Gender Performativity-Cross-border Theory And Practice In The Post-modern Context

From the day which the gender performativity theory, proposed by Judith Butler, was borned, the theory had put a profound impact on contemporary ideology, which gives the gender study multi-cultural possibilities in the future. This theory re-asks the key concepts of language, subject and gender identity etc. in a philosophical ontology level, which reveals the cultural construction of sex, gender and desire. She holds her idea that performativity is an important way to construct and rebuild the object. However, this radical advocate's value mainly lies in the cross influence from the cross-subject point of view, what's more, the authentic stage of gender performativity---the social life rather than the subversive paraphrase and critical thinking of the concrete version. The feminism and the gender study themselves are important fields on cross-subject study. As a revolutionary result by further research, the gender performativity theory has opened up a new way for us to considerate the diversity of gender. At the same time, it coexists with the theory and artistic creation of the post-modern and the social practice. With the cross-subject study and application of the gender performativity theory, we could enhance the ability of thinking and practice under kinds of subjects and study views.Therefore, being different from the existing gender performativity theory in domestic academic circles, the thesis is trying to interpret the gender performativity theory from view of cross-subject about the sex study, under the background of Chinese and western critical theory and the post-modern art practice in the latter stage of the 20th century. In addition, combining with the sex-cross phenomenon in the late 20th century of China, it expands the gender performativity's theory-aspect and criticizing practice at the two levels of "theory-cross study" and "gender-cross practice". Regarding Butler's gender performativity theory as the starting point, integrating with anthropological performance studies, the thesis combines the gender performativity theory with the social dramatic performance studies, discussing in the progress of gender criticism expressing itself how to re-find criticism and power, in the paradoxical structure in the post-modern context. Furthermore, it approaches the meaning of gender poetics on the theory studies and social practice.The first part approaches the possibility of cross-subject study on the gender performativity theory, on the basis of further hackling the gender performativity theory pedigree. And this cross-border theory can be used to analysis the performativity constructing of the gender identity and the time-space concept of the gender performativity. The second part puts gender performativity's criticism into the framework of human's existence and lasting. Reading the modern China's concrete context in a gender symptomatic way, with several representative drama and film version, it researches the gender performativity theory at the respects of the cross-practically critical reading and the constructive explanation from the following three levels:the drama archetype of the gender performativity, practice of identifying the homosexuality and the "embodiment" of transgender identity.And then it draws this challengeable new gender politics prospect.