Gender You

gender

dad joke

post office

gender performativity

performativity

Judith Butler

sexuality

heterosexual

one-liner

turtle

trivia

grunting

hissing

penis

worm

hermaphrodite

firefly

glowing

oyster

transgender

identity

identity politics

identity crisis

doctor

amputation

queer

LGBTQ+

academia

patriarchy

equity

academic writing

pronoun

gender pronouns

password

transgender bathrooms

gender identity

feminism

Star Wars

girl power

gender norm

is a deeply grammatical concern (such that rather than gender, the question of 'what 'gender' is grammatically about'becomes the central category of feminist critique.

[Haraway and others] do not so much finish with gender as the central category of feminist critique but rather form the ultimate expression of 'what 'gender' is grammatically about' (Prins 1995:357).

is a narrative that is sustained by the tacit collective agreement to perform, produce, and sustain discrete and polar genders as cultural fictions is obscured by the credibility of those productions and the punishments that attend not agreeing to believe in them.

Butler characterizes gender as the effect of reiterated acting, one that produces the effect of a static or normal gender while obscuring the contradiction and instability of any single person's gender act. This effect produces what we can consider to be 'true gender,' a narrative that is sustained by 'the tacit collective agreement to perform, produce, and sustain discrete and polar genders as cultural fictions is obscured by the credibility of those productions and the punishments that attend not agreeing to believe in them.'[1]. (Butler 1990) (https://en.wikipedia.org/wiki/Gender performativity)

is a social artifice radically independent of sex. Our ideas of what women and men are reflect nothing that exist eternally in nature. Instead they derive from customs that embed social relations of power.

Nussbaum argues that ''Butler's main idea, first introduced in Gender Trouble in 1989 and repeated throughout her books, is that gender is a social artifact. Our ideas of what women and men are reflect nothing that exist eternally in nature. Instead they derive from customs that embed social relations of power' (40) Butler herself is then quoted as writing (no citation given) 'when the constructed status of gender is theorized as radically independent of sex, gender itself becomes a free-floating artifice

is a stylized repetition of acts, a constructed identity, a performative accomplishment which the mundane social audience, including the actors themselves, come to believe and to perform in the mode of belief.

Gender is 'a stylized repetition of acts . . . which are internally discontinuous . . .[so that] the appearance of substance is precisely that, a constructed identity, a performative accomplishment which the mundane social audience, including the actors themselves, come to believe and to perform in the mode of belief' (Gender Trouble). To say that gender is performative is to argue that gender is 'real only to the extent that it is performed' (Gender Trouble).

is a system of meanings, of ways of thinking, images and words that first shape how we experience, understand, and represent ourselves as men and women, but that also do more than that... they shape many other aspects of our lives and culture. In this symbolic system, human characteristics are dichotomized.

Gender is constructed in a discourse that the psychologist Carol Cohn describes as being 'not only about words or language but about a system of meanings, of ways of thinking, images and words that first shape how we experience, understand, and represent ourselves as men and women, but that also do more than that... they shape many other aspects of our lives and culture. In this symbolic system, human characteristics are dichotomized' (Cohn 1993, 228-29).

is achieved through repeated acts, where the acts themselves actually constitute the gendered subject instead of expressing it, hence, 'choice' violates the very concept such that one cannot, say, decide to be a man and subvert one's identity.

Gender, for Butler, is achieved through repeated acts, where the acts themselves actually constitute the gendered subject instead of expressing it. Any idea of a consistent self that could choose to enact his/her identity whimsically violates the very concepts that Butler espouses (hence, I can't decide to be a man and subvert my identity).

is constructed by one who takes on or appropriates that gender and could in principle, take on some other gender.

11 For Beauvoir, gender is 'constructed,' but implied in her formulation is an agent, a cogito, who somehow takes on or appropriates that gender and could, in principle, take on some other gender.'

is constructed, but not by an 'I' or a 'we' who stands before that construction in any spatial or temporal sense of 'before.' the 'I' neither precedes nor follows the process of this gendering, but emerges only within the matrix of gender relations themselves.

There is no self preceding or outside a gendered self. Butler writes, ' . . . if gender is constructed, it is not necessarily constructed by an 'I' or a 'we' who stands before that construction in any spatial or temporal sense of 'before.' Indeed, it is unclear that there can be an 'I' or a 'we' who had not been submitted, subjected to gender, where gendering is, among other things, the differentiating relations by which speaking subjects come into being . . . the 'I' neither precedes nor follows the process of this gendering, but emerges only within the matrix of gender relations themselves' (Bodies that Matter).

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