A Clown of His/Her/Their Own: Clown and Gender Performativity

2020 ◽  
Vol 183 ◽  
pp. 62-66
Author(s):  
Jacqueline Russell
Keyword(s):  
Gender Performativity ◽  
And Gender

scholarly journals A Body of Authority: Reorienting Gender and Power in Julian of Norwich’s Revelations

Humanities ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 30
Author(s):  
Phillip Goodwin
Keyword(s):  
Feedback Loop ◽  
Religious Studies ◽  
Religious Authority ◽  
Gender Performativity ◽  
Time And Space ◽  
14Th Century ◽  
And Gender ◽  
The Church ◽  
The Trinity ◽  
Spatial Logics

The 14th century mystic Julian of Norwich’s theology, dissolving gender binaries and incorporating medieval constructs of the female into the Trinity, captivates scholars across rhetorical, literary, and religious studies. A “pioneering feminist”, as Cheryll Glenn dubs her, scholarship attempts to account for the ways in which Julian’s theology circumvented the religious authority of male clerics. Some speculate that Julian’s authority arises from a sophisticated construction of audience (Wright). Others situate Julian in established traditions and structures of the Church, suggesting that she revised a mode of Augustinian mysticism (Chandler), or positing that her intelligence and Biblical knowledge indicate that she received religious training (Colledge and Walsh). Drawing from theories on space and gender performativity, this essay argues that Julian’s gendered body is the generative site of her authority. Bodies are articulated by spatial logics of power (Shome). Material environments discipline bodies and, in a kind of feedback loop, gendered performance (re)produces power in time and space. Spaces, though, are always becoming and never fixed (Chavez). An examination of how Julian reorients hierarchies and relations among power, space, and her body provides a hermeneutic for recognizing how gender is structured by our own material cultures and provides possibilities for developing practices that revise relations and create new agencies.

scholarly journals Coping with the COVID‐19 crisis: force majeure and gender performativity

2020 ◽  
Vol 27 (5) ◽  
pp. 788-803 ◽  
Author(s):  
Sophie Hennekam ◽  
Yuliya Shymko
Keyword(s):  
Gender Performativity ◽  
Force Majeure ◽  
And Gender

Performing post-migration cinema in Italy:Corazones de Mujerby K. Kosoof

Modern Italy ◽  
2013 ◽  
Vol 18 (1) ◽  
pp. 41-53
Author(s):  
Federica Mazzara
Keyword(s):  
Conceptual Framework ◽  
Gender And Sexuality ◽  
Italian Cinema ◽  
Gender Performativity ◽  
And Gender ◽  
Nomadic Subject

Following consideration of the most common representations of migrants in Italian cinema, where they are often portrayed as victimised and minor subjects, this article analyses a film by Davide Sordella and Pablo Benedetti,Corazones de Mujer(2008) as a ‘post-migration alternative’. This film considers a different way of depicting ‘foreigners’, and addresses the complex issues of gender and sexuality as they emerge at the interface between Western and Arab cultures. Within the conceptual framework of Judith Butler's ‘gender performativity’ and Rosi Braidotti's ‘nomadic subject’, this article aims to suggest an alternative way of representing migrants in Italian cinema as agents of social and gender transgressions.

Cosplay, Cuteness, and Weiniang

2018 ◽  
Author(s):  
Shih-chen Chao
Keyword(s):  
Queer Studies ◽  
Fan Studies ◽  
Gender Performativity ◽  
Cross Dressing ◽  
And Gender

This paper analyzes gender performativity in the form of cross-dressing cuteness through cosplaying by a popular male-cosplaying-female fan group “Ailisi Weiniang Tuan (Alice Cos Group)” based in China. Drawing from cute studies, gender/queer studies, and fan studies, this paper examines the phenomenon of fake girls as a venue of redefining the boundaries of identity and gender using cosplaying and the notion of cuteness to achieve queerness to address the issue of gender performativity through queered cuteness in today’s China.

scholarly journals Women's Legal Voice: Language, Power, and Gender Performativity in Late Chosŏn Korea

2015 ◽  
Vol 74 (3) ◽  
pp. 667-686
Author(s):  
Jisoo M. Kim
Keyword(s):  
Legal Capacity ◽  
Gender Performativity ◽  
Entire Family ◽  
Narrative Strategy ◽  
Gender Hierarchy ◽  
Legal Identity ◽  
Lower Courts ◽  
Choson Korea ◽  
Linguistic Practices ◽  
And Gender

Based on a neo-Confucian vision that the monarch's mandate relied on listening to his people's grievances, the Chosŏn state (1392–1910) empowered subjects regardless of gender or status to address grievances to the sovereign that had not been rectified in lower courts. Contrary to the preconceived notion that women of the Chosŏn were silent subjects outside their domestic boundary, their petitioning activity shows that women, irrespective of their status, had the same legal capacity as their male counterparts to appeal grievances at local and capital levels. This article focuses on women's petitions and their linguistic practices to show how their petitioning activity complicated the gender dynamics of Confucian society. While the gender hierarchy was reinforced through women's narrative strategy as they appropriated the discourse of domesticity, I posit that women as legal agents were regendering legal identity by constructing a sense of personhood via their petitioning practice. Through articulating their gendered narratives, women struggled to defend not only themselves and their own sense of morality but also their entire family.

scholarly journals Be a Man, do not Cry like a Woman: Analyzing Gender Dynamics in Pakistan

2020 ◽  
Vol 4 (2) ◽  
pp. 361-371
Author(s):  
Abdul Razaque Channa ◽  
Tayyaba Batool Tahir
Keyword(s):  
Feminist Theory ◽  
Gender Performance ◽  
Gender Construction ◽  
Primary Data ◽  
Gender Performativity ◽  
Gender Identities ◽  
Social Scientists ◽  
The Third ◽  
Informal Discussion ◽  
And Gender

Contrary to the view that gender is fluid, as concurred by several social scientists, in traditional Pakistani understanding, gender is seen in fixed binaries, i.e., either you are a man or a woman. The third category is known as the third gender in Pakistan. It is interesting to note that although gender is seen as fixed in Pakistani cultures, in informal discussions, varied shades of gender are highlighted by informants based on gender performativity. By drawing on the postmodern feminist theory of gender performativity, this paper does a discourse analysis of informant’s views about gender construction and dynamics in rural Sindh. Ethnographic fieldnotes have been used as primary data to analyze gender nuances implicit in Pakistani men's informal discourse. This paper argues that contrary to unchanging gender identities as endorsed by Pakistan society's patriarchal structure, men dismiss these fixed identities during an informal discussion. Instead, they shuffle gender identities by branding men and women as feminine men and masculine women, respectively, based on their gender performativity. We conclude that irrespective of physical outlook, the power lies in hegemonic forms of agency. Gender relationships and gender performance shape the sexual and gender identity of subjects.

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