Question:
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.
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what was her theory about?

Answer:
that both phenomenology and feminism ground their theories in "lived experience".

Question:
Sara Lynn Evans (born February 5, 1971) is an American country music singer and songwriter. Evans has released eight studio albums: Three Chords and the Truth (1997), No Place That Far (1998), Born to Fly (2000), Restless (2003), Real Fine Place (2005), Stronger (2011), Slow Me Down (2014), Words (2017), plus one Christmas album, At Christmas (2014).
Evans was born in Boonville, Missouri, in 1971, and is of Welsh, English, Irish, and Native American descent. She was raised on a farm near New Franklin, Missouri, the eldest girl of seven children. By five, she was singing weekends in her family's band. At the age of eight, she was struck by an automobile in front of the family home, and her legs suffered multiple fractures. Recuperating for months in a wheelchair, she continued singing to help pay her medical bills. When she was 16, she began performing at a nightclub near Columbia, Missouri, a gig that lasted two years. Evans moved to Nashville, Tennessee, in 1991 to be a country music artist. She met fellow musician Craig Schelske and left Nashville with him in 1992, moving to Oregon. They married in 1993. She returned to Nashville in 1995 and began recording demos. Nashville songwriter Harlan Howard was impressed by her demo of his song "Tiger by the Tail". He decided to help her music career, leading to a signed contract with RCA Nashville. In 1997, Evans released her debut album for RCA, Three Chords and the Truth. Although none of its three singles ("True Lies," the title track, and "Shame About That") reached the Top 40 of the Billboard Hot Country Songs chart, the album received critical praise for its neotraditional country sound. In 1998, Evans released her second album, No Place That Far. The album's lead single, "Cryin' Game," also failed to reach the Top 40. However, the album's second single and title track, gave Evans her first Number One hit on the Hot Country Songs chart in March 1999. The album was eventually certified Gold by the RIAA, and produced one additional Top 40 country hit in "Fool, I'm a Woman."
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what did her parents do?

Answer:
She was raised on a farm near New Franklin, Missouri,

Question:
Matthew Fontaine Maury (January 14, 1806 - February 1, 1873) was an American astronomer, United States Navy officer, historian, oceanographer, meteorologist, cartographer, author, geologist, and educator. He was nicknamed "Pathfinder of the Seas" and "Father of Modern Oceanography and Naval Meteorology" and later, "Scientist of the Seas" for his extensive works in his books, especially The Physical Geography of the Sea (1855), the first such extensive and comprehensive book on oceanography to be published. Maury made many important new contributions to charting winds and ocean currents, including ocean lanes for passing ships at sea.
Maury was a descendant of the Maury family, a prominent Virginia family of Huguenot ancestry that can be traced back to 15th-century France. His grandfather (the Reverend James Maury) was an inspiring teacher to a future US president, Thomas Jefferson. Maury also had Dutch-American ancestry from the "Minor" family of early Virginia. He was born in 1806 in Spotsylvania County, Virginia, near Fredericksburg; his parents were Richard Maury and Diane Minor Maury. The family moved to Franklin, Tennessee, when he was five. He wanted to emulate the naval career of his older brother, Flag Lieutenant John Minor Maury, who, however, caught yellow fever after fighting pirates as an officer in the US Navy. As a result of John's painful death, Matthew's father, Richard, forbade him from joining the Navy. Maury strongly considered attending West Point to get a better education than the Navy could offer at that time, but instead, he obtained a naval appointment through the influence of Tennessee Representative Sam Houston, a family friend, in 1825, at the age of 19. Maury joined the Navy as a midshipman on board the frigate Brandywine which was carrying the Marquis de La Fayette home to France, following La Fayette's famous visit to the United States. Almost immediately, Maury began to study the seas and to record methods of navigation. One of the experiences that piqued this interest was a circumnavigation of the globe on the USS Vincennes, his assigned ship and the first US warship to travel around the world.
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How or when did he become interested in astronomy or the ocean?

Answer:
He wanted to emulate the naval career of his older brother, Flag Lieutenant John Minor Maury,