Judith Butler Gender 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.

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.

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?

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.

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

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.

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.