Performativity
From Wikipedia, the free encyclopedia
Performativity is a concept that is related to speech act theory, to the pragmatics of language, and to the work of John L. Austin. It accounts for situations where a proposition may constitute or instaurate the object to which it is meant to refer, as in so-called "performative utterances".
The concept of performativity has also been used in science and technology studies and in economic sociology. Andrew Pickering has proposed to shift from a "representational idiom" to a "performative idiom" in the study of science. Michel Callon has proposed to study the performative aspects of economics, i.e. the extent to which economic science plays an important role not only in describing markets and economies, but also in framing them.
Other uses of the notion of performativity in the social sciences include the daily behavior (or performance) of individuals based on social norms or habits. Philosopher and feminist theorist Judith Butler has used the concept of performativity in her analysis of gender development, as well as in her analysis of political speech. Eve Kosofsky Sedgwick describes Queer Performativity as an ongoing project for transforming the way we may define - and break - boundaries to identity.
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[edit] Judith Butler's perspective on performativity
[edit] Theoretical ideas
Judith Butler, the philosopher and feminist theorist who offered a new reading of the notion of performativity, which has its roots in linguistics and language philosophy, describes performativity as “…that reiterative power of discourse to produce the phenomena that it regulates and constrains.” (Butler qtd. In Identity: A reader, 2000) She has largely used this concept in her analysis of gender development. This idea was first introduced in 1988 in an issue of Theatre Journal. (Brickell, 2005)
The concept places emphasis on the manners in which identity is passed or brought to life through discourse. Performative acts are types of authoritative speech. This can only happen and be enforced through the law or norms of the society though. These statements, just by speaking them, carry out a certain action and exhibit a certain level of power. Examples of these types of statements are declarations of ownership, baptisms, inaugurations, and legal sentences. Something that is key to performativity is repetition. The statements are not singular in nature or use and must be used consistently in order to exert power. (Hall qtd. In Identity: A reader, 2000)
[edit] Performance theory and gender perspectives
Judith Butler, as mentioned above, has done much research and writing on performance theory, and has focused much of this work on gender performativity. Butler sees gender as an act that has been rehearsed, much like a script, and we, as the actors make this script a reality over and over again by performing these actions. “For Butler, the distinction between the personal and the political or between private and public is itself a fiction designed to support an oppressive status quo: our most personal acts are, in fact, continually being scripted by hegemonic social conventions and ideologies.” (Felluga, 2006) Butler sees gender not as an expression of what one is, rather as something that one does. In other words, subjects can decide what kind of gender they want to be. According to Butler’s theory, homosexuality and heterosexuality are not fixed categories. A person is merely in a condition of “doing straightness” or “doing queerness”. (Moya, 1999)
[edit] Theoretical criticisms
There are several criticisms that have been raised against Butler's concept of performativity. The first is that the theory is individual in nature and doesn’t take other factors into consideration. These factors include the space within which the performance occurs, the others involved and how they might see or interpret what they witness. Also, the unplanned effects of the performance act are overlooked and the contingencies are not taken into consideration. (Moya, 1999)
Another criticism is that Butler is not clear about the concept of subject. It has been said that in her writings, sometimes the subject only exists tentatively, sometimes they possess a “real” existence and other times are socially active. Lastly, it is thought by some that the theory might be more well-suited to literary analysis as opposed to social theory. (Brickell, 2005)
[edit] References
- Austin, John L. 1962. How to Do Things with Words, Oxford: Clarendon Press.
- Brickell, Chris. 2005. "Masculinities, Performativity, and Subversion: A Sociological Reappraisal", Men and Masculinities, 8(1), 24-43.
- Butler, Judith 1997. Excitable Speech: A Politics of the Performative, London: Routledge.
- Butler, Judith 2000. "Critically Queer", in Identity: A Reader. London: Sage Publications
- Callon, Michel 1998. "Introduction: the Embeddedness of Economic Markets in Economics", in M. Callon (ed.) The Laws of the Markets. Oxford: Blackwell.
- Felluga, Dino. "Modules on Butler". Retrieved on 10/30/06 from http://www.cla.purdue.edu/english/theory/genderandsex/modules/butlerperformativity.html
- Hall, Stuart 2000. "Who Needs Identity?", in Identity: A Reader. London: Sage Publications.
- Llody, Moya 1999. "Performativity, Parody, Politics", Theory, Culture & Society, 16(2), 195-213.
- Pickering, Andrew 1995. The mangle of Practice: Time, Agency and Science. Chicago: University of Chicago Press.
