Some context: 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?
A: Butler argues that it is more valid to perceive gender as a performance in which an individual agent acts.
Some context: Mandaeism or Mandaeanism (Arabic: mndy'y@ Manda'iyah) is a gnostic religion with a strongly dualistic worldview. Its adherents, the Mandaeans, revere Adam, Abel, Seth, Enos, Noah, Shem, Aram, and especially John the Baptist. The Aramaic manda means "knowledge", as does Greek gnosis. According to most scholars, Mandaeaism originated sometime in the first three centuries AD, in Mesopotamia.
The Mandaeans have a large corpus of religious scriptures, the most important of which is the Ginza Rba or Ginza, a collection of history, theology, and prayers.  The Ginza Rba is divided into two halves--the Genza Smala or "Left Ginza," and the Genza Yemina or "Right Ginza". By consulting the colophons in the Left Ginza, Jorunn J. Buckley has identified an uninterrupted chain of copyists to the late 2nd or early 3rd century CE. The colophons attest to the existence of the Mandaeans or their predecessors during the late Arsacid period at the very latest, a fact corroborated by the Harran Gaweta legend, which says that the Mandaeans left Judea after the destruction of Jerusalem in the 1st century CE, and settled within the Arsacid empire. Although the Ginza continued to evolve under the rule of the Sassanians and the Islamic empires, few textual traditions can lay claim to such extensive continuity.  Other important books include the Qolasta, the "Canonical Prayerbook of the Mandaeans," which was translated by E. S. Drower. and here One of the chief works of Mandaean scripture, accessible to laymen and initiates alike, is the Drasa D-Iahia "The Book of John the Baptist" (text; German translation), which includes a dialogue between John and Jesus. In addition to the Ginza, Qolusta, and Drasa, there is the Divan, which contains a description of the 'regions' the soul ascends through, and the Asfar Malwashe, the "Book of the Zodiacal Constellations." Finally, there are some pre-Muslim artifacts which contain Mandaean writings and inscriptions, such as some Aramaic incantation bowls.  The language in which the Mandaean religious literature was originally composed is known as Mandaic, and is a member of the Aramaic family of dialects. It is written in a cursive variant of the Parthian chancellory script. Many Mandaean lay people do not speak this language, though some members of the Mandaean community resident in Iran and Iraq continue to speak Neo-Mandaic, a modern version of this language.
What other books do they have in their holy collection
A:
the Drasa D-Iahia "The Book of John the Baptist" (text; German translation),