Question:
Jesse Donald Knotts was born in Morgantown, West Virginia, the youngest of four sons born to farmer William Jesse Knotts and his wife, Elsie Luzetta Knotts (nee Moore). His parents were married in Spraggs, Pennsylvania. His English paternal ancestors immigrated to America in the 17th century, originally settling in Queen Anne's County, Maryland. Knotts' brothers were named Willis, William, and Ralph.
In 1986, Don Knotts reunited with Andy Griffith in the made-for-television film Return to Mayberry, again reprising his Barney Fife role. In early 1987, Knotts joined the cast of the first-run syndication comedy What a Country!, playing Principal Bud McPherson for the series' remaining 13 episodes. The sitcom was produced by Martin Rips and Joseph Staretski, who had previously worked on Three's Company. In 1988, Knotts joined Andy Griffith in another show, playing the recurring role of pesky neighbor Les Calhoun on Matlock until 1992.  After that, Knotts's roles were sporadic, including a cameo appearance in the film Big Bully (1996) as the principal of the high school. In 1998, Knotts played a small but pivotal role as a mysterious TV repairman in Pleasantville. That year, his home town of Morgantown, West Virginia, changed the name of the street formerly known as South University Avenue (U.S. Route 119) to Don Knotts Boulevard on "Don Knotts Day." Also that day, in honor of Knotts's role as Barney Fife, he was named an honorary deputy sheriff with the Monongalia County Sheriff's Department.  Knotts was recognized in 2000 with a star on the Hollywood Walk of Fame. He continued to act on stage, but much of his film and television work after 2000 was as voice talent. In Ghost World (2001) Enid (Thora Birch) is asked why she painted a portrait of Don Knotts. She replies, "I just like Don Knotts." The portrait in the film may be the last visual image of Knotts in a motion picture. In 2002, he appeared again with Scooby-Doo in the video game Scooby-Doo! Night of 100 Frights. (Knotts also spoofed his appearances on that show in various promotions for Cartoon Network and in a parody on Robot Chicken, where he was teamed with Phyllis Diller). In 2003, Knotts teamed up with Tim Conway again to provide voices for the direct-to-video children's series Hermie and Friends, which continued until his death. In 2005, he was the voice of Mayor Turkey Lurkey in Chicken Little (2005), his first Disney movie since 1979. On September 12, 2003, Knotts was in Kansas City in a stage version of On Golden Pond when he received a call from John Ritter's family telling him that his former Three's Company co-star had died of an aortic dissection that day. Knotts and his co-stars attended the funeral four days later. Knotts had appeared with Ritter one final time in a cameo on 8 Simple Rules for Dating My Teenage Daughter. It was an episode that paid homage to their earlier television series. Knotts was the last Three's Company star to work with Ritter.  During this period of time, macular degeneration in both eyes caused the otherwise robust Knotts to become virtually blind. His live appearances on television were few. In 2005, Knotts parodied his Ralph Furley character while playing a Paul Young variation in a Desperate Housewives sketch on The 3rd Annual TV Land Awards. He parodied that part one final time, "Stone Cold Crazy", an episode of the sitcom That '70s Show. In the show, Knotts played Fez and Jackie's new landlord. This was his last live-action television appearance. His final role was in Air Buddies (a 2006 direct-to-video sequel to Air Bud), voicing the sheriff's deputy dog, Sniffer.
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What was the start of the later years?

Answer:
In 1986, Don Knotts reunited with Andy Griffith


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 did he do in 1988?

Answer:
In this essay, Judith Butler proposes her theory of gender performativity, which would be later taken up in 1990 throughout her work, Gender Trouble.