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More recently, she has been active in the Occupy movement and has publicly expressed support for a version of the BDS Boycott, Divestment and Sanctions campaign against Israel. Butler believes that identity forms through repetition or imitation and is not original. Butler discusses how gender is performed without one being conscious of it, but says that it does not mean this performativity is "automatic or mechanical". Journal of Women in Culture and Society.

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Adorno Award in Butler's work has been influential in feminist and queer theory, cultural studies , and continental philosophy. 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. The idea of identity as free and flexible and gender as a performance, not an essence, is one of the foundations of Queer theory. Performativity cannot be understood outside of a process of iterability, a regularized and constrained repetition of norms. The book has even inspired an intellectual fanzine, Judy! There are two responses to this objection. 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. Austin 's idea of performative utterance, makes erroneous legal claims, forecloses an essential site of resistance by repudiating pre-cultural agency, and provides no normative ethical theory to direct the subversive performances that Butler endorses. Butler discusses how gender is performed without one being conscious of it, but says that it does not mean this performativity is "automatic or mechanical". She explains how the theater is much less threatening and does not produce the same fear that gender performances often encounter because of the fact that there is a clear distinction from reality within the theater. She states, "gender is not a radical choice Butler uses Sigmund Freud 's notion of how a person's identity is modeled in terms of the normal. Although the repeated, stylized bodily acts establish the appearance of an essential, ontological "core" gender, Butler understands gender, along with sex and sexuality, to be performative. Imitation fosters the illusion of continuity. 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. Feminism and the Subversion of Identity was first published in , selling over , copies internationally, in multiple languages. Instead she argues for an ethics based precisely on the limits of self-knowledge as the limits of responsibility itself. Conscientious and nurturing adults, whether they are men or women, heterosexual or homosexual, can be excellent parents. Butler's work on gender, sex, sexuality, queerness, feminism, bodies, political speech and ethics has changed the way scholars all over the world think, talk and write about identity, subjectivity, power and politics. She draws on the phenomenology of Maurice Merleau-Ponty and the feminism of Simone de Beauvoir , noting that both thinkers ground their theories in "lived experience" and view the sexual body as a historical idea or situation. If it is impossible to demand that those who profit from the recession redistribute their wealth and cease their greed, then yes, we demand the impossible. Criticizing the event's commercialism, she went on to name several groups that she commended as stronger opponents of "homophobia, transphobia, sexism, racism, and militarism". She cited racist comments on the part of organizers and a general failure of CSD organizations to distance themselves from racism in general and from anti-Muslim excuses for war more specifically. People have asked, so what are the demands? She argues that we have desires that do not originate from our personhood, but rather, from social norms.

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  1. However, she also brings into light a critical difference between gender performance in reality and theater performances. 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.

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