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An Analysis of Judith Butler's Gender…
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An Analysis of Judith Butler's Gender Trouble (The Macat Library) (original 1990; udgave 2017)

af Tim Smith-Laing (Forfatter)

MedlemmerAnmeldelserPopularitetGennemsnitlig vurderingOmtaler
2,651184,168 (3.84)16
Since its publication in 1990, Gender Troublehas become one of the key works of contemporary feminist theory, and an essential work for anyone interested in the study of gender, queer theory, or the politics of sexuality in culture.
Medlem:Tegen_Hoare
Titel:An Analysis of Judith Butler's Gender Trouble (The Macat Library)
Forfattere:Tim Smith-Laing (Forfatter)
Info:Macat Library (2017), Edition: 1, 104 pages
Samlinger:Dit bibliotek
Vurdering:
Nøgleord:Judith Butler, queer theory, gender studies, queer, feminism, female writer

Detaljer om værket

Kønsballade : feminisme og subversionen af identitet af Judith Butler (1990)

  1. 01
    The Blank Slate: The Modern Denial of Human Nature af Steven Pinker (PlaidStallion)
    PlaidStallion: She has been praised for giving new insights on several areas of study, particularly heterosexism, through her research. But Pinker says:

      Once again, postmodernism took this extreme to an even greater extreme in which the theory upstaged the subject matter and became a genre of performance art in itself. Postmodernist scholars, taking off from the critical theorists Theodor Adorno and Michel Foucault, distrust the demand for “linguistic transparency” because it hobbles the ability “to think the world more radically” and puts a text in danger of being turned into a mass-market commodity. This attitude has made them regular winners of the annual Bad Writing Contest, which “celebrates the most stylistically lamentable passages found in scholarly books and articles.” In 1998, first prize went to the lauded professor of rhetoric at Berkeley, Judith Butler, for the following sentence:

        The move from a structuralist account in which capital is understood to structure social relations in relatively homologous ways to a view of hegemony in which power relations are subject to repetition, convergence, and rearticulation brought the question of temporality into the thinking of structure, and marked a shift from a form of Althusserian theory that takes structural totalities as theoretical objects to one in which the insights into the contingent possibility of structure inaugurate a renewed conception of hegemony as bound up with the contingent sites and strategies of the rearticulation of power.

      Dutton, whose journal Philosophy and Literature sponsors the contest, assures us that this is not a satire. The rules of the contest forbid it: “Deliberate parody cannot be allowed in a field where unintended self-parody is so widespread.”

      A final blind spot to human nature is the failure of contemporary artists and theorists to deconstruct their own moral pretensions. Artists and critics have long believed that an appreciation of elite art is ennobling and have spoken of cultural philistines in tones ordinarily reserved for child molesters (as we see in the two meanings of the word barbarian). The affectation of social reform that surrounds modernism and postmodernism is part of this tradition.

      Though moral sophistication requires an appreciation of history and cultural diversity, there is no reason to think that the elite arts are a particularly good way to instill it compared with middlebrow realistic fiction or traditional education. The plain fact is that there are no obvious moral consequences to how people entertain themselves in their leisure time. The conviction that artists and connoisseurs are morally advanced is a cognitive illusion, arising from the fact that our circuitry for morality is cross-wired with our circuitry for status (see Chapter 15). As the critic George Steiner has pointed out, “We know that a man can read Goethe or Rilke in the evening, that he can play Bach and Schubert, and go to his day’s work at Auschwitz in the morning.” Conversely there must be many unlettered people who give blood, risk their lives as volunteer firefighters, or adopt handicapped children, but whose opinion of modern art is “My four-year-old daughter could have done that.”

      The moral and political track record of modernist artists is nothing to be proud of. Some were despicable in the conduct of their personal lives, and many embraced fascism or Stalinism. The modernist composer Karlheinz Stockhausen described the September 11, 2001, terrorist attacks as “the greatest work of art imaginable for the whole cosmos” and added, enviously, that “artists, too, sometimes go beyond the limits of what is feasible and conceivable, so that we wake up, so that we open ourselves to another world.” Nor is the theory of postmodernism especially progressive. A denial of objective reality is no friend to moral progress, because it prevents one from saying, for example, that slavery or the Holocaust really took place. And as Adam Gopnik has pointed out, the political messages of most postmodernist pieces are utterly banal, like “racism is bad.” But they are stated so obliquely that viewers are made to feel morally superior for being able to figure them out.

      As for sneering at the bourgeoisie, it is a sophomoric grab at status with no claim to moral or political virtue. The fact is that the values of the middle class—personal responsibility, devotion to family and neighborhood, avoidance of macho violence, respect for liberal democracy—are good things, not bad things. Most of the world wants to join the bourgeoisie, and most artists are members in good standing who adopted a few bohemian affectations. Given the history of the twentieth century, the reluctance of the bourgeoisie to join mass utopian uprisings can hardly be held against them. And if they want to hang a painting of a red barn or a weeping clown above their couch, it’s none of our damn business.

      The dominant theories of elite art and criticism in the twentieth century grew out of a militant denial of human nature. One legacy is ugly, baffling, and insulting art. The other is pretentious and unintelligible scholarship. And they’re surprised that people are staying away in droves?
    … (mere)
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...what?

The only reason this gets two stars instead of one is that, from what I've gathered, the premise of this book is interesting and I appreciate how she destabilizes gender/sex identities. But I only know that because of reading about it online. Nothing in the book is coherent or readable enough for me to gather what the author is arguing.

And I'm not totally new to reading theory. I can usually re-read or take notes and generally figure out what's being said. Not here. ( )
  100sheets | Jun 7, 2021 |
El género en disputa, obra fundadora de la llamada teoría queer y a la vez emblemática de los estudios de género Cómo se conocen hoy en día, es un volumen indispensable para comprender la teoría feminista actual: constituye una lúcida crítica la idea esencialista dejé las identidades de género son inmutables encuentran su arraigo en la naturaleza, en el cuerpo o en una heterosexualidad normativa y obligatoria. Libro interdisciplinario que se inscribe simultáneamente en la filosofía, la antropología, la teoría literaria y el psicoanálisis, este texto es deudor de un prolongado acercamiento del autor al feminismo teórico, a los debates sobre el carácter socialmente construido del género, al psicoanálisis, a los estudios Pioneros sobre el travestismo, y también a su activa participación en movimientos Defensores de la diversidad sexual. así, con un pie en la academia y otro en la militancia, apoyada de la lectura de autores como Jacques Lacan, Sigmund Freud, Simone de beauvoir, Claude Levi-Strauss, Luce Irigaray, Julia kristeva, Monique Wittiig, y Michael Foucault, Butler ofrece aquí una teoría original, polémica y desde luego subversiva, responsable ella misma de más de una disputa.
  ckepfer | Dec 27, 2020 |
Judith Butler es una de las feministas de referencia en el panorama filosófico actual y El género en disputa es un texto indispensable para el movimiento feminista. El género en disputa, obra fundadora de la llamada teoría queer y emblema de los estudios de género como se conocen hoy en día, es un volumen indispensable para comprender la teoría feminista actual: constituye una lúcida crítica a la idea esencialista de que las identidades de género son inmutables y encuentran su arraigo en la naturaleza, en el cuerpo o en una heterosexualidad normativa y obligatoria. Libro interdisciplinario que se inscribe simultáneamente en la filosofía, la antropología, la teoría literaria y el psicoanálisis, este texto es deudor de un prolongado acercamiento de la autora al feminismo teórico, a los debates sobre el carácter socialmente construido del género, al psicoanálisis, a los estudios pioneros sobre el travestismo, y también a su activa participación en movimientos defensores de la diversidad sexual. Así, con un pie en la academia y otro en la militancia, apoyada en su lectura de autores como Jacques Lacan, Sigmund Freud, Simone de Beauvoir, Claude Lévi-Strauss, Luce Irigaray, Julia Kristeva, Monique Wittig y Michel Foucault, Butler ofrece aquí una teoría original, polémica y desde luego subversiva, responsable ella misma de más de una disputa.
  MaEugenia | Aug 20, 2020 |
It's hard to know exactly what to say about this, because I very much like some of the ideas here but feel like they're obscured by a lot of other ~~stuff~~ that I didn't find nearly as enlightening. At this point, I really need to admit that I have an enormous bias against psychoanalysis, which much of this book engages with, and that has definitely influenced how I feel about it. That said, I think that it's at the points where Butler stops discussing other theorists' work and starts positing her own ideas that this book really becomes useful and important.
  Tara_Calaby | Jun 22, 2020 |
her dunk on Lacan is very chill
  theodoram | Apr 7, 2020 |
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Since its publication in 1990, Gender Troublehas become one of the key works of contemporary feminist theory, and an essential work for anyone interested in the study of gender, queer theory, or the politics of sexuality in culture.

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