IN: 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.

what else did she describe in her theory?

OUT: Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts.

input: David Jon Gilmour was born on 6 March 1946 in Cambridge, England. His father, Douglas Gilmour, eventually became a senior lecturer in zoology at the University of Cambridge, and his mother, Sylvia (nee Wilson), trained as a teacher and later worked as a film editor for the BBC. At the time of Gilmour's birth they lived in Trumpington, Cambridgeshire, but in 1956, after several relocations, the couple moved their family to Grantchester Meadows.  Gilmour's parents encouraged him to pursue his interest in music, and in 1954 he bought his first single, Bill Haley's "Rock Around the Clock". His enthusiasm for music was stirred the following year by Elvis Presley's "Heartbreak Hotel", and later "Bye Bye Love" by the Everly Brothers piqued his interest in the guitar. He then borrowed one from his neighbour, but never gave it back. Soon afterward, he started teaching himself to play using a book and record set by Pete Seeger. At age 11, Gilmour began attending the Perse School on Hills Road, Cambridge, which he "didn't enjoy". While there he met future Pink Floyd guitarist Syd Barrett and bass guitarist Roger Waters, who attended Cambridgeshire High School for Boys, which was also situated on Hills Road.  In 1962, Gilmour began studying A-Level modern languages at Cambridge Technical College. Despite not finishing the course, he eventually learnt to speak fluent French. Barrett was also a student at the college, and he spent his lunchtimes practising guitar with Gilmour. In late 1962, Gilmour joined the blues rock band Jokers Wild. They recorded a one-sided album and a single at Regent Sound Studio, in west London, but only fifty copies of each were made. In August 1965, Gilmour busked around Spain and France with Barrett and some other friends, performing songs by the Beatles. They were not very successful, getting arrested on one occasion and living a virtually hand-to-mouth existence, which resulted in Gilmour requiring treatment in a hospital for malnutrition. He and Barrett later trekked to Paris, where they camped outside the city for a week and visited the Louvre. During that time Gilmour worked in various places, most notably as the driver and assistant for fashion designer Ossie Clark.  Gilmour travelled to France in mid-1967 with Rick Wills and Willie Wilson, formerly of Jokers Wild. The trio performed under the band name Flowers, then Bullitt, but they were not commercially successful. After hearing their uninspired covers of current chart hits, club owners were reluctant to pay them, and soon after their arrival in Paris, thieves stole their equipment. While in France, Gilmour contributed--as a session musician--lead vocals to two songs on the soundtrack of the film Two Weeks in September, starring Brigitte Bardot. In May, Gilmour briefly returned to London in search of new gear. During his stay, he watched Pink Floyd record "See Emily Play" and was shocked to find that Barrett did not seem to recognise him. When Bullitt returned to England later that year, they were so impoverished that their tour bus was completely empty of petrol and they had to push it off the ferry.

Answer this question "Did David go to College?"
output:
In 1962, Gilmour began studying A-Level modern languages at Cambridge Technical College.