Blogpost 4: PERFORMANCE AND THE GENDERED BODY
Judith Butler's book Gender Trouble is one of the famous works regarding this topic. First and foremost, I must mention that it considers the most abstract and complex issues I have read. Consequently, the text explores lesbian sexuality within feminist and queer theory, highlighting its contestation of societal categories like "sex," "women," and "natural bodies." Interestingly, Butler critiques the exclusionary nature of constructing lesbian identity solely in opposition to heterosexuality, arguing for a more nuanced approach that challenges the very concept of identity itself. She suggests, moreover, that a thorough appropriation and redeployment of identity categories can disrupt normative structures and render identity permanently problematic. At the same time, the text advocates for a strategy that destabilizes rather than reinforces traditional notions of identity (J. Butler, pp. 128-129), which made me consider this concept for four straight days.
Furthermore, Butler examines the construction of stable bodily contours and how sexual practices, like anal sex and the exploration of bodily orifices, challenge societal boundaries. She discusses the naturalization of the body and gendered exchanges, suggesting that disruptions to these exchanges blur the body's boundaries. The concept of abjection, as discussed by Kristeva, is introduced, highlighting how the expulsion of "Otherness" helps define the limits of the self. The text also explores how repulsion and exclusion contribute to the formation of hegemonic identities based on factors like sex, sexuality, and race. Consequently, it reflects on how bodily boundaries are constructed and maintained for the purpose of social regulation and control (J. Butler, pp. 132-134).
H. Cixous, in her work: "Sorties: Out and Out," considers the complexities of identity, power, and rebellion, mainly through her personal experiences and observations of societal structures. She reflects on identity construction within a colonial context, highlighting the hierarchical divisions and violence underpinning society. Furthermore, Cixous emphasizes the importance of rebellion and resistance against oppressive systems, advocating for a radical reimagining of power dynamics. Her critique extends to the patriarchal nature of history and desire, arguing that societal structures perpetuate inequality and appropriation. Cixous' writing challenges conventional notions of identity, power, and history, inviting readers to question and resist oppressive systems (H. Cixious, pp. 200-204).
Ludmilla Petrushevskaya's story "Among Friends" provides a glimpse into the vibrant social scene revolving around Marisha and Serge's Friday gatherings. These gatherings are depicted as the highlight of the week, where friends from various backgrounds come together for an evening of laughter, and occasional drama. The author portrays Serge as the enigmatic center of the group, celebrated for his brilliance but also subject to skepticism due to his unorthodox methods.
Andrey, another prominent figure in the group, is characterized by his tumultuous relationship with Serge and his propensity for betrayal. His expulsion from the group after assaulting Serge underscores the volatile dynamics within the social circle. Lenka's entry into the group adds further intrigue. Initially perceived as a con artist, Lenka's eventual integration into the group is marked by personal transformation and unexpected alliances.
Consequently, Petrushevskaya’s detailed consideration offers a rich picture of characters and relationships, revealing the complexities of friendship, ambition, and human nature within the close social circle.
"Wind of Fury, Songs of Fury" is a novel written by Oksana Vasyakina, originally in Russian and translated into English by Jonathan Brooks Platt. The novel is set in contemporary Russia and explores themes of political and social upheaval, personal relationships, and the search for identity. The story follows the lives of several interconnected characters whose paths intersect in the midst of societal turmoil. Through their experiences, the novel pictures the complexities of life in modern Russia, including issues such as corruption, economic inequality, and the power struggle.
The opening lines, quoting Monique Wittig's "Virgil, No!" immediately set the tone, invoking the protagonist's weight and burden, symbolized by the rifle sling pressing against her neck and shoulder blades. The given physical sensation is juxtaposed with the emotional and psychological wounds that the protagonist and her companion navigate through (O. Vasyakina, p. 34).
I found it very intriguing that as the poem progresses, Vasyakina paints a stark picture of the world through the eyes of women, where nights have dissolved into a desolate landscape of red dust and the wind of fury. The imagery of desolate factories abandoned love, and the destruction of nature reflects the consequences of patriarchal oppression and environmental degradation. through (O.Vasyakina, pp. 34-35).
The text is profoundly moving and evocative because it captures the so-called raw emotions and experiences of women who have suffered from violence and abuse. It speaks to survivors' deep pain and trauma and the profound injustices they face in seeking justice and recognition for their suffering (O.Vasyakina, p. 42).
What I understood from this text is that there is an urgent need for societal change and collective action to address gender-based violence and support survivors on their journey toward healing and justice. Therefore, Vasyakina calls attention to the voices and experiences of women who have been silenced and marginalized, urging us to listen, empathize, and take meaningful action to end the cycle of violence and oppression.
This page has paths:
- Title Page Yunis Gurbanov