she claims that the very performance and stylization goes unrealized; we are unaware of our very own script, our own performance. Butler insists that regardless of this, it is still intentional (522) and dismisses passivity, predeterminism or a possible closed loop (523). Although it may appear that she places great activity in the actor, it ironically dissolves the agent. The “who” in her text remains unanswered, often left to some ambiguous authority or ends up getting carried by embodiment’s “set of strategies” of survival (521).
“The notion of a ‘project’, however, suggests the originating force of a radical will, and because gender is a project which has cultural survival at its end, the term ‘strategy’ better suggests the situation of
“The notion of a ‘project’, however, suggests the originating force of a radical will, and because gender is a project which has cultural survival at its end, the term ‘strategy’ better suggests the situation of