Problem: Background: Thomas Jacob "Tommy" Hilfiger (born March 24, 1951) is an American fashion designer best known for founding the lifestyle brand Tommy Hilfiger Corporation in 1985. After starting his career by co-founding a chain of record stores in upstate New York in the 1970s, he began designing preppy sportswear for his own eponymous menswear line in the 1980s. The company later expanded into women's clothing and various luxury items such as perfumes, and went public in 1992. In 1997, Hilfiger published his first book, titled All American: A Style Book, and he has written several since, including Tommy Hilfiger through Assouline in 2010.
Context: After Tommy Hillfiger went through several iterations, in 1984 Hilfiger's first wife Susie Cirona became pregnant with their first child. Searching for more stability, Hilfiger was relieved to be offered a design position with Calvin Klein. However, after he accepted the Calvin Klein position but before he had begun working, he was approached by businessman Mohan Murjani, to pursue his goal of designing and heading a men's sportswear line. Murjani backed the necessary investment for Hilfiger to establish his own brand. Later Hilfiger oversaw the design of the Coca-Cola clothing line for Murjani.  "[Waiting to form my own eponymous line] came from a desire to create something that wasn't out there already. I was really in tune with the market--I knew what existed, and I wanted this to be different. Maybe it's the small-town boy in me, but I've always loved the prep school look, traditional Ivy League, and the clothes that sailors and jocks wear. I wanted to take these familiar old things and give them a more laid-back attitude, to make them modern and cool....[with Tommy Hilfiger Corporation in 1985], finally, I felt like I was doing work that felt natural, that felt good. The brand we were building felt so honest, so true to who I am, that it didn't feel like a struggle at all."  In 1985, he founded the Tommy Hilfiger Corporation with support from The Murjani Group. The new clothing line made its debut with a high-profile marketing campaign, for example setting up a large billboard in Times Square designed by George Lois. Hilfiger left Murjani International in 1989, with Silas Chou instead providing financial backing to the Hilfiger brand, and former executives of Ralph Lauren brought on board as executives of the newly formed company Tommy Hilfiger, Inc. The Tommy Hilfiger Corporation went public in 1992, introducing Hilfiger's signature menswear collection. Hilfiger was named Menswear Designer of the Year by the Council of Fashion Designers of America in 1995. After licensing Pepe Jeans USA in 1995, in 1996, Tommy Hilfiger Inc. began distributing women's clothing. By the end of the next year Hilfiger had opened his first store in Beverly Hills, which was followed by a store in London in 1998. Hilfiger was serving as the company's co-chairman by 1997, and that year he published his first book, titled All American: A Style Book.
Question: Who was Murjani?
Answer: he was approached by businessman Mohan Murjani,

Problem: Background: 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:
Context: 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.
Question: How does she compare them?
Answer:
She brings many similarities, including the idea of each individual functioning as an actor of their gender.