Judith Butler

 

Western Philosophy 20th-century philosophy 21st-century philosophy
Name	Judith Butler
Birth	February 24 1956 (1956--) (age 51) Cleveland, Ohio
School/tradition	Continental Philosophy, Third-Wave Feminism, Critical Theory, Queer Theory, Postmodernism, Post-structuralism
Main interests	Feminist Theory, Political Philosophy, Ethics, Psychoanalysis, Discourse, Embodiment, Sexuality, Jewish Philosophy
Notable ideas	Sex and gender as social construction, performativity
Influences	Michel Foucault, Theodor Adorno, J.L. Austin, Luce Irigaray, Gayle Rubin, Monique Wittig, Emmanuel Lévinas, Jacques Derrida, Louis Althusser, Jacques Lacan, Sigmund Freud, Friedrich Nietzsche, Georg Wilhelm Friedrich Hegel
Influenced	Eve Sedgwick, Michael Warner, Judith Halberstam, José Muñoz, Lauren Berlant, Kate Bornstein

Judith Butler (born February 24, 1956) is an American post-structuralist philosopher who has contributed to the fields of feminism, queer theory, political philosophy, and ethics. She is the Maxine Elliot professor in the Departments of Rhetoric and Comparative Literature at the University of California, Berkeley.

Butler received her Ph.D. in philosophy from Yale University in 1984, and her dissertation was subsequently published as Subjects of Desire: Hegelian Reflections in Twentieth-Century France. In the late-1980s, between different teaching/research appointments (such as at the Humanities Center at Johns Hopkins University), she was involved in "post-structuralist" efforts within Western feminist theory to question the "presuppositional terms" of feminism. Her most recent work focuses on Jewish philosophy, engaging in particular with "pre-Zionist criticisms of state violence." ^[1][2]

Major works

Gender Trouble: Feminism and the Subversion of Identity (1990)

Main article: Gender Trouble

Gender Trouble was first published in 1990, selling over 100,000 copies internationally and in different languages ^{[citation needed]}. Alluding to the similarly named 1974 John Waters film Female Trouble starring the drag queen Divine^[3], Gender Trouble critically discusses the works of Simone de Beauvoir, Julia Kristeva, Sigmund Freud, Jacques Lacan, Luce Irigaray, Monique Wittig, Jacques Derrida, and, most significantly, Michel Foucault. The book has also enjoyed widespread popularity outside of traditional academic circles, even inspiring an intellectual fanzine, Judy!.^[4]

The crux of Butler's argument in Gender Trouble is that the coherence of the categories of sex, gender, and sexuality—the natural-seeming coherence, for example, of masculine gender and heterosexual desire in male bodies—is culturally constructed through the repetition of stylized acts in time. These stylized bodily acts, in their repetition, establish the appearance of an essential, ontological "core" gender. This is the sense in which Butler famously theorizes gender, along with sex and sexuality, as performative. The performance of gender, sex, and sexuality, however, is not a voluntary choice for Butler, who locates the construction of the gendered, sexed, desiring subject within what she calls, borrowing from Foucault’s Discipline and Punish, "regulative discourses." These, also called "frameworks of intelligibility" or "disciplinary regimes," decide in advance what possibilities of sex, gender, and sexuality are socially permitted to appear as coherent or "natural." Regulative discourse includes within it disciplinary techniques which, by coercing subjects to perform specific stylized actions, maintain the appearance in those subjects of the "core" gender, sex and sexuality the discourse itself produces.^[5]

A significant yet sometimes overlooked part of Butler's argument concerns the role of sex in the construction of "natural" or coherent gender and sexuality. Butler explicitly challenges biological accounts of binary sex, reconceiving the sexed body as itself culturally constructed by regulative discourse.^[6] The supposed obviousness of sex as a natural biological fact attests to how deeply its production in discourse is concealed. The sexed body, once established as a “natural” and unquestioned “fact,” is the alibi for constructions of gender and sexuality, unavoidably more cultural in their appearance, which can purport to be the just-as-natural expressions or consequences of a more fundamental sex. On Butler’s account, it is on the basis of the construction of natural binary sex that binary gender and heterosexuality are likewise constructed as natural.^[7] In this way, Butler claims that without a critique of sex as produced by discourse, the sex/gender distinction as a feminist strategy for contesting constructions of binary asymmetric gender and compulsory heterosexuality will be ineffective.^[8]

The concept of gender performativity is at the core of Butler's work. It extends beyond the doing of gender and can be understood as a full-fledged theory of subjectivity. Indeed, if her most recent books have shifted focus away from gender, they still treat performativity as theoretically central.

Bodies That Matter: On the Discursive Limits of "Sex" (1993)

Bodies That Matter seeks to clear up mis/readings of performativity that view the enactment of sex/gender as a daily choice.^[9] To do this, Butler emphasizes the role of repetition in performativity, making use of Derrida's theory of iterability, a form of citationality, to work out a theory of performativity in terms of iterability:

Performativity cannot be understood outside of a process of iterability, a regularized and constrained repetition of norms. And this repetition is not performed by a subject; this repetition is what enables a subject and constitutes the temporal condition for the subject. This iterability implies that 'performance' is not a singular 'act' or event, but a ritualized production, a ritual reiterated under and through constraint, under and through the force of prohibition and taboo, with the threat of ostracism and even death controlling and compelling the shape of the production, but not, I will insist, determining it fully in advance.^[10]

Iterability, in its endless undeterminedness as to-be-determinedness, is thus precisely that aspect of performativity that makes the production of the "natural" sexed, gendered, heterosexual subject possible, while also and at the same time opening that subject up to the possibility of its incoherence and contestation.

Excitable Speech: A Politics of the Performative (1997)

In Excitable Speech, Butler surveys the problems of hate speech and censorship. She argues that censorship is difficult to evaluate, and that in some cases it may be useful or even necessary, while in others it may be worse than tolerance. She develops a new conception of censorship’s complex workings, supplanting the myth of the independent subject who wields the power to censor with a theory of censorship as an effect of state power and, more primordially, as the condition of language and discourse itself.

Butler argues that hate speech exists retrospectively, only after being declared such by state authorities. ^{[citation needed]} In this way, the state reserves for itself the power to define hate speech and, conversely, the limits of acceptable discourse. In this connection, Butler criticizes feminist legal scholar Catharine MacKinnon's argument against pornography for its unquestioning acceptance of the state’s power to censor. Butler warns that such appeals to state power may backfire on progressivists like MacKinnon who seek social change, in her case to end patriarchal oppression, through legal reforms. She cites for example the R. A. V. v. City of St. Paul 1992 Supreme Court case, which overturned the conviction of a teenager for burning a cross on the lawn of an African American family, in the name of the First Amendment.^{[citation needed]}

Deploying Foucault’s argument from The History of Sexuality Vol. 1, Butler claims that any attempt at censorship, legal or otherwise, necessarily propagates the very language it seeks to forbid.^[11] As Foucault argues, for example, the strict sexual mores of 19th century Western Europe did nothing but amplify the discourse of sexuality it sought to control.^[12] Extending this argument using Derrida and Lacan, Butler claims that censorship is primitive to language, and that the linguistic “I” is a mere effect of an originary censorship. In this way, Butler questions the possibility of any genuinely oppositional discourse; "If speech depends upon censorship, then the principle that one might seek to oppose is at once the formative principle of oppositional speech".^[13]

Butler also questions the efficacy of censorship on the grounds that hate speech is context-dependent. Citing J.L. Austin's concept of the performative utterance, Butler notes that words’ ability to “do things” makes hate speech possible but also at the same time dependent on its specific embodied context. ^{[citation needed]} Austin’s claim that what a word “does,” its illocutionary force, varies with the context in which it is uttered implies that it is impossible to adequately define the performative meanings of words, including hate, abstractly.^{[citation needed]} On this basis, Butler rejects arguments like Richard Delgado’s which justify the censorship of certain specific words by claiming the use of those words constitutes hate speech in any context. In this way, Butler underlines the difficulty inherent in efforts to systematically identify hate speech.

Undoing Gender (2004)

Undoing Gender collects Butler's reflections on gender, sex, sexuality, psychoanalysis and the medical treatment of intersex for a more general readership than many of her other books. Butler revisits and refines her notion of performativity, which is the focus of Gender Trouble.

In her discussion of intersex, Butler addresses the case of David Reimer, a person whose sex was medically "reassigned" from male to female after a botched circumcision at eight months of age. Reimer was "made" female by doctors, but later in life identified as "really" male, and ultimately committed suicide.^[14].

Giving an Account of Oneself (2005)

In Giving an Account of Oneself, Butler develops an ethics based on the opacity of the subject to itself, the limits of self-knowledge. Borrowing from Adorno, Foucault, Nietzsche, Laplanche and Levinas, among others, Butler develops a theory of the formation of the subject as a relation to the social – a community of others and their norms – which is beyond the control of the subject it forms as precisely the very condition of that subject’s formation, the resources by which the subject becomes recognizably human, a grammatical "I", in the first place. The subject is therefore dispossessed of itself by another or others as the very condition of its being at all, and this process by which I become myself only in relation to others and therefore cannot own myself completely, this constitutive dispossession, is the opacity of the contemporary subject to itself, what I cannot know, possess, and master consciously about myself.

Butler then turns to the ethical question: If my narrative account of myself is necessarily incomplete, breaking down tellingly at the point precisely when "I" am called to elucidate the foundations of this "I", my genesis and ontology, what kind of ethical agent, or "I", am "I"? ^{[citation needed]} Butler accepts the claim that if the subject is opaque to itself the limitations of its free ethical responsibility and obligations are due to the limits of narrative, presuppositions of language and projection. "You may think that I am in fact telling a story about the prehistory of the subject, one that I have been arguing cannot be told. There are two responses to this objection. (1) That there is no final or adequate narrative reconstruction of the prehistory of the speaking "I" does not mean we cannot narrate it; it only means that at the moment when we narrate we become speculative philosophers or fiction writers. (2) This prehistory has never stopped happenning and, as such, is not a prehistory in any chronological sense. It is not done with, over, relegated to a past, which then becomes part of a casual or narrative reconstruction of the self. On the contrary, that prehistory interrupts the stroy I have to give of myself, makes every account of myself partial and failed, and constitutes, in a way, my faily to be fully accountable for my actions, my final "irresponsibility," one for which i may be forgiven only because I could not do otherwise. This not being able to do otherwise is our common predicament." ^{[citation needed]}

Instead she argues for an ethics based precisely on the limits of self-knowledge as the limits of responsibility itself. ^{[citation needed]} Any concept of responsibility which demands the full transparency of the self to itself, an entirely accountable self, necessarily does violence to the opacity which marks the constitution of the self it addresses. The scene of address by which responsibility is enabled is always already a relation between subjects who are variably opaque to themselves and to each other. The ethics that Butler envisions is therefore one in which the responsible self knows the limits of its knowing, recognizes the limits of its capacity to give an account of itself to others, and respects those limits as symptomatically human. ^{[citation needed]} To take seriously one's opacity to oneself in ethical deliberation means then to critically interrogate the social world in which one comes to be human in the first place and which remains precisely that which one cannot know about oneself. In this way, Butler locates social and political critique at the core of ethical practice. ^{[citation needed]}

Style and politics

Butler's academic (though not her popular) writing is dense and theoretical. Butler explains the density of her academic writing by reference to Theodor Adorno, who comments on the necessity to break from traditional language if one is to subvert the dominant cultural narrative. ^{[citation needed]}

In a London Review of Books article published in August 2003, Butler identifies herself as an anti-Zionist Jewish American who is concerned with the loss of academic freedom implicitly advocated by pro-Israeli groups.^[15] She expounds upon her views on Zionism in a section of Precarious Life examining a debacle surrounding Harvard President Lawrence Summers. On September 7th, 2006, she partook in a faculty-organized teach-in at the University of California, Berkeley, scrutinizing the Israeli war on Lebanon during the summer.^[16]

Criticism

Martha Nussbaum wrote an article in The New Republic entitled "The Professor of Parody" criticizing Butler's writing for obscurantism and for its merely "verbal and symbolic politics"; in contrast, Nussbaum mentions thinkers such as Catharine MacKinnon, Nancy Chodorow, and Andrea Dworkin as examples of effective feminist scholarship. According to Nussbaum, without a universally applicable notion of social justice or normative principles, Butler's projects constitute mere moral passivity. The thrust of Nussbaum's criticism lamented the retreat from legal and institutional concerns that contribute to material and practical gains for women, versus the isolated gestural movements that encourage defeatism and thus "collaborate with evil."^[17]

In 1998, Philosophy and Literature admonished Butler with first prize in its Fourth Bad Writing Contest, for a sentence in the scholarly journal Diacritics.^[18] Following controversy, and perceptions of mean-spiritedness, over the "Bad Writing" award that Denis Dutton gave out under the auspices of his academic journal, Dutton discontinued the award in 1999.^[19] Butler commented on the event in an interview.^[20]

Books

• 2007: Who Sings the Nation-State?: Language, Politics, Belonging (with Gayatri Spivak)
• 2005: Giving An Account of Oneself
• 2004: Undoing Gender
• 2004:
• 2003: Women and Social Transformation (with Elisabeth Beck-Gernsheim and Lidia Puigvert)
• 2000: Contingency, Hegemony, Universality: Contemporary Dialogues on the Left (with Ernesto Laclau and Slavoj Žižek)
• 2000: Antigone's Claim: Kinship Between Life and Death
• 1997: The Psychic Life of Power: Theories in Subjection
• 1997: Excitable Speech: A Politics of the Performative
• 1993: Bodies That Matter: On the Discursive Limits of "Sex"
• 1990: Gender Trouble: Feminism and the Subversion of Identity
• 1987: Subjects of Desire: Hegelian Reflections in Twentieth-Century France

Honors

• Recipient of the 2004 Brudner Prize at Yale

References

See also

• List of deconstructionists

Further reading

• Judith Butler: Live Theory by Vicki Kirby
• The Judith Butler Reader by Sara Salih
• Routledge Critical Thinkers: Judith Butler by Sara Salih
• Cheah, Pheng, "Mattering," Diacritics, Volume 26, Number 1, Spring 1996, pp. 108-139.

External links

• Berkeley Faculty Biography - Judith Butler
• Israel/Palestine and the Paradoxes of Academic Freedom in Radical Philosophy
• European Graduate School Faculty Website - Judith Butler
• theory.org.uk - Judith Butler Resources
• A comprehensive Judith Butler bibliography
• Judith Butler on the 2006 Israeli war on Lebanon
• Judith Butler's Significance for Islamic Studies:

http://www.alashrafia.com/english/butler.html

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