#performative acts

[drlinguo]

thx @kz

[balkanche]

[anime-by-kr]

Rarecho – Aggretsuko

+ Butler – Performative Acts Actions

Hey everyone! 🌟

Aggretsuko captures the dichotomy of our public and private selves. Retsuko, a mild-mannered red panda with a monotonous job, uses death metal karaoke as an outlet for her frustrations. This juxtaposition is more than just comedic; it reflects the performative nature of identity. Retsuko's behaviour at work and in the karaoke booth is indicative of the different roles we play depending on our environment, which is consistent with the idea that identity is continuously constructed.

The office environment and societal expectations force Retsuko to hide her true feelings and present a façade of conformity. This portrayal resonates with the idea that our daily actions are influenced by external pressures. Retsuko's fear of her secret being exposed highlights the performative act of maintaining different identities in different social contexts.

Retsuko's confrontation with her overbearing boss is a moment of defiance that breaks with the repeated acts of submission she has performed. This act of defiance reflects the potential for change in how one performs one's identity, demonstrating the importance of agency.

Season 2 introduces new workplace dynamics, highlighting the fluid nature of performative acts. Watching Retsuko navigate these relationships reminded me that our social interactions continually shape our identities.

Watching Aggretsuko again with a deeper understanding of performative acts offered a new perspective. It emphasised that our identities are not fixed, but are constantly performed and re-performed. Retsuko's journey is a testament to the fluidity of identity and the power of agency.

Let me know what you guys think ;)

[intermulti]

Assignment #3 Meg D. 1

"Through the conception of gender acts sketched above, I will try to show some ways in which reified and naturalized conceptions of gender might be understood as constituted and, hence, capable of being constituted differently. In opposition to theatrical or phenomenological models which take the gendered self to be prior to its acts, I will understand constituting acts not only as constituting the identity of the actor, but as constituting that identity as a compelling illusion, an object of belief. In the course of making my argument, I will draw from theatrical, anthropological, and philosophical discourses, but mainly phenomenology, to show that what is called gender identity is a performative accomplishment compelled by social sanction and taboo. In its very character as performative resides the possibility of contesting its reified status."

This is the third paragraph of Butler's essay, and she is already setting up the roadmap for the remainder. While her ideas are complex, she has already explained the origins for each of them, and will use the body paragraphs to provide additional supportive evidence rather than waiting until later to prove her ideas in the first place. Her writing is clear, and the trajectory of her argument is well thought-out and easy to follow.

[intermulti]

Assignment #3, Laurie W., 1.

"To be female is, according to that distinction, a facticity which has no meaning, but to be a woman is to have become a woman, to compel the body to conform to an historical idea of 'woman', to induce the body to become a cultural sign, to materialize oneself in obedience to an historically delimited possibility, and to do this as a sustained and repeated corporeal project." Judith Butler - Performative Acts and Gender Constitution This is part of Butler's opening argument that gender formation is a separate from biological sexual determinants and therefore, not reliant upon male/female status for identity. Before she can persuade the reader to accept gender as a Performative act, she rightly assumes the reader will have to accept that gender and sex are phenomenologically separate. Gender in itself is not a stable state of being, though the state of being male or female does not change. According to Butler's next argument, gender is a creation that occurs and is reinforced through the constant repetition of behaviors (or acts) designed to make a person associate with masculinity or femininity. She presents a thorough case for the Performative aspect of gender formation when she says that, "one does one's body and, indeed, one does one's body differently from one's contemporaries and from one's embodied predecessors and successors as well." From this perspective, Butler develops the connection between theatrical and gender roles, their similarities and differences regarding Performative acts.

[imparalysed]