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This study aims to explain the construction of gender identity in Toni Morrison's novel Beloved through Judith Butler's gender performativity theory. This novel tells the story of the traumatic experience of slavery that shapes racial identity as well as the social issues, power relations, and extreme violence depicted within it. This study explains how Sethe and other female characters in the novel Beloved construct and demonstrate their identities through concrete actions as a form of protest against slavery. Based on Judith Butler's performativity approach, identity is not understood through a fixed biological destiny but rather as a repetition of social practices and norms within society. In the novel Beloved, Black women are represented not as a fixed biological essence but as the result of the application of norms in society. In Beloved, the Black female body is depicted as a source of oppression and a space of resistance. The system of slavery in Beloved not only controls the physical body but also women's subjectivity. Sethe's actions in protecting her child in the novel can be read as an attempt to shake up hegemonic maternal norms. The results of this study indicate that Morrison portrays identity as a political construct and always in the process of becoming. The trauma depicted in the novel is a performative mechanism that shapes the characters' subjectivities. Thus, an analysis of gender performativity in Beloved cannot be separated from the intersectional issues of race, history, slavery, and patriarchal culture.

The dual role of women in family economics is a phenomenon shaped by the interplay of economic pressure and social construction within patriarchal society. This study aims to examine the dual role of women in family economics through Judith Butler's gender performativity perspective. The method used is a literature study with a descriptive qualitative data analysis approach, drawing on scientific sources published between 2020 and 2026. The findings indicate that women not only carry out domestic roles as housewives but are also actively involved in the public sphere to meet family economic needs. This condition gives rise to a double burden that affects physical exhaustion and psychological pressure. Within Butler's theoretical framework, the dual role is understood not as something natural, but as a product of social norms reproduced through repeated practices in everyday life. Nevertheless, women's participation in the public sphere has been shown to open spaces for increased independence and negotiation of gender relations within the family. This study underscores the importance of critical understanding of gender construction in order to achieve a fair and equal division of labor.

This article aims to analyze Sie Hian Ling's Hikajat Njonja Kam Giok Nio (1925) through Judith Butler's theory of gender performivity in order to uncover the mechanism of gender regulation in the colonial context of the Dutch East Indies. The narrative tells the social destruction of Njonja Kam Giok Nio, the wife of a Chinese Luitenant in Tjibingin, who loses her status, family, and dignity due to her involvement with Stamboel comedy actor Siek Ting San. The analysis shows that text functions as a discursive regulatory apparatus that constructs gender as a performance that must be repeated through signs of modesty, chastity, and marital status, rather than innate identity. With the concepts of iteration, desire-performattity, radical transgression, abjection, and normative re-iteration, this article reveals how colonial moralistic narratives maintain heteronormativity through the threat of systematic social destruction. Njonja Kam Jade Nio, who originally succeeded in the performance of honorable femininity, experienced gender un-doing when entering public spaces without supervision, became an active desire agent, and was in contact with lower-class subjects. The consequence is total abjection in the form of physical expulsion, renaming, economic exclusion, and intervention by the colonial apparatus. The results of the study confirm that gender analysis cannot be separated from colonialism and class as a system of power that produces each other in the historical context of the Dutch East Indies in the 1920s.

This study analyzes the process of construction and resistance to the double burden experienced by the character Kaluna in the film Home Sweet Loan (2024) through the perspective of Judith Butler's gender performativity. Using qualitative content analysis on 13 key scenes, it was found that Kaluna's double burden of office work and bearing the economic and domestic responsibilities of an extended family was constructed through stylized repetition of acts. The results show that Kaluna experiences a double burden of professional and domestic work shaped by social norms and family expectations. However, the film also depicts Kaluna's resistance to this construction through verbal and emotional actions and personal decisions that challenge the patriarchal structure. This study concludes that Home Sweet Loan not only represents the double burden of modern women, but also shows women's agency in resisting and negotiating their gender identity. These actions deconstruct oppressive gender identities and form a new, independent subjectivity. The film emphasizes that the double burden of women is not a natural law, but rather a social performance that can be resisted.

This study aims to analyze the interpretation of the issue of gender performativity in the two picture books,  Introducing Teddy (2016) and Julian Is A Mermaid (2018), written by Jessica Walton and Jessica Love. From the data analysis, it was found that these two picture books portray how gender performativity exists in society. Identification of social construction is also discussed in these two picture books. The persumption of the binary system is that women should align with her gender that is feminine, while men should be masculine. This process is called gender performativity of gender which was asserted by Judith Butler theory.  The result of this research reveals that the gender performativity and gender construction in the two picture books surrounded all aspects of human life. The society constructed color, appearance, traits, acts, gestures, roles, and stereotypes based on individuals’ gender category. It is also found that the characters from the two picture books were gender fluid with certain stages conforming to the performativity but also to the gender construction.

This study explores the representation and subversion of gender norms in the film Clueless (1995), directed by Amy Heckerling, using Judith Butler's theory of gender performativity. The film blends teen humor with social critique on class, identity, and gender, illustrating how gender identities are constructed and performed through characters such as Cher, Tai, and Christian. By analyzing these characters’ performances, the study reveals how gender is not a fixed identity but a dynamic social construct shaped by repeated actions and societal expectations. Fashion plays a pivotal role in this performativity, highlighting gender as both a stylized performance and a marker of individuality. Additionally, the subversion of traditional masculinity and the critique of gender norms through humor offer alternative portrayals of gender roles. The study concludes that Clueless challenges and redefines gender identities, reinforcing the idea that gender is fluid and performative, thus providing a powerful tool for critiquing and reshaping societal norms.

Women's leadership in work teams or organizations is currently increasing. This shows the impact of the gender mainstreaming movement which is one of the Sustainable Development Goals (SDGs). Apart from that, based on 2018-2021 McKinsey research, the results showed that women's leadership can create an egalitarian climate in work teams and be inclusive of people of diverse genders and sexualities or queer people, including gay people. This paper discusses women's leadership in gay work teams, with a focus on the perspective of gay members in work teams. This research uses a qualitative approach with a case study type. The analysis in this research uses Queer Theory which was coined by Judith Butler. The findings of this research are that women's leadership in gay work teams is compatible because women and gays have the same problems, namely patriarchy and heteronormativity. This causes women to have empathy for gays because they also experience the same problems. Women also have gender-conscious empathy.

This study employs Judith Butler’s theory of gender performativity to analyze Megan Trainor’s song "Dear Future Husband," exploring the negotiation of femininity and masculinity within contemporary pop culture. Utilizing a qualitative content analysis method, the research examines lyrical content, musical elements, and visual representations associated with the song to uncover underlying gender norms and performances. The results reveal that "Dear Future Husband" both reinforces and subverts traditional gender roles; while it portrays conventional expectations of femininity and masculinity, it simultaneously introduces nuanced demands for mutual respect and partnership. The discussion highlights the complexity of gender performances in mainstream media, suggesting that Trainor’s work reflects a transitional phase in societal understandings of gender dynamics. By applying Butler’s framework, the study illustrates how pop songs can serve as sites for both perpetuating and challenging normative gender constructs, offering insights into the evolving landscape of gender identity and expression.