Analysis Of Gender Trouble By Judith Butler

Judith Butler makes the argument, in her most influential book “Gender Trouble,” that She also creates the theory that sex is seen to cause gender which is seen to cause desire. Also,gender is a performance; it 's what the gender do at particular times, rather than universal standards of gender, which creates gender. This philosophical difference between universal and performance at particular times and how universal specifications are unsuccessful in capturing the true existence of gender, a philosophical difference that by Samira Sasani and Diba Arjmandi states, “by this view, she regards body as a way of practice of norms through repetition, which has led to the false, misleading and permanent belief of body while still this false belief

What’s more, the pictures around the house exemplify that Alex gender performance would be founded on both her sex and identification as a female. This expectation of the audience remains true for less than about a third of the film when the film discloses that they had to move to the coast because of an altercation Alex had with a boy concerning Alex’s body, an event unseen during the film. The presence of the coast is important because they can protect Alex from society, a necessary protection because of Alex’s medical condition of having both male and female reproductive organs, known as “Klinefelter syndrome (KS), which is caused by the karyotype XXY” (Xuqi, Chen 2). After this instance, the presence of both ovarian and testicular tissue created a discourse within her parents, Karken, and Suli, to choose the construction of her gender, which ultimately lead to the choice to raise her a girl. From this revelation, Butler’s theory of gender and her difference between the universal and the performance is critical in finding Alex’s true gender. For example, even though her sex is a girl, her gender does not reflect the same identification because of a premeditated performance force; Alex and this premeditated performance, causing not having control of the situation, as cited by Margaret Frohlich: “as a child, Alex’s ability to determine how her body may be treated is subject to the power of adults, primarily her parents” (161). This adapted gender or forced identification of gender for Alex, by her parents, began to cast doubt and ambiguity towards the true gender identification of herself reflecting a scene near the beginning of the movie: “Liminality is featured as one of Alex’s innate characteristics. In the first scene after the opening credits, Alex, sitting under the front porch of the family home, occupies a liminal