Judith Butler

Whereas when one speaks of black and white in the traditions of discourse about race, one isn't actually talking about a genuine difference at all and that therefore the discourse with the greater integrity of the two is the one which is about differences that are absolutely ephemeral as opposed to the one which is about differences which, whatever one thinks of them and whatever one wants to make out of them, are nevertheless essential.

Now plainly, when we go back to feminist criticism, particularly the gender theory of Judith Butler, we'll see, of course, that the whole question of the biological basis of sex, the biological between the sexes, which essentializes what we will be wanting to talk about, is of course something that is profoundly in question, and not just because of so-called transgender issues but also at the same time because of the way in which our very sexual identity is something which, according to Butler, we construct.

There is an insistence here on biological difference between these two forms of discussing identity, which may or may not seem to us to be problematic.

Now I think this is the point at which we can see the importance of the extraordinary essay that I've also asked you to read by Toni Morrison.

has been challenging in some way, some presupposition of mine from day one.

I don't care if it was Kierkegaard or Simone de Beauvoir or Judith Butler or Deleuze or Heidegger or land or Baudrillard or Zizek go down the list.

It's all been a threat to my pre-established conceptual default setting.

All right.

Você está apenas fazendo é um, um-- claro que o Bart Sellner, ele trabalhou a ideia de remigração muito mais complexificando aquilo.

Mas o Bart Sellner, em última instância, está tentando reverter um fluxo que as esquerdas impuseram aos seus, a, aos seus países, né? A, a questão de identidade de gênero, a-- de-- a, a, a Judith Butler, que está desde a década de 90 trabalhando esses conceitos, trabalhando [riso] ah, teoricamente nas universidades, se tornando A hegeliana mais, mais, hã, mais citada no mundo, não é? [riso] E aí, pra-- isso tudo pra quê? Pra hoje você ter uma, uma direita que reage numa tentativa de re-- e como é a reação da direita? Veja bem.

É sempre através do formalismo jurídico do Estado, que é: proíbe-se isso, proíbe-se aquilo, não pode isso, não pode aquilo, blá-blá-blá.

[latido] Não há uma, uma discussão propriamente dita sobre as fundações filosóficas que levam a esta insurgência do, do terceiro sujeito.

But they are exploring masculinity and performing that right on stage.

We can do some Judith Butler genders performance.

Yeah.

But like, did any of that, has any of like the concepts, right, or anything that seems that they were talking about, does any of that inform the work that you do now? I know you read this like 15 years ago, but...

And so for me, it was sort of a writing exercise of like, how can I get these stories out in a way that doesn't dumb it down, it doesn't oversimplify it, but still is accessible to a sort of general public readership.

And again, Does it require several Judith Butler books as background to really get what's being said?

Yeah, and like most of the time when I see people, because I interact with the way that history is written as my job, right? And most of the time, the simple presentation of history is wrong.

It's like too pat.

That's another lesson of Lacan.

I mean, I is what you have to learn how to be, maybe to put it in Judith Butler's terms.

Insofar as it is this incredible upright pillar in Tony the Tow Truck is a promise of precisely agency, the promise of the kind of identity which stands upright, which is a successful simulacrum of what is seen in the mirror, which then develops into what Freud called, referring to the way in which infants begin to get their way in the world, his majesty the ego.

So the eye has that function.