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Judith Butler. Performative Acts and Gender Constitution.

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Language: English

Judith Butler - Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory

Judith Butler. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." in: Theatre Journal. Vol. 40, No. 4, pp. 519-531, December 1988. (English)



Philosophers rarely think about acting in the theatrical sense, but they do have a discourse of 'acts' that maintains associative semantic meanings with theories of performance and acting. For example, John Searle's 'speech acts,' those verbal assurances and promises which seem not only to refer to a speaking relationship, but to constitute a moral bond between speakers, illustrate one of the illocutionary gestures that constitutes the stage of the analytic philosophy of language. Further, 'action theory,' a domain of moral philosophy, seeks to understand what it is 'to do' prior to any claim of what one ought to do. Finally, the phenomenological theory of 'acts,' espoused by Edmund Husserl, Maurice Merleau-Ponty and George Herbert Mead, among others, seeks to explain the mundane way in which social agents constitute social reality through language, gesture, and all manner of symbolic social sign. Though phenomenology sometimes appears to assume the existence of a choosing and constituting agent prior to language (who poses as the sole source of its constituting acts), there is also a more radical use of the doctrine of constitution that takes the social agent as an object rather than the subject of constitutive acts.

When Simone de Beauvoir claims, "one is not born, but, rather, becomes woman," a she is appropriating and reinterpreting this doctrine of constituting acts from the phenomenological tradition.1 In this sense, gender is in no way a stable identity or locus of agency from which various acts proceede; rather, it is an identity tenuously constituted in time-an identity instituted through a stylized repetition of acts. Further, of gender is instituted through the stylization of the body and, hence, must be understood as the mundane way in which bodily gestures, movements, and enactments of various kinds constitute the illusion of an abiding gendered self. This formulation


Judith Butler is an Assistant Professor of Philosophy at George Washington University. She is the author of Subjects of Desire: Hegelian Reflection in Twentieth-Century France. She has published articles in post-structuralist and gender theory.

moves the conception of gender off the ground of a substantial model of identity to one that requires a conception of a constituted social temporality. Significantly, if gender is instituted through acts which are internally discontinuous, then the appearance of substance is precisely that, a constructed identity, a performative accomplishment which the mundane social audience, including the actors themselves, come to believe and to perform in the mode of belief. If the ground of gender identity is the stylized repetition of acts through time, and not a seemingly seamless identity, then the possibilities of gender transformationare to be found in the arbitraryrelation between such acts, in the possibility of a different sort of repeating, in the breaking or subversive repetition of that style.

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.

I. Sex/Gender: Feminist and Phenomenological Views

Feminist theory has often been critical of naturalistic explanations of sex and sexuality that assume that the meaning of women's social existence can be derived from some fact of their physiology. In distinguishing sex from gender, feminist theorists have disputed causal explanations that assume that sex dictates or necessitates certain social meanings for women's experience. Phenomenological theories of human embodiment have also been concerned to distinguish between the various physiological and biological causalities that structure bodily existence and the meanings that embodied existence assumes in the context of lived experience. In Merleau-Ponty's on reflections in The Phenomenology Perception "the body in its sexual being," he of takes issue with such accounts of bodily experience and claims that the body is "an historical idea" rather than "a natural species."2 Significantly, it is this claim that Simone de Beauvoir cites in The Second Sex when she sets the stage for her claim that "woman," and by extension, any gender, is an historical situation ratherthan a natural fact.3

In both contexts, the existence and facticity of the material or natural dimensions of the body are not denied, but reconceived as distinct from the process by which the body comes to bear cultural meanings. For both Beauvoir and Merleau-Ponty,

the body is understood to be an active process of embodying certain cultural and historical possibilities, a complicated process of appropriation which any phenomenological theory of embodiment needs to describe. In order to describe the gendered body, a phenomenological theory of constitution requires an expansion of the conventional view of acts to mean both that which constitutes meaning and that through which meaning is performed or enacted. In other words, the acts by which gender is constituted bear similarities to performative acts within theatrical contexts. My task, then, is to examine in what ways gender is constructed through specific corporeal acts, and what possibilities exist for the cultural transformation of gender through such acts.

Merleau-Ponty maintains not only that the body is an historical idea but a set of possibilities to be continually realized. In claiming that the body is an historical idea, Merleau-Ponty means that it gains its meaning through a concrete and historically mediated expression in the world. That the body is a set of possibilities signifies (a) that its appearance in the world, for perception, is not predetermined by some manner of interior essence, and (b) that its concrete expression in the world must be understood as the taking up and rendering specific of a set of historical possibilities. Hence, there is an agency which is understood as the process of rendering such possibilities determinate. These possibilities are necessarily constrained by available historical conventions. The body is not a self-identical or merely factic materiality; it is a materiality that bears meaning, if nothing else, and the manner of this bearing is fundamentally dramatic. By dramatic I mean only that the body is not merely matter but a continual and incessant materializing possibilities. One is not simply of a body, but, in some very key sense, 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.

It is, however, clearly unfortunate grammar to claim that there is a 'we' or an 'I' that does its body, as if a disembodied agency preceded and directed an embodied exterior. More appropriate, I suggest, would be a vocabulary that resists the substance metaphysics of subject-verb formations and relies instead on an ontology of present participles. The 'I' that is its body is, of necessity, a mode of embodying, and the 'what' that it embodies is possibilities. But here again the grammar of the formulation misleads, for the possibilities that are embodied are not fundamentally exterior or antecedent to the process of embodying itself. As an intentionally organized materiality, the body is always an embodying of possibilities both conditioned and circumscribed by historical convention. In other words, the body is a historical situation, as Beauvoir has claimed, and is a manner of doing, dramatizing, and reproducing a historical situation.

To do, to dramatize, to reproduce, these seem to be some of the elementary structures of embodiment. This doing of gender is not merely a way in which embodied agents are exterior, surfaced, open to the perception of others. Embodiment clearly manifests a set of strategies or what Sartre would perhaps have called a style of being or Foucault, "a stylistics of existence." This style is never fully self-styled, for living styles have a history, and that history conditions and limits possibilities. Consider gender, for instance, as a corporeal style, an 'act,' as it were, which is both intentional and performative, where 'performative' itself carries the double-meaning of 'dramatic' and 'non-referential.'

When Beauvoir claims that 'woman' is a historical idea and not a natural fact, she clearly underscores the distinction between sex, as biological facticity, and gender, as the culturalinterpretation or signification of that facticity.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. The notion of a 'project', however, suggests the originating force of a radical will, and because gender is a project which has cultural survival as its end, the term 'strategy' better suggests the situation of duress under which gender performance always and variously occurs. Hence, as a strategy of survival, gender is a performance with clearly punitive consequences. Discrete genders are part of what 'humanizes' individuals within contemporary culture; indeed, those who fail to do their gender right are regularly punished. Because there is neither an 'essence' that gender expresses or externalizes nor an objective ideal to which gender aspires; because gender is not a fact, the various acts of gender creates the idea of gender, and without those acts, there would be no gender at all. Gender is, thus, a construction that regularly conceals its genesis. The tacit collective agreement to perform, produce, and sustain discrete and polar genders as cultural fictions is obscured by the credibility of its own production. The authors of gender become entranced by their own fictions whereby the construction compels one's belief in its necessity and naturalness. The historical possibilities materialized through various corporeal styles are nothing other than those punitively regulated cultural fictions that are alternately embodied and disguised under duress.

How useful is a phenomenological point of departure for a feminist description of gender? On the surface it appears that phenomenology shares with feminist analysis a commitment to grounding theory in lived experience, and in revealing the way in which the world is produced through the constituting acts of subjective experience. Clearly, not all feminist theory would privilege the point of view of the subject, (Kristevaonce objected to feminist theory as 'too existentialist')4 and yet the feminist claim that the personal is political suggests, in part, that subjective experience is not only structured by existing political arrangements, but effects and structures those arrangements in turn. Feminist theory has sought to understand the way in which systemic or pervasive political and cultural structures are enacted and reproduced through individual acts and practices, and how the analysis of ostensibly personal situations is clarified through situating the issues in a broader and shared cultural context. Indeed, the feminist impulse, and I am sure there is more than one, has often emerged in the recognition that my pain or my silence or my anger or my perception is finally not mine alone, and that it delimits me in a shared cultural situation which in turn enables and empowers me in certain unanticipated ways. The personal is thus implicitly political inasmuch as it is conditioned by shared social structures, but the personal has also been immunized against political challenge to the extent that public/private distinctions endure. For feminist theory, then, the personal becomes an expansive category, one which accommodates, if only implicitly, political structures usually viewed as public. Indeed, the very meaning of the political expands as well. At its best, feminist theory involves a dialectical expansion of both of these categories. My situation does not cease to be mine just because it is the situation of someone else, and my acts, individual as they are, nevertheless reproduce the situation of my gender, and do that in various ways. In other words, there is, latent in the personal is political formulation of feminist theory, a supposition that the life-world of gender relations is constituted, at least partially, through the concrete and historically mediated actsof individuals. Considering that "the" body is invariably transformed into his body or her body, the body is only known through its gendered appearance. It would seem imperative to consider the way in which this gendering of the body occurs. My suggestion is that the body becomes its gender through a series of acts which are renewed, revised, and consolidated through time. From a feminist point of view, one might try to reconceive the gendered body as the legacy of sedimented acts rather than a predetermined or foreclosed structure, essence or fact, whether natural, cultural, or linguistic.

The feminist appropriation of the phenomenological theory of constitution might employ the notion of an act in a richly ambiguous sense. If the personal is a category which expands to include the wider political and social structures, then the acts of the gendered subject would be similarly expansive. Clearly, there are political acts which are deliberate and instrumental actions of political organizing, resistance collective intervention with the broad aim of instating a more just set of social and political relations. There are thus acts which are done in the name of women, and then there are acts in and of themselves, apart from any instrumental consequence, that challenge the category of women itself. Indeed, one ought to consider the futility of a political program which seeks radicallyto transform the social situation of women without first determining whether the category of woman is socially constructed in such a way that to be a woman is, by definition, to be in an oppressed situation. In an understandable desire to forge bonds of solidarity, feminist discourse has often relied upon the category of woman as a universal presupposition of cultural experience which, in its universal status, provides a false ontological promise of eventual political solidarity. In a culture in which the false universal of 'man' has for the most part been presupposed as coextensive with humanness itself, feminist theory has sought with success to bring female specificity into visibility and to rewrite the history of culture in terms which acknowledge the presence, the influence, and the oppression of women. Yet, in this effort to combat the invisibility of women as a category feminists run the risk of rendering visible a category which may or may not be representative of the concrete lives of women. As feminists, we have been less eager, I think, to consider the status of the category itself and, indeed, to discern the conditions of oppression which issue from an unexamined reproduction of gender identities which sustain discrete and binary categories of man and woman.

When Beauvoir claims that woman is an "historicalsituation," she emphasizes that the body suffers a certain cultural construction, not only through conventions that sanction and proscribe how one acts one's body, the 'act' or performance that one's body is, but also in the tacit conventions that structure the way the body is culturally perceived. Indeed, if gender is the cultural significance that the sexed body assumes, and if that significance is codetermined through various acts and their cultural perception, then it would appear that from within the terms of culture it is not possible to know sex as distinct from gender. The reproduction of the category of gender is enacted on a large political scale, as when women first enter a profession or gain certain rights, or are reconceived in legal or political discourse in significantly new ways. But the more mundane reproduction of gendered identity takes place through the various ways in which bodies are acted in relationship to the deeply entrenched or sedimented expectations of gendered existence. Consider that there is a sedimentation of gender norms that produces the peculiar phenomenon of a natural sex, or a real woman, or any number of prevalent and compelling social fictions, and that this is a sedimentation that over time has produced a set of corporeal styles which, in reified form, appear as the natural configuration of bodies into sexes which exist in a binary relation to one another.

II. Binary Genders and the Heterosexual Contract

To guarantee the reproduction of a given culture, various requirements, wellestablished in the anthropological literature of kinship, have instated sexual reproduction within the confines of a heterosexually-based system of marriage which requires the reproduction of human beings in certain gendered modes which, in effect, guarantee the eventual reproduction of that kinship system. As Foucault and others have pointed out, the association of a natural sex with a discrete gender and with an ostensibly natural 'attraction' to the opposing sex/gender is an unnatural conjunction of cultural constructs in the service of reproductive interests.5 Feminist cultural anthropology and kinship studies have shown how cultures are governed by conventions that not only regulate and guarantee the production, exchange, and consumption of material goods, but also reproduce the bonds of kinship itself, which require taboos and a punitive regulation of reproduction to effect that end. Levi Strauss has shown how the incest taboo works to guarantee the channeling of sexuality into various modes of heterosexual marriage,6 Gayle Rubin has argued convincingly that the incest taboo produces certain kinds of discrete gendered identities and sexualities.7 My point is simply that one way in which this system of compulsory heterosexuality is reproduced and concealed is through the cultivation of bodies into discrete sexes with 'natural' appearances and 'natural' heterosexual dispositions. Although the enthnocentric conceit suggests a progression beyond the mandatory structures of kinship relations as described by Levi-Strauss, I would suggest, along with Rubin, that contemporary gender identities are so many marks or "traces" of residual kinship. The contention that sex, gender, and heterosexuality are historical products which have become conjoined and reified as natural over time has received a good deal of critical attention not only from Michel Foucault, but Monique Wittig, gay historians, and various cultural anthropologists and social psychologists in recent years.8 These theories, however, still lack the critical resources for thinking radically about the historical sedimentation of sexuality and sex-related constructs if they do not delimit and describe the mundane manner in which these constructs are produced, reproduced, and maintained within the field of bodies.

Can phenomenology assist a feminist reconstruction of the sedimented character of sex, gender, and sexuality at the level of the body? In the first place, the phenomenological focus on the various acts by which cultural identity is constituted and assumed provides a felicitous starting point for the feminist effort to understand the mundane manner in which bodies get crafted into genders. The formulation of the body as a mode of dramatizing or enacting possibilities offers a way to understand how a cultural convention is embodied and enacted. But it seems difficult, if not impossible, to imagine a way to conceptualize the scale and systemic character of women's oppression from a theoretical position which takes constituting acts to be its point of departure. Although individual acts do work to maintain and reproduce systems of oppression, and, indeed, any theory of personal political responsibility presupposes such a view, it doesn't follow that oppression is a sole consequence of such acts. One might argue that without human beings whose various acts, largely construed, produce and maintain oppressive conditions, those conditions would fall away, but note that the relation between acts and conditions is neither unilateral nor unmediated. There are social contexts and conventions within which certain acts not only become possible but become conceivable as acts at all. The transformation of social relations becomes a matter, then, of transforming hegemonic social conditions rather than the individual acts that are spawned by those conditions. Indeed, one runs the risk of addressing the merely indirect, if not epiphenomenal, reflection of those conditions if one remains restricted to a politics of acts.

But the theatricalsense of an "act"forces a revision of the individualist assumptions underlying the more restricted view of constituting acts within phenomenological discourse. As a given temporal duration within the entire performance, "acts" are a shared experience and 'collective action.' Just as within feminist theory the very category of the personal is expanded to include political structures, so is there a theatrically-based and, indeed, less individually-oriented view of acts that goes some of the way in defusing the criticism of act theory as 'too existentialist.' The act that gender is, the act that embodied agents areinasmuch as they dramaticallyand actively embody and, indeed, wearcertain cultural significations, is clearly not one's act alone. Surely, there are nuanced and individual ways of doing one's gender, but that one does it, and that one does it in accordwith certain sanctions and proscriptions, is clearly not a fully individual matter. Here again, I don't mean to minimize the effect of certain gender norms which originate within the family and are enforced through certain familial modes of punishment and reward and which, as a consequence, might be construed as highly individual, for even there family relations recapitulate, individualize, and specify pre-existing cultural relations; they are rarely, if ever, radically original. The act that one does, the act that one performs, is, in a sense, an act that has been going on before one arrived on the scene. Hence, gender is an act which has been rehearsed, much as a script survives the particular actors who make use of it, but which requires individual actors in order to be actualized and reproduced as reality once again. The complex components that go into an act must be distinguished in order to understand the kind of acting in concert and acting in accord which acting one's gender invariably is.

In what senses, then, is gender an act? As anthropologist Victor Turner suggests in his studies of ritual social drama, social action requires a performance which is repeated.This repetition is at once a reenactment and reexperiencing of a set of meanings already socially established; it is the mundane and ritualized form of their legitimation.9 When this conception of social performance is applied to gender, it is clear that although there are individual bodies that enact these significations by becoming stylized into gendered modes, this "action"is immediately public as well. There are temporal and collective dimensions to these actions, and their public nature is not inconsequential; indeed, the performance is effected with the strategic aim of maintaining gender within its binary frame. Understood in pedagogical terms, the performance renders social laws explicit.

As a public action and performative act, gender is not a radical choice or project that reflects a merely individual choice, but neither is it imposed or inscribed upon the individual, as some post-structuralistdisplacements of the subject would contend. The body is not passively scripted with cultural codes, as if it were a lifeless recipient of wholly pre-given cultural relations. But neither do embodied selves pre-exist the cultural conventions which essentially signify bodies. Actors are always already on the stage, within the terms of the performance. Just as a script may be enacted in various ways, and just as the play requires both text and interpretation, so the gendered body acts its part in a culturally restricted corporeal space and enacts interpretations within the confines of already existing directives.

Although the links between a theatrical and a social role are complex and the distinctions not easily drawn (Bruce Wilshire points out the limits of the comparison it in Role-Playing and Identity: The Limits of Theatre as Metaphor'10), seems clear that, theatrical performances can meet with political censorship and scathing although criticism, gender performances in non-theatricalcontexts are governed by more clearly punitive and regulatory social conventions. Indeed, the sight of a transvestite onstage can compel pleasure and applause while the sight of the same transvestite on the seat next to us on the bus can compel fear, rage, even violence. The conventions which mediate proximity and identification in these two instances are clearly quite different. I want to make two different kinds of claims regarding this tentative distinction. In the theatre, one can say, 'this is just an act,' and de-realize the act, make acting into something quite distinct from what is real. Because of this distinction, one can maintain one's sense of reality in the face of this temporary challenge to our existing ontological assumptions about gender arrangements;the various conventions which announce that 'this is only a play' allows strict lines to be drawn between the performance and life. On the street or in the bus, the act becomes dangerous, if it does, precisely because there are no theatrical conventions to delimit the purely imaginary character of the act, indeed, on the street or in the bus, there is no presumption that the act is distinct from a reality; the disquieting effect of the act is that there are no conventions that facilitate making this separation. Clearly, there is theatre which attempts to contest or, indeed, break down those conventions that demarcate the imaginary from the real (RichardSchechner brings this out quite clearly in Between Theatre and Anthropology11).Yet in those cases one confronts the same phenomenon, namely, that the act is not contrasted with the real, but constitutesa reality that is in some sense new, a modality of gender that cannot readily be assimilated into the pre-existing categories that regulate gender reality. From the point of view of those established categories, one may want to claim, but oh, this is reallya girl or a woman, or this is really a boy or a man, and further that the appearance contradicts the reality of the gender, that the discrete and familiar reality must be there, nascent, temporarily unrealized, perhaps realized at other times or other places. The transvestite, however, can do more than simply express the distinction between sex and gender, but challenges, at least implicitly, the distinction between appearance and reality that structures a good deal of popular thinking about gender identity. If the 'reality'of gender is constituted by the performance itself, then there is no recourse to an essential and unrealized 'sex' or 'gender' which gender performances ostensibly express. Indeed, the transvestite's gender is as fully real as anyone whose performance complies with social expectations.

Gender reality is performative which means, quite simply, that it is real only to the extent that it is performed. It seems fair to say that certain kinds of acts are usually interpreted as expressive of a gender core or identity, and that these acts either conform to an expected gender identity or contest that expectation in someway. That expectation, in turn, is based upon the perception of sex, where sex is understood to be the discrete and factic datum of primary sexual characteristics.This of implicit and popular theory of acts and gestures as expressive gender suggests that itself is something prior to the various acts, postures, and gestures by which gender it is dramatized and known; indeed, gender appears to the popular imagination as a substantial core which might well be understood as the spiritual or psychological correlate of biological sex.12 If gender attributes, however, are not expressive but performative, then these attributes effectively constitute the identity they are said to express or reveal. The distinction between expression and performativeness is quite crucial, for if gender attributes and acts, the various ways in which a body shows or produces its cultural signification, are performative, then there is no preexisting identity by which an act or attribute might be measured; there would be no true or false, real or distorted acts of gender, and the postulation of a true gender identity would be revealed as a regulatory fiction. That gender reality is created through sustained social performances means that the very notions of an essential sex, a true or abiding masculinity or femininity, are also constituted as part of the strategy by which the performative aspect of gender is concealed.

As a consequence, gender cannot be understood as a role which either expresses or disguises an interior 'self,' whether that 'self' is conceived as sexed or not. As performance which is performative, gender is an 'act,' broadly construed, which constructs the social fiction of its own psychological interiority. As opposed to a view such as Erving Goffman's which posits a self which assumes and exchanges various 'roles' within the complex social expectations of the 'game' of modern life,13 I am suggesting that this self is not only irretrievably 'outside,' constituted in social discourse, but that the ascription of interiority is itself a publically regulated and sanctioned form of essence fabrication. Genders, then, can be neither true nor false, neither real nor apparent. And yet, one is compelled to live in a world in which genders constitute univocal signifiers, in which gender is stabilized, polarized, rendered discrete and intractable. In effect, gender is made to comply with a model of truth and falsity which not only contradicts its own performative fluidity, but serves a social policy of gender regulation and control. Performing one's gender wrong initiates a set of punishments both obvious and indirect, and performing it well provides the reassurance that there is an essentialism of gender identity after all. That this reassurance is so easily displaced by anxiety, that culture so readily punishes or marginalizes those who fail to perform the illusion of gender essentialism should be sign enough that on some level there is social knowledge that the truth or falsity of gender is only socially compelled and in no sense ontologically necessitated.14

III. Feminist Theory: Beyond an Expressive Model of Gender

This view of gender does not pose as a comprehensive theory about what gender is or the manner of its construction, and neither does it prescribe an explicit feminist political program. Indeed, I can imagine this view of gender being used for a number of discrepant political strategies. Some of my friends may fault me for this and insist that any theory of gender constitution has political presuppositions and implications, and that it is impossible to separate a theory of gender from a political philosophy of feminism. In fact, I would agree, and argue that it is primarily political interests which create the social phenomena of gender itself, and that without a radical critique of gender constitution feminist theory fails to take stock of the way in which oppression structures the ontological categories through which gender is conceived. Gayatri Spivak has argued that feminists need to rely on an operational essentialism, a false ontology of women as a universal in order to advance a feminist political program. 15 She knows that the category of 'women' is not fully expressive, that the multiplicity and discontinuity of the referent mocks and rebels against the univocity of the sign, but suggests it could be used for strategic purposes. Kristeva suggests something similar, I think, when she prescribes that feminists use the category of women as a political tool without attributing ontological integrity to the term, and adds that, strictly speaking, women cannot be said to exist.16 Feminists might well worry about the political implications of claiming that women do not exist, especially in light of the persuasive arguments advanced by Mary Anne Warren in her book, Gendercide.17 argues that social policies regarding population control and reproShe ductive technology are designed to limit and, at times, eradicate the existence of women altogether. In light of such a claim, what good does it do to quarrel about the metaphysical status of the term, and perhaps, for clearly political reasons, feminists ought to silence the quarrel altogether.

But it is one thing to use the term and know its ontological insufficiency and quite another to articulate a normative vision for feminist theory which celebrates or emancipates an essence, a nature, or a shared cultural reality which cannot be found. The option I am defending is not to redescribe the world from the point of view of women. I don't know what that point of view is, but whatever it is, it is not singular, and not mine to espouse. It would only be half-right to claim that I am interested in how the phenomenon of a men's or women's point of view gets constituted, for while I do think that those points of views are, indeed, socially constituted, and that a reflexive genealogy of those points of view is important to do, it is not primarily the gender episteme that I am interested in exposing, deconstructing, or reconstructing.

Indeed, it is the presupposition of the category of woman itself that requires a critical genealogy of the complex institutional and discursive means by which it is constituted. Although some feminist literary critics suggest that the presupposition of sexual difference is necessary for all discourse, that position reifies sexual difference as the founding moment of culture and precludes an analysis not only of how sexual difference is constituted to begin with but how it is continuously constituted, both by the masculine tradition that preempts the universal point of view, and by those feminist positions that construct the univocal category of 'women' in the name of expressing or, indeed, liberating a subjected class. As Foucault claimed about those humanist efforts to liberate the criminalized subject, the subject that is freed is even more deeply shackled than originally thought.18

Clearly, though, I envision the critical genealogy of gender to rely on a phenomenological set of presuppositions, most important among them the expanded conception of an "act" which is both socially shared and historically constituted, and which is performative in the sense I previously described. But a critical genealogy needs to be supplemented by a politics of performative gender acts, one which both redescribes existing gender identities and offers a prescriptive view about the kind of gender reality there ought to be. The redescription needs to expose the reifications that tacitly serve as substantial gender cores or identities, and to elucidate both the act and the strategy of disavowal which at once constitute and conceal gender as we live it. The prescription is invariably more difficult, if only because we need to think a world in which acts, gestures, the visual body, the clothed body, the various physical attributes usually associated with gender, expressnothing.In a sense, the prescription is not utopian, but consists in an imperative to acknowledge the existing complexity of gender which our vocabulary invariably disguises and to bring that complexity into a dramatic cultural interplay without punitive consequences.

Certainly, it remains politically important to represent women, but to do that in a way that does not distort and reify the very collectivity the theory is supposed to emancipate. Feminist theory which presupposes sexual difference as the necessary and invariant theoretical point of departure clearly improves upon those humanist discourses which conflate the universal with the masculine and appropriate all of culture as masculine property. Clearly, it is necessary to reread the texts of western philosophy from the various points of view that have been excluded, not only to reveal the particularperspective and set of interests informing those ostensibly transparent descriptions of the real, but to offer alternative descriptions and prescriptions; indeed, to establish philosophy as a cultural practice, and to criticize its tenets from marginalized cultural locations. I have no quarrel with this procedure, and have clearly benefited from those analyses. My only concern is that sexual difference not become a reification which unwittingly preserves a binary restriction on gender identity and an implicitly heterosexual framework for the description of gender, gender identity, and sexuality. There is, in my view, nothing about femaleness that is waiting to be expressed; there is, on the other hand, a good deal about the diverse experiences of women that is being expressed and still needs to be expressed, but caution is needed with respect to that theoretical language, for it does not simply report a pre-linguistic experience, but constructs that experience as well as the limits of its analysis. Regardless of the pervasive characterof patriarchyand the prevalence of sexual difference as an operative cultural distinction, there is nothing about a binary gender system that is given. As a corporeal field of cultural play, gender is a basically innovative affair, although it is quite clear that there are strict punishments for contesting the script by performing out of turn or through unwarranted improvisations. Gender is not passively scripted on the body, and neither is it determined by nature, language, the symbolic, or the overwhelming history of patriarchy. Gender is what is put on, invariably, under constraint, daily and incessantly, with anxiety and pleasure, but if this continuous act is mistaken for a natural or linguistic given, power is relinquished to expand the cultural field bodily through subversive performances of various kinds.

Footnotes:

1.'For a furtherdiscussion of Beauvoir's feminist contributionto phenomenological theory, see my Variations on Sex and Gender. in: Yale French Studies 172 (1986).

2. Maurice Merleau-Ponty, "The Body in its Sexual Being," in The Phenomenology Perception,trans. of Colin Smith (Boston: Routledge and Kegan Paul, 1962).

3. Simone de Beauvoir, The Second Sex, trans. H. M. Parshley (New York: Vintage, 1974), 38.

4. Julia Kristeva, Histoire d'amour (Paris: Editions Denoel, 1983), 242.

5. See Michel Foucault, The History of Sexuality: An Introduction, trans. Robert Hurley (New York: Random House, 1980), 154: "the notion of 'sex' made it possible to group together, in an artificial unity, anatomical elements, biological functions, conducts, sensations, and pleasures, and it enabled one to make use of this fictitious unity as a causal principle . . .".

6. See Claude Levi-Strauss, The ElementaryStructuresof Kinship (Boston: Beacon Press, 1965).

7. Gayle Rubin, "The Traffic in Women: Notes on the 'Political Economy' of Sex," in Towardan Anthropologyof Women, ed. Rayna R. Reiter (New York: Monthly Review Press, 1975), 178-85.

8. See my Variations on Sex and Gender in Feminismas Critique, ed. Seyla Benhabib and Drucila Cornell (London: Basil Blackwell, 1987 [distributed by University of Minnesota Press]).

9. See Victor Turner, Dramas, Fields, and Metaphors(Ithaca: Cornell University Press, 1974). Clifford Geertz suggests in "Blurred Genres: The Refiguration of Thought," in LocalKnowledge,FurtherEssays in InterpretiveAnthropology(New York: Basic Books, 1983), that the theatrical metaphor is used by recent social theory in two, often opposing, ways. Ritual theorists like Victor Turner focus on a notion of social drama of various kinds as a means for settling internal conflicts within a culture and regenerating social cohesion. On the other hand, symbolic action approaches, influenced by figures as diverse as Emile Durkheim, Kenneth Burke, and Michel Foucault, focus on the way in which political authority and questions of legitimation are thematized and settled within the terms of performed meaning. Geertz himself suggests that the tension might be viewed dialectically; his study of political organization in Bali as a "theatre-state" is a case in point. In terms of an explicitly feminist account of gender as performative, it seems clear to me that an account of gender as ritualized, public performance must be combined with an analysis of the political sanctions and taboos under which that performance may and may not occur within the public sphere free of punitive consequence.

10. "Bruce Wilshire, Role-Playing and Identity: The Limits of Theatre as Metaphor (Boston: Routledge and Kegan Paul, 1981).

11. "Richard Schechner, Between Theatre and Anthropology (Philadelphia: University of Pennsylvania Press, 1985). See especially, "News, Sex, and Performance," 295-324.

12. In Mother Camp(Prentice-Hall, 1974), Anthropologist Esther Newton gives an urben ethnography of drag queens in which she suggests that all gender might be understood on the model of drag. In Gender:An Ethnomethodological Approach(Chicago: University of Chicago Press, 1978), Suzanne J. Kessler and Wendy McKenna argue that gender is an "accomplishment" which requires the skills of constructing the body into a socially legitimate artifice.

13. See Erving Goffmann, The Presentationof Self in EverydayLife (Garden City: Doubleday, 1959).

14. See Michel Foucault's edition of Herculine Barbin: The Journals of a Nineteenth Century French trans. Richard McDougall (New York:Pantheon Books, 1984), for an interesting display Hermaphrodite, of the horror evoked by intersexed bodies. Foucault's introduction makes clear that the medical delimitation of univocal sex is yet another wayward application of the discourse on truth-as-identity. See also the work of Robert Edgerton in American Anthropologiston the cross-cultural variations of response to hermaphroditic bodies.

15. "Remarks at the Center for Humanities, Wesleyan University, Spring, 1985.

16. Kristeva, "Woman Can Never Be Defined", trans. Marilyn A. August, in New FrenchFem"6Julia inisms, ed. Elaine Marks and Isabelle de Courtivron (New York: Schocken, 1981).

17. Mary Anne Warren, Gendercide:The Implicationsof Sex Selection (New Jersey: Rowman and Allanheld, 1985).

18. Ibid.; Michel Foucault, Discipline and Punish: The Birth of the Prison trans. Alan Sheridan (New York: Vintage Books, 1978).