

The violence of language consists in its effort to capture the ineffable and, hence, to destroy it, to seize hold of that which must remain elusive for language to operate as a living thing.

I am a duke, you know. If I can't perform a miracle here and there I might as well be a butler in expesive clothes." He brushed at the sleeve of his well-tailored brown coat. "And butlers don't get to dance with attractive women.

If gender attributes and acts, the various ways in which a body shows or produces its cultural signification, are performative, then there is no preexisting identity by which an act or attribute might be measured; there would be no true or false, real or distorted acts of gender, and the postulation of a true gender identity would be revealed as a regulatory fiction.That gender reality is created through sustained social performances means that the very notions of an essential sex and a true or abiding masculinity or femininity are also constituted as part of the strategy that conceals gender’s performative character and the performative possibilities for proliferating gender configurations outside the restricting frames of masculinist domination and compulsory heterosexuality.

My love of writing is an outgrowth of my love of reading. Both helped me to escape boredom, to perform thought experiments, and to deal with the daily news. I can create a world that makes more sense than this one.

In an agential realist account, agency is cut loose from its traditional humanist orbit. Agency is not aligned with human intentionality or subjectivity. Nor does it merely entail resignification or other specific kinds of moves within a social geometry ofantihumanism. The space of agency is not only substantially larger than that allowed for in Butler's performative account, for example, but also, perhaps rather surprisingly, larger than what liberal humanism proposes. Significantly, matter is an agentive factor in its iterative materialization.

We do things with language, produce effects with language, and we do things to language, but language is also the thing that we do. Language is a name for our doing: both “what” we do (the name for the action that we characteristically perform) and that which we effect, the act and its consequences.

controversial performance as a corrupt detective in Training Day—would be seen holding the Oscar for best actor, almost four decades after Poitier’s

regulatory norms of “sex” work in a performative fashion to constitute the materiality of bodies and, more specifically, to materialize the body’s sex, to materialize sexual difference in the service of the consolidation of the heterosexual imperative. In this sense, what constitutes the fixity of the body, its contours, its movements, will be fully material, but materiality will be rethought

Act I, Scene 1 GARRY: ....My worst defect is that I am apt to worry too much about what people think of me when I'm alive. But I'm not going to do that anymore. I'm changing my methods and you're my first experiment. As a rule, when insufferable young beginners have he impertinence to criticise me, I dismiss the whole thing lightly because I'm embarrassed for them and consider it not quite fair game to puncture their inflated egos too sharply. But this time my highbrow young friend you're going to get it in the neck. To begin with your play is not a play at all. It's a meaningless jumble of adolescent, pseudo intellectual poppycock. And you yourself wouldn't be here at all if I hadn't been bloody fool enough to pick up the telephone when my secretary wasn't looking. Now that you are here, however, I would like to tell you this. If you wish to be a playwright you just leave the theater of to-morrow to take care of itself. Go and get yourself a job as a butler in a repertory company if they'll have you. Learn from the ground up how plays are constructed and what is actable and what isn't. Then sit down and write at least twenty plays one after the other, and if you can manage to get the twenty-first produced for a Sunday night performance you'll be damned lucky! ROLAND (hypnotised): I'd no idea you were like this. You're wonderful!

If performativity requires a power to effect or enact what one names, then who will be the “one” with such a power, and how will such a power be thought? How might we account for the injurious word within such a framework, the word that not only names a social subject, but constructs that subject in the naming, and constructs that subject through a violating interpellation? Is it the power of a “one” to effect such an injury through the wielding of the injurious name, or is that a power accrued through time which is concealed at the moment that a single subject utters its injurious terms? Does the “one” who speaks the term cite the term, thereby establishing him or herself as the author while at the same time establishing the derivative status of that authorship? Is a community and history of such speakers not magically invoked at the moment in which that utterance is spoken? And if and when that utterance brings injury, is it the utterance or the utterer who is the cause of the injury, or does that utterance perform its injury through a transitivity that cannot be reduced to a causal or intentional process originating in a singular subject?

certain kind of good fortune generally attends self-made men to the last. It is their children of the first, or first and second, generation who are in greater danger, for the race can no more repeat its most successful performances suddenly and without its ebbings and flowings of success than the individual can do so, and the more brilliant the success in any one generation, the greater as a general rule the subsequent exhaustion until time has been allowed for recovery.

Nevertheless a certain kind of good fortune generally attends self-made men to the last. It is their children of the first, or first and second, generation who are in greater danger, for the race can no more repeat its most successful performances suddenly and without its ebbings and flowings of success than the individual can do so, and the more brilliant the success in any one generation, the greater as a general rule the subsequent exhaustion until time has been allowed for recovery.

The gap between the perceived or lived body and prevailing social norms can never fully be closed, which is why even those who happily embrace their sex assigned at birth still have to do performative work to embody that assignment in social life. Genders are not just assigned. They have to be realized or undertaken, or done, and no single act of doing secures the deal. Have I finally achieved the gender I have been seeking to become, or is becoming the name of the game, the temporality of gender itself?

We need instead to ask, what possibilities of mobilization are produced on the basis of existing configurations of discourse and power? What are the possibilities of reworking that very matrix of power by which we are constituted, of reconstituting the legacy of that constitution, and of working against each other process of regulation that can destabilize existing power regimes? For if the subject is constituted by power, that power does not cease at the moment the subject is constituted, for that subject is never fully constituted, but is subjected and produced time and again. That subject is neither a ground nor a product, but the permanent possibility of a certain resignifying process, one which gets detoured and stalled through other mechanisms of power, but which is power's own possibility of being reworked. It is not enough to say that the subject is invariably engaged in a political field; that phenomenological phrasing misses the point that the subject is an accomplishment regulated and produced in advance. And is as such fully political; indeed, perhaps most political as the point in which it is claimed to be prior to politics itself. To perform this kind of Foucaultian critique of the subject is not to do away with the subject or to pronounce it's death, but merely to claim that certain versions of the subject are politically insidious.

By causing ‘madness’ in Herakles, Hera leads him to the performance of labors resulting in new possibilities for humanity, the cause of which is symbolized as madness because ‘sanity’ for souls lies in turning back toward the sources of reason in them rather than pressing forward into new creations.

Bad women and all they involved were mysterious and revolting matters to her. She knew that men patronized these women for purposes which no lady should mention--or, if she did mention them, in whispers and by indirection and euphemism. She had always thought that only common vulgar men visited such women. Before this moment, it had never occurred to her that nice men-- that is, men she met at nice homes and with whom she danced--could possibly do such things. It opened up an entirely new field of thought and one that was horrifying. Perhaps all men did this! It was bad enough that they forced their wives to go through such indecent performances but to actually seek out low women and pay them for such accommodation! Oh, men were so vile, and Rhett Butler was the worst of them all!

If either one or two candidates is dominating the field at the time of the first primaries and caucuses, the voters are superfluous because the victor is already guaranteed. If, however, no candidate is dominant, then the primaries and caucuses will determine the winner. Nonetheless, in recent campaign cycles, that determination has been made earlier and earlier in the process, by fewer and fewer voters, who pick from only a few candidates - the ones who have not already eliminated themselves from serious contention by their weak performances in the pre-primary phase.

I note this woman’s shape-shifting performance. How by saying a thing, she becomes it. As she complains about how boring it is to hear her friend complain about her mother, as she goes into detail, masterfully reenacting specific boring conversations (both between her and her friend, and her friend and her friend’s mother), she is essentially becoming them both, becoming the boredom she claims to want to remove from her life and mind, but which have complete control of her, and she doesn’t notice that by saying “I don’t like this” over and over she is just drawing herself closer to it, essentially becoming her friend and subjecting us all to what she claims to hate.

Worse than knowing I needed out, I didn't know what I needed back into. Even when I could feel there was something else beyond the edges of any color in the street or window where no one waited even to just totally ignore me, I couldn't recognize it enough to know how to want it harder. Along each street it was as if I were waiting for some hole to swallow my face. Each moment it didn't made the going into the next step that much less worth doing. This is what life had always felt like. In my mind, expecting the absence of something or someone there before me made the presence in its place feel like the punch line to a routine no one was performing. And where I couldn't find a way to laugh, I became my own stand-in, over and over, like painting white over a window from the inside.

The insult, however, assumes its specific proportion in time. To be called a name is one of the first forms of linguistic injury that one learns. But not all name-calling is injurious. Being called a name is also one of the conditions by which a subject is constituted in language; indeed, it is one of the examples Althusser supplies for an understanding of “interpellation.”1 Does the power of language to injure follow from its interpellative power? And how, if at all, does linguistic agency emerge from this scene of enabling vulnerability? The problem of injurious speech raises the question of which words wound, which representations offend, suggesting that we focus on those parts of language that are uttered, utterable, and explicit. And yet, linguistic injury appears to be the effect not only of the words by which one is addressed but the mode of address itself, a mode—a disposition or conventional bearing—that interpellates and constitutes a subject.

Two men were advancing towards the car along the cross track. One man carried a short wooden bench on his back, the other a big wooden object about the size of an upright piano. Richard hailed them, they greeted him with every sign of pleasure. Richard produced cigarettes and a cheerful party spirit seemed to be developing. Then Richard turned to her. “Fond of the cinema? Then you shall see a performance.” He spoke to the two men and they smiled with pleasure. They set up the bench and motioned to Victoria and Richard to sit on it. Then they set up the round contrivance on a stand of some kind. It had two eye-holes in it and as she looked at it, Victoria cried: “It’s like things on piers. What the butler saw.” “That’s it,” said Richard. “It’s a primitive form of same.” Victoria applied her eyes to the glass-fronted peephole, one man began slowly to turn a crank or handle, and the other began a monotonous kind of chant. “What is he saying?” Victoria asked. Richard translated as the singsong chant continued: “Draw near and prepare yourself for much wonder and delight. Prepare to behold the wonders of antiquity.” A crudely coloured picture of Negroes reaping wheat swam into Victoria’s gaze. “Fellahin in America,” announced Richard, translating. Then came: “The wife of the great Shah of the Western world,” and the Empress Eugénie simpered and fingered a long ringlet. A picture of the King’s Palace in Montenegro, another of the Great Exhibition. An odd and varied collection of pictures followed each other, all completely unrelated and sometimes announced in the strangest terms. The Prince Consort, Disraeli, Norwegian Fjords and Skaters in Switzerland completed this strange glimpse of olden far-off days. The showman ended his exposition with the following words: “And so we bring to you the wonders and marvels of antiquity in other lands and far-off places. Let your donation be generous to match the marvels you have seen, for all these things are true.” It was over. Victoria beamed with delight. “That really was marvellous!” she said. “I wouldn’t have believed it.” The proprietors of the travelling cinema were smiling proudly. Victoria got up from the bench and Richard who was sitting on the other end of it was thrown to the ground in a somewhat undignified posture. Victoria apologized but was not ill pleased. Richard rewarded the cinema men and with courteous farewells and expressions of concern for each other’s welfare, and invoking the blessing of God on each other, they parted company. Richard and Victoria got into the car again and the men trudged away into the desert. “Where are they going?” asked Victoria. “They travel all over the country. I met them first in Transjordan coming up the road from the Dead Sea to Amman. Actually they’re bound now for Kerbela, going of course by unfrequented routes so as to give shows in remote villages.” “Perhaps someone will give them a lift?

Everyone thinks deep in their hearts (at least when they're young, or have the mind of a young fool) that they can act, simply because the have deep emotions coursing through them all the time (haha, "they" "them" "the individual") not recognizing that it's the absence of those things that creates a good performance, that their emotions (fear, doubt, anxiety, arrogance) will override their performance. Or maybe we all think we would make good actors because we lie, because our lives our lies.

Small tasks performed for the betterment of my future self. It was a law I had come to live by: Thou Shalt Not Lay Mines for Thy Future Self! Thou Shalt Not Create Great Piles of Shit for Her to Shovel! But then sometimes it left me feeling like a butler to a cold and demanding stranger: the pension contributions, the long hours at work, the time put in at the gym, the eternal vigilance. Because what about me? What about the me now?

Even with all of this plot to be dispensed, the songs do rise organically out of the script. Doris’s first entrance, in head-to-toe buckskin, finds her astride a stagecoach, belting out the very catchy Sammy Fain/Paul Francis Webster song “The Deadwood Stage (Whip Crack Away).” The rollicking tune and exuberant Day vocal match the physical staging of the song, and character is revealed. Similarly, later in the film there is a lovely quiet moment when Calamity, Bill, the lieutenant, and Katie all ride together in a wagon (with Calamity driving, naturally) to the regiment dance, softly singing the lilting “Black Hills of Dakota.” These are such first-rate musical moments that one is bound to ask, “So what’s the problem?” The answer lies in Day’s performance itself. Although Calamity Jane represents one of Day’s most fondly remembered performances, it is all too much by half. Using a low, gravelly voice and overly exuberant gestures, Day, her body perpetually bent forward, gives a performance like Ethel Merman on film: She is performing to the nonexistent second balcony. This is very strange, because Day is a singer par excellence who understood from her very first film, at least in terms of ballads, that less is more on film. Her understated gestures and keen reading of lyrics made every ballad resonate with audiences, beginning with “It’s Magic” in Romance on the High Seas. Yet here she is, fourteen films later, eyes endlessly whirling, gesturing wildly, and spending most of her time yelling both at Wild Bill Hickok and at the citizens of Deadwood City. As The New York Times review of the film held, in what was admittedly a minority opinion, “As for Miss Day’s performance, it is tempestuous to the point of becoming just a bit frightening—a bit terrifying—at times…. David Butler, who directed, has wound her up tight and let her go. She does everything but hit the ceiling in lashing all over the screen.” She is butch in a very cartoonlike manner, although as always, the tomboyish Day never loses her essential femininity (the fact that her manicured nails are always evident helps…). Her clothing and speech mannerisms may be masculine, but Day herself never is; it is one of the key reasons why audiences embraced her straightforward assertive personality. In the words of John Updike, “There’s a kind of crisp androgynous something that is nice—she has backbone and spunk that I think give her a kind of stiffness in the mind.

The patronym secures its own rigidity, fixity, and universality within a set of kinship lines that designate wives and daughters as the sites of its self-perpetuation. In the patronymic naming of women, and in the exchange and extension of patronymic authority that is the event of marriage, the paternal law "performs" the identity and authority of the patronym. This performative power of the name, therefore, cannot be isolated from the paternal economy within which it operates, and the power-differential between the sexes that it institutes and serves.

All religions are ultimately cargo cults. Adherents perform required rituals, follow specific rules, and expect to be supernaturally gifted with desired rewards—long life, honor, wisdom, children, good health, wealth, victory over opponents, immortality after death, any desired rewards.

Kings and subjects, rich and poor, reciprocally depend upon each other; and it is the command of God that every one perform well the part which is assigned him.

I have said that this new development [automation] has unbounded possibilities for good and for evil. For one thing, it makes the metaphorical dominance of the machines, as imagined by Samuel Butler, a most immediate and non-metaphorical problem. It gives the human race a new and most effective collection of mechanical slaves to perform its labor. Such mechanical labor has most of the economic properties of slave labor, although, unlike slave labor, it does not involve the direct demoralizing effects of human cruelty. However, any labor that accepts the conditions of competition with slave labor accepts the conditions of slave labor, and is essentially slave labor. The key word of this statement is competition. It may very well be a good thing for humanity to have the machine remove from it the need of menial and disagreeable tasks, or it may not. I do not know. It cannot be good for these new potentialities to be assessed in the terms of the market, of the money they save; and it is precisely the terms of the open market, the “fifth freedom,” that have become the shibboleth of the sector of American opinion represented by the National Association of Manufacturers and the Saturday Evening Post. I say American opinion, for as an American, I know it best, but the hucksters recognize no national boundary.

Why should I write to the newspapers instead of to the machines themselves, why not summon a monster meeting of machines, place the steam engine in the chair, and hold a council of war?” asked the anonymous “mad correspondent.” “I answer, the time is not yet ripe for this. . . . Our plan is to turn man’s besotted enthusiasm to our own advantage, to make him develop us to the utmost, and find himself enslaved unawares. “My object is to do my humble share towards pointing out what is the ultimatum, the ne plus ultra of perfection in mechanized development,” the writer continued, “even though that end be so far off that only a Darwinian posterity can arrive at it. I therefore venture to suggest that we declare machinery and the general development of the human race to be well and effectually completed when—when—when—Like the woman in white, I had almost committed myself of my secret. Nay, this is telling too much. I must content myself with disclosing something less than the whole. I will give a great step, but not the last. We will say then that a considerable advance has been made in mechanical development, when all men, in all places, without any loss of time, are cognizant through their senses, of all that they desire to be cognizant of in all other places, at a low rate of charge, so that the back country squatter may hear his wool sold in London and deal with the buyer himself—may sit in his own chair in a back country hut and hear the performance of Israel in Ægypt at Exeter Hall—may taste an ice on the Rakaia, which he is paying for and receiving in the Italian opera house Covent garden. Multiply instance ad libitum—this is the grand annihilation of time and place which we are all striving for, and which in one small part we have been permitted to see actually realised.”67 This letter, bearing the stamp of Samuel Butler in style if not in name, was signed “Lunaticus.” One hundred years after Erasmus Darwin gathered his circle of Lunaticks in the English Midlands, a strand of telegraph wire was uncoiled at the antipodes of the earth. Sparked by the transit of a few pulses of electromagnetic code over this embryonic fragment of a net, Samuel Butler foresaw the evolution, perhaps not so far off as he imagined, of that phenomenon, somewhere between mechanism and organism, now manifested as the World Wide Web.

After the show Humphrey Barclay, a highly talented Harrovian Head Boy who could act, direct, and draw cartoons, introduced me to John Cleese, a very tall man with black hair and piercing dark eyes. They were very complimentary and encouraged me to audition for the Footlights. I had never heard of this University Revue Club, founded in 1883 to perform sketches and comedy shows, but it seemed like a fun thing to do, and a month later Jonathan Lynn and I were voted in by the Committee, after performing to a packed crowd of comedy buffs in the Footlights’ Club Room. Jonathan, a talented actor, writer, and jazz drummer, would go on to direct Pass the Butler, my first play in the West End, and also write and direct Nuns on the Run, a movie with me and Robbie Coltrane. The audition sketch I had written for us played surprisingly well and, strange details, in the front row, lounging on a sofa, laughing with some Senior Fellows, was the author Kingsley Amis, next to the brother of the soon-to-be-infamous Guy Burgess, who would shortly flee the country, outed as perhaps the most flamboyant of all the Cambridge spies—for whenever he was outrageously drunk in Washington, which was every night, he would announce loudly to everybody that he was a KGB spy. Nobody believed him

Judith Butler asserts that gender is a performance, an unstable identity that forms through how it is performed over and over.

Although churches seem the most natural space to perform spiritual awakening, the disconcerting reality is that many people in Western society see churches more as museums of religion than sacred stages that dramatize the movement of God's spirit.

What is an operating system, really? What did Cutler’s team wish to create? Picture a wealthy English household in the early 1900s. Think of a computer—the hardware—as a big house, the family’s residence. The house consists of plumbing and lighting, bricks and mortar, windows and doors—all manner of physical things and processes. Next, imagine computer software as the people in the house. The household staff, living downstairs, provide a whole range of services at once. The butler stands by the door, the driver washes the car, the housekeeper presses the linen, the cook provides meals and bakes cakes, the gardener rakes the leaves from the lawn. And this activity, which seemingly happens of its own accord, is coordinated by the head of the household staff. Such is the life of the downstairs dwellers, who in a certain sense exist in the background. Then consider the people upstairs. They are the whole reason for the toil of the people downstairs. The husband desires a driver not simply for peace of mind but because he wishes to travel. The wife employs a cook, so her family can eat well. The children benefit from the work of the gardener, who clears the yard of debris, enabling them to play outdoors safely. The picture of the family upstairs and their faithful downstairs servants neatly illustrates the great divide in the world of software. The people upstairs are the applications: the word-processing, electronic ledger, database, publishing and numerous other programs that satisfy human needs and wants. The people downstairs collectively perform the functions of an operating system. Theirs is a realm of services, some automatic, some requiring a special request. These services lay the basis for the good stuff of life. Cutler

It is true that dispossession carries this double valence and that as a result it is difficult to understand until we see that we value it in one of its modalities and abhor and resist it in another. As you say, dispossession can be a term that marks the limits of self-sufficiency and that establishes us as relational and interdependent beings. Yet dispossession is precisely what happens when populations lose their land, their citizenship, their means of livelihood, and become subject to military and legal violence. We oppose this latter form of dispossession because it is both forcible and privative.

Se os atributos de gênero não são expressivos mas performativos, então constituem efetivamente a identidade que pretensamente expressariam ou revelariam. A distinção entre expressão e performatividade é crucial. Se os atributos e atos do gênero, as várias maneiras como o corpo mostra ou produz sua significação cultural, são performativos, então não há identidade preexistente pela qual um ato ou atributo possa ser medido: não haveria atos de gênero verdadeiros ou falsos, reais ou distorcidos, e a postulação de uma identidade de gênero verdadeira se revelaria uma ficção reguladora. O fato de a realidade do gênero ser criada mediante performances sociais contínuas significa que as próprias noções de sexo essencial e de masculinidade ou feminilidade verdadeiras ou permanentes também são constituídas, como parte da estratégia que oculta o caráter performativo do gênero e as possibilidades performativas de proliferação das configurações de gênero fora das estruuras restritivas da dominação masculinista e da heterossexualidade compulsória. Os gêneros não podem ser verdadeiros nem falsos, reais nem aparentes, originais nem derivados. Como portadores críveis desses atributos, contudo,m eles também podem se tornar completa e radicalmente incríveis.

Gender Trouble, Judith Butler asserts that gender is a performance, an unstable identity that forms through how it is performed over and over. She writes, Gender ought not to be construed as a stable identity or locus of agency from which various acts follow; rather, gender is an identity tenuously constituted in time, instituted in an exterior space through a stylized repetition of acts. The effect of gender is produced through the stylization of the body and, hence, must be understood as the mundane way in which bodily gestures, movements, and styles of various kinds constitute the illusion of an abiding gendered self.

Judith Butler, a feminist and LGBT scholar and activist who was foundational to the development of queer Theory, epitomizes the opposite approach to this dilemma. In her most influential work, Gender Trouble,17 published in 1990, Butler focuses on the socially constructed nature of both gender and sex. For Butler, “woman” is not a class of people but a performance that constructs “gendered” reality. Butler’s concept of gender performativity—behaviors and speech that make gender real—allowed her to be thoroughly postmodern, deconstruct everything, and reject the notion of stable essences and objective truths about sex, gender, and sexuality, all while remaining politically active. This worked on two levels. Firstly, by referring to “reality-effects” and social or cultural “fictions,” Butler is able to address what she sees as the reality of social constructions of gender, sex, and sexuality. For Butler, the specific constructions themselves are not real, but it is true that constructions exist. Secondly, because the “queer” is understood to be that which falls outside of categories, especially those used to define male and female, masculine and feminine, heterosexual and homosexual, disrupting and dismantling those categories is essential to activism. “To queer” can therefore be used as a verb in the Butlerian sense, and the “queering” of something refers to the destabilization of categories and the disruption of norms or accepted truths associated with it. The purpose of this is to liberate the “queer” from the oppression of being categorized.

We might be tempted to understand the existence of injurious language as posing an ethical question on the order of: what kind of language ought we to use? How does the language we use affect others? If hate speech is citational, does that mean that the one who uses it is not responsible for that usage? Can one say that someone else made up this speech that one simply finds oneself using and thereby absolve oneself of all responsibility? I would argue that the citationality of discourse can work to enhance and intensify our sense of responsibility for it. The one who utters hate speech is responsible for the manner in which such speech is repeated, for reinvigorating such speech, for reestablishing contexts of hate and injury. The responsibility of the speaker does not consist of remaking language ex nihilo, but rather of negotiating the legacies of usage that constrain and enable that speaker’s speech. To understand this sense of responsibility, one afflicted with impurity from the start, requires that we understand the speaker as formed in the language that he or she also uses. This paradox intimates an ethical dilemma brewing at the inception of speech.

But the Butler-Brennan collaboration splendidly informs The Prince and the Pirate, a Samuel Goldwyn million-dollar Technicolor production that spoofs the swashbuckling pictures of the 1930s that made Errol Flynn a star. Butler seems to have given Brennan free rein in bringing to life one of his most exuberant and ribald roles. As Featherhead, a scuzzy pirate, he convinces the malicious Captain Barrett, “the Hook” (Victor McLaglen) to spare a female gypsy fortune-teller, impersonated by “The Great Sylvester” (Hope) from walking the plank. The pirate crew is perplexed by Featherhead’s lascivious designs on this none too appetizing dish, but he practically slavers over his prize, which he bears away with great glee. Brennan plays Featherhead with devouring relish. But as soon as he has Hope to himself, Featherhead confesses he has known all along that she is a he. The shocked Sylvester recovers enough to say, “If you don’t tell anybody I’m not a gypsy, I won’t tell anybody you’re not an idiot.” Featherhead has appropriated the performer in a scheme to outwit The Hook and to capture a buried treasure. Brennan takes out his teeth for this role, and either through added weight or makeup, presents a rubicund complexion and a robust, rounded face that is startlingly different from the gaunt and rickety Eddie of To Have and Have Not.

Of course, the Kremlin policy is utterly mad. Even with the help of useful fools like Gen. Butler, Moscow’s strategists are bound to fail (in the long run) – especially in Europe; for the natural instincts of sensible people are bound to awaken. However grim the situation may look, however horrific the military disasters to come, the circus clowns will be forced from the stage. Fear of death has a way of focusing the mind, and the threat of enslavement rallies many whose timidity would otherwise be assumed. It does not matter that these people are “late to the party.” As war grows closer, more observers will see the situation for what it is. Shortly before her death last year, a Russian historian wrote to me as follows: “Moscow is performing substantial war preparations. Training both military and civil defense [personnel] including the Moscow Metro, every day; medicine is in full readiness for [the coming] emergency….” J.R.Nyquist

But what kind of speech is attributed to the citizen in such a view, and how does such an account draw the line between the performativity that is hate speech and the performativity that is the linguistic condition of citizenship? If hate speech is a kind of speech that no citizen ought to exercise, then how might its power be specified, if it can be? And how are both the proper speech of citizens and the improper hate speech of citizens to be distinguished from yet a third level of performative power, that which belongs to the state? This last seems crucial to interrogate if only because hate speech is itself described through the sovereign trope derived from state discourse (and discourse on the state). Figuring hate speech as an exercise of sovereign power implicitly performs a catachresis by which the one who is charged with breaking the law (the one who utters hate speech) is nevertheless invested with the sovereign power of law. What the law says, it does, but so, too, the speaker of hate. The performative power of hate speech is figured as the performative power of state-sanctioned legal language, and the contest between hate speech and the law becomes staged, paradoxically, as a battle between two sovereign powers.

While our conceptions of gender have evolved since the publication of Gender Trouble, there is a lot to be said for Butler’s theory, particularly when it comes to the ways in which women, knowingly or unknowingly, perform femininity and the ways in which women are sometimes trapped by how they are expected to perform their gender.

No desafio de repensar as categorias do gênero fora da metafísica da substância, é mister considerar a relevância da afirmação de Nietzsche, em Genealogia da Moral, de que “não há ‘ser’ por trás do fazer, do realizar e do tornar-se; o ‘fazedor’ é uma mera ficção acrescentada à obra — a obra é tudo”. Numa aplicação que o próprio Nietzsche não teria antecipado ou aprovado, nós afirmaríamos como corolário: não há identidade de gênero por trás das expressões do gênero; essa identidade é performativamente constituída, pelas próprias “expressões” tidas como seus resultados.

Young revient sur les approches féministes des années 1970 et sur l'antagonisme apparemment irréconciliable sur lequel elles ont débouché : d'un côté, un idéal universaliste qui refuse de considérer que le sexe biologique de naissance puisse avoir une quelconque incidence sur les projets d'un individu et sur la façon dont il noue des relations à autrui, de l'autre, une approche différentialiste insistant sur les spécificités corporelles de leur existence et sur l'importance de la maternité pour caractériser l'expérience de la plupart des femmes. Elle évoque ensuite la proposition de Judith Butler de se débarrasser du sujet politique du féminisme, qu'il soit fondé sur une définition biologique (le sexe) ou sur une définition sociale et culturelle (le genre). En montrant que la matérialité des corps sexués est elle-même socialement construite et que le genre est une performance, Butler fait l'hypothèse qu'on s'extirperait de l'opposition paralysante entre options universaliste et différentialiste. Mais, pour Iris Marion Young, aussi pertinent et utiles soit-elle, la pensée queer reste insuffisante quand il s'agit de comprendre l'expérience vécue ordinaire qui s'éprouve au regard de la féminité et de la masculinité hégémoniques. Elle propose donc de revenir à la phénoménologie existentialiste de Simone de Beauvoir dont le cœur théorique est le concept de *corps vécu* défini comme « l'idée unifiée d'un corps physique agissant et s'éprouvant dans un contexte socio-culturel spécifique ; c'est un corps-en-situation ». Une fois ce postulat posé, elle s'attache à déplier la dialectique beuvoirienne de la facticité et de la liberté : la relation entre l'existence concrète et matérielle de la personne et son environnement physique et social constitue sa facticité ; cependant, toute personne est dotée de la liberté ontologique de se construire elle-même dans sa relation à cette facticité. (p. 126-127)

Balinese and Javanese Hinduism eventually split into two traditions, one known as Agama Dharma Hindu Indonesia, which fashioned itself into a monotheism in accord with legal strictures in Indonesia concerning what can be a legally recognized religion, while the more historically authentic tradition became known as Agama Tirtha, the religion of the holy waters, referring to the central practice in it of blessing water through the recitation of mantras or through the performance of other ceremonies. Water can also be blessed by simply placing it in a shrine. The blessed water then becomes the vehicle rendering other ceremonies effective, by being sprinkled over offerings, to purify the place of worship or the worshipers, and in specific purification rituals as well as rituals associated with cremation. The water drawn from coconuts is also used sometimes in this tradition.69 The use of water in Agama Tirtha can be compared with the ancient Greek practice of asperging, or sprinkling with holy water called khernips, often sanctified to the God Apollo by dropping a burning laurel or myrtle leaf into it, or dipping into it a sacred branch of the laurel tree. Some of these asperging practices were in turn taken up by the Greek Christian clergy.

We learn from Indigenous cosmogonies that the ‘Sky’ is never a simple term, which is why the notion of so-called ‘Sky Gods’ has been the subject of at least as much fundamental confusion as that of ‘Creator Gods’. We see this, similarly, in the name ‘Zeus’, which has the etymological sense of ‘day-shining’, and hence of that which is performed in the day, as when the Egyptian resurrection is referred to as ‘coming forth by day’, which in turn renders it understandable that Hades can also be referred to as ‘Zeus Chthonios’, Zeus-under-the-earth, because Hades is He who shines forth in the land of the dead and through the dead, expressing the order and intelligibility in that realm.

The ka is one’s destiny, in the sense of one’s possibility or potential, which exerts a force of attraction that draws one forward through one’s mortal life to the point of fulfillment or actualization; accordingly, the resurrected dead are called aẖw, the ‘actualized’. Heka is the utterance or performance by which some potential is actualized, and the fractal of the cosmos deployed.

Our minds have a vast capacity for healing through images. Whether we’re imagining a scene of forgiveness, comfort, or letting go, or simply visualizing a loved one, images can profoundly settle into our bodies and sink into our minds. In my work, I’ve found that helping people to unearth the image that most resonates with them is the cornerstone of healing. The notion of the healing power of images was valid long before brain scans could prove it. More than a hundred years ago, the poet William Butler Yeats wrote that “wisdom first speaks through images,” and that if we just allow ourselves to be guided by the image that lives inside us, our souls will become “simple as flame” and our bodies will become “quiet as an agate lamp.” In 1913, Carl Jung coined the term active imagination, a technique that uses images (often from a dream) to enter into a dialogue with the unconscious mind, bringing to light what has been shrouded in darkness. Recently, the idea of visualization for healing has gained widespread traction, with guided imagery programs readily available to lower stress, reduce anxiety, boost athletic performance, and help with specific fears and phobias.

Thomas would be by turns amusing and acutely embarrassing, or indeed both at once. One hostess was called Mrs Crackenthorpe, and her husband was Montague Cookson Crackenthorpe. Thomas thought the name funny, and while waiting on their doorstep he would do a little dance while singing ‘Montague Cook – Montague Cook – Montague Cookson Crackenthorpe’. This would cause the girls to get fits of the giggles, the more agonizing in that at any moment the Crackenthorpe butler might catch Thomas at this performance. Much as he amused his children, there were many ways in which he made them squirm.

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