Bodies That Matter
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Review
"As a philosopher of gender [Judith Butler] is unparalleled." – Village Voice
"Butler gives us a new way to think about the materiality of the body in the discursive performity operative in the materialization of sex. Following a common move in postmodern feminism, Butler sets out to demolish the sex/gender distinction that has formed the mainstay of the de Beauvorian and radical feminism's notion that gender, as a cultural construction, could be critiqued and politicized against the givenness of the body's biological sex. . . .What is new in Bodies That Matter is Butler's attempt to write more directly about race." – Signs
"Extending the brilliant style of interrogation that made her 1990 book Gender Trouble: Feminism and the Subversion of Identity a landmark of gender theory/queer theory, Butler here continues to refine our understandings of the complexly performative character of sexuality and gender and to trouble our assumptions about the inherent subversiveness of dissident sexualities. . . . indispensable reading across the wide range of concerns that queer theory is currently addressing." – Artforum
"What the implications/limitations of 'sexing' are and how the process works comprise the content of this strikingly perceptive book. . . . Butler has written a most significant and provocative work that addresses issues of immediate social concern." – The Boston Book Review
"A brilliant and original analysis." – Drucilla Cornell, Rutgers University, USA
"...a classic." – Elizabeth Grosz
Product Description
In Bodies That Matter, renowned theorist and philosopher Judith Butler argues that theories of gender need to return to the most material dimension of sex and sexuality: the body. Butler offers a brilliant reworking of the body, examining how the power of heterosexual hegemony forms the "matter" of bodies, sex, and gender. Butler argues that power operates to constrain sex from the start, delimiting what counts as a viable sex. She clarifies the notion of "performativity" introduced in Gender Trouble and via bold readings of Plato, Irigaray, Lacan, and Freud explores the meaning of a citational politics. She also draws on documentary and literature with compelling interpretations of the film Paris is Burning, Nella Larsen's Passing, and short stories by Willa Cather.
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Most Helpful Customer Reviews
35 of 38 people found the following review helpful
Format:Paperback
This book clarifies much of Foucault was saying in History of Sexuality. Butler is careful, however, to not borrow the models Foucault uses, thereby, avoids some of the mistakes and gaps that occur in his thinking, namely the silence on women. Butler, more than Foucault, is not willing to settle the debate on sexuality merely as the obtaining and disseminating of pleasures and how those bodies perform them. Rather, she takes bodies as always already gender indeterminate and destablilizes their performatives further to show how bodies are marked by gender as well as race, class, sexulaity, etc. and how these categories are also destabilized within the perfomative. I highly recommend this book to feminist and queer theorists and well as anyone who is concerned about creating any sort of opposition to the reactionary right-wing forces that are attempting to further entrench their dominance over the rest of us.
19 of 30 people found the following review helpful
Format:Paperback
When Judith Butler describes gender as performative, contrary to much of what is mistakenly thought out there, it is not about choice! It is not about choosing to put on a gender--as if it was a performance in the traditional or obvious way. The performativity of gender is meant to suggest--invoke--that gender is constituted by performative acts which repeated come to form, take shape, a "coherent" gender identity. Thus, Butler uses the performative to suggest that this coherency is false and that because of acts that disrupt the strict reads of gender--acts that occur naturally, perhaps daily, perhaps unacknowledged, gender comes to be seen/viewed as that which is only as stable as this performative function's stability is. Or put more simply, gender-as-stable is undermined by Butler by reading it through the performative--becuase it is never "performed" the same exactly. So, it is not that people can choose to perform a certain enumeration of gender, rather it is that noone precisely (actually) fulfills these gender identities that we have!
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
10 reviews
61 of 82 people found the following review helpful
Thought-provoking
15 Mar 1999
Format:Paperback
This book clarifies much of Foucault was saying in History of Sexuality. Butler is careful, however, to not borrow the models Foucault uses, thereby, avoids some of the mistakes and gaps that occur in his thinking, namely the silence on women. Butler, more than Foucault, is not willing to settle the debate on sexuality merely as the obtaining and disseminating of pleasures and how those bodies perform them. Rather, she takes bodies as always already gender indeterminate and destablilizes their performatives further to show how bodies are marked by gender as well as race, class, sexulaity, etc. and how these categories are also destabilized within the perfomative. I highly recommend this book to feminist and queer theorists and well as anyone who is concerned about creating any sort of opposition to the reactionary right-wing forces that are attempting to further entrench their dominance over the rest of us.
10 of 12 people found the following review helpful
Material Bodies
11 Jan 2009
Format:Paperback
With the publication of Gender Trouble in 1990, Judith Butler spearheaded a movement in feminist theory which has become known as 'radical constructivism'. Taking its departures from psychoanalytic and poststructuralist theory, and also informed by speech-act theory, Gender Trouble contends (albeit with sophistication and nuance infinitely greater than this) that gender is not an internal essence, but one produced 'in anticipation' by a repeated and naturalised set of acts, behaviours and stylings. Gender and sexual categories are held in place by the restrictive norms of heterosexuality, but these can be revealed as artificial by their very citability -- as demonstrated in extremis by, for example, drag and camp performance.
In Bodies That Matter (1993) Butler extends and complicates the theories put forward in Gender Trouble to contend that not only gender, but the materiality of the body itself, is discursively and performatively produced. We cannot, therefore, speak of a natural, prelinguistic, 'given' body, because what we think we know about bodies is an effect rather than a cause of signification. As with Gender Trouble, this is not to say that bodies are entirely, unchangingly determined by language, but a recognition that, in Butler's words, there can be 'no reference to a pure body which is not at the same time a further formation of that body' (1993, p. 10). Referring to a body is thus, in quite a strict linguistic sense, always almost performative or constitutive, and governed largely (though not entirely) by habitual understandings and norms (such as heterosexism). Again, the citation and iterability of the norms that subjects are expected 'naturally' to embody belies their instability in a classic deconstructive manoeuvre: the natural or intelligible body shores itself up against, and thereby defines or summons the appearance of the deviant or unintelligible (just as the legitimate summons the illegitimate, the authentic the false, the proper the improper, and so forth). The 'performance' of alternative sexualities and gender identities both denaturalises normative suppositions, and pushes for the articulation of new bodily possibilities.
Butler outlines her theory of how bodies are produced, or materialised, in discourse, and clarifies the oft-cited notion of performativity in its twinned senses of speech-act and theatrical agency. The textual style in this instance is relatively straightforward by Butler's standards: her work is renowned for what can seem like a wilfully opaque syntax. This, however, is central to her critique, which is shot through with a relentless critical suspicion of the 'common sense' of linguistic transparency.
In Bodies That Matter (1993) Butler extends and complicates the theories put forward in Gender Trouble to contend that not only gender, but the materiality of the body itself, is discursively and performatively produced. We cannot, therefore, speak of a natural, prelinguistic, 'given' body, because what we think we know about bodies is an effect rather than a cause of signification. As with Gender Trouble, this is not to say that bodies are entirely, unchangingly determined by language, but a recognition that, in Butler's words, there can be 'no reference to a pure body which is not at the same time a further formation of that body' (1993, p. 10). Referring to a body is thus, in quite a strict linguistic sense, always almost performative or constitutive, and governed largely (though not entirely) by habitual understandings and norms (such as heterosexism). Again, the citation and iterability of the norms that subjects are expected 'naturally' to embody belies their instability in a classic deconstructive manoeuvre: the natural or intelligible body shores itself up against, and thereby defines or summons the appearance of the deviant or unintelligible (just as the legitimate summons the illegitimate, the authentic the false, the proper the improper, and so forth). The 'performance' of alternative sexualities and gender identities both denaturalises normative suppositions, and pushes for the articulation of new bodily possibilities.
Butler outlines her theory of how bodies are produced, or materialised, in discourse, and clarifies the oft-cited notion of performativity in its twinned senses of speech-act and theatrical agency. The textual style in this instance is relatively straightforward by Butler's standards: her work is renowned for what can seem like a wilfully opaque syntax. This, however, is central to her critique, which is shot through with a relentless critical suspicion of the 'common sense' of linguistic transparency.
40 of 57 people found the following review helpful
Lacanian response
10 Aug 2004
Format:Paperback
When I first read this book, I was pleased to see that Butler was returning to the problem of "gender performativity" she raised in *Gender Trouble.* I do believe that she was misunderstood as having claimed in *Gender Trouble* that the performativity constitutive of gender implies an infinite "plasticity" or freedom from the constraints of gender. Yet after reading *Bodies,* I felt that she evaded the question with which she opened the book: in what way can the "materiality" of anatomical sex be construed as a "discursive limit" to ideological constructions of gender without being understood as existing outside of discourse? I believe that Butler is ultimately indecisive about the status of the materiality of sex as either a pre- or extra-discursive "hard kernel of the Real" or (just like gender) another aspect of discourse. This is what leads to her very wrong-headed "critique" of the concept of "objet petit a" in the work of Slavoj Zizek and Jacques Lacan, very complex work which she oversimplifies and accuses of "reifying" or "essentializing" sex. Any serious student of Lacan knows that the a-object of fantasy is anything but "essential." It phantasmatically "dresses up" (to use Lacan's words in Seminar 14) a primordial psychic "hole," an *absence* or pure negativity where a "grounding" for discourse ought to be but is *lacking.* It's a shame that a book such as this which begins with a rigorous intellectual question degenerates into a sort of psychoanalytic dilettantism.
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