Problem: Judith Butler FBA (born February 24, 1956) is an American philosopher and gender theorist whose work has influenced political philosophy, ethics and the fields of third-wave feminist, queer and literary theory. Since 1993, she has taught at the University of California, Berkeley, where she is now Maxine Elliot Professor in the Department of Comparative Literature and the Program of Critical Theory. She is also the Hannah Arendt Chair at the European Graduate School. Butler is best known for her books Gender Trouble:

In this essay, Judith Butler proposes her theory of gender performativity, which would be later taken up in 1990 throughout her work, Gender Trouble. She begins by basing her theory of gender performativity on a feminist phenomenological point of view. She suggests that both phenomenology and feminism ground their theories in "lived experience". Further, in comparing phenomenologist Maurice Merleau-Ponty and feminist Simone de Beauvoir, Butler argues that both theories view the sexual body as a historical idea or situation; she accepts this notion of a "distinction between sex, as biological facticity, and gender, as the cultural interpretation or signification of that facticity". This combination of theories is essential for founding Butler's view of "theatrical" or performative genders in society. Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts. The performative element of her theory suggests a social audience. For Butler, the "script" of gender performance is effortlessly transmitted generation to generation in the form of socially established "meanings": She states, "gender is not a radical choice... [nor is it] imposed or inscribed upon the individual". Given the social nature of human beings, most actions are witnessed, reproduced, and internalized and thus take on a performative or theatric quality. With Butler's theory, gender is essentially a performative repetition of acts associated with the male or female. Currently, the actions appropriate for men and women have been transmitted to produce a social atmosphere that both maintains and legitimizes a seemingly natural gender binary. Consistently with her acceptance of the body as a historical idea, she suggests that our concept of gender is seen as natural or innate because the body "becomes its gender through a series of acts which are renewed, revised, and consolidated through time". Butler argues that the performance of gender itself creates gender. Additionally, she compares the performativity of gender to the performance of the theater. She brings many similarities, including the idea of each individual functioning as an actor of their gender. However, she also brings into light a critical difference between gender performance in reality and theater performances. She explains how the theater is much less threatening and does not produce the same fear that gender performances often encounter because of the fact that there is a clear distinction from reality within the theater. Butler uses Sigmund Freud's notion of how a person's identity is modeled in terms of the normal. She revises Freud's notion of this concept's applicability to lesbianism, where Freud says that lesbians are modeling their behavior on men, the perceived normal or ideal. She instead says that all gender works in this way of performativity and a representing of an internalized notion of gender norms.

Were there any critics?

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Problem: Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.

Kelis began recording her debut album, Kaleidoscope, in mid-1998 and was finished within a year. Produced by The Neptunes and released by Virgin Records in 1999, the album peaked at number 144 on the U.S. Billboard 200 chart and reached the top five on the Top Heatseekers chart. As of 2006, the album had sold 249,000 copies, according to Nielsen SoundScan. Its lead and most notable single, "Caught Out There", became a top ten Hot R&B/Hip-Hop Songs hit and peaked at number 54 on the Billboard Hot 100. During this time, Kelis featured on Ol' Dirty Bastard's U.S. top 40 single "Got Your Money". The album performed better in Europe, where "Caught out There" was a moderate hit and reached the top five on the UK Singles Chart. A second single, "Good Stuff" (featuring Terrar of Clipse), reached number 19; the third, "Get Along with You", was less successful, reaching number 51. The British Phonographic Industry certified Kaleidoscope gold for sales of 100,000 copies in the United Kingdom, where it reached number 43 on the UK Albums Chart. In 2001, Kelis won the BRIT Award for International Breakthrough Act and the NME Award for Best R&B/Soul Act, before joining Moby and U2 on their Area:One and Elevation tours, respectively. Kelis and the Neptunes' output at this time was heralded as foreshadowing an innovation in contemporary R&B, but she later said, "I was never an R&B artist. People coined me one but that's because, especially if you're in the States, if you're black and you sing, then you're R&B". Her colorful style in both clothing and hair received considerable attention. Kelis's second album, Wanderland, was released in 2001 in Europe, Asia, and Latin America, but did not receive a North American release. According to Kelis, her U.S. record company at the time, Virgin, had laid off those that worked on Kaleidoscope; their replacements did not understand or believe in Wanderland, which led her to leave the label around the time of the album's European release. A commercial failure, Wanderland peaked at number 78 in the UK, although its sole single release, "Young, Fresh n' New", was a top forty entry on the UK Singles Chart. The album, which was produced in its entirety by the Neptunes and features collaborations with members of Clipse and No Doubt, was well received by publications such as The Guardian and NME. In 2002, Kelis recorded "So Be It" for the Red Hot Organization's Fela Kuti tribute CD, Red Hot and Riot, from which all proceeds were donated to AIDS awareness charities. The same year, she had a top 20 US club hit with a remix of "Young, Fresh 'n' New" remix produced by Timo Maas, who subsequently featured Kelis on his single "Help Me".

Did she have any other albums reach the charts?

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Kelis's second album, Wanderland, was released in 2001