GENDER PERFORMATIVITY IN ADAM SILVERA’S THEY

BOTH DIE AT THE END

THESIS

By:

Syafira Fauziah Desabrina

NIM 17320067

DEPARTMENT OF ENGLISH LITERATURE

FACULTY OF HUMANITIES
UNIVERSITAS ISLAM NEGRI MAULANA MALIK
IBRAHIM MALANG
2023
GENDER PERFORMATIVITY IN ADAM SILVERA’S THEY BOTH DIE
AT THE END

THESIS
Presented to
Universitas Islam Negeri Maulana Malik Ibrahim Malang
in Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra (S.S)

By:
Syafira Fauziah Desabrina
NIM 17320067

Advisor:

Dr. Hj. Isti’adah, M.A.

NIP 196703131992032002

DEPARTMENT OF ENGLISH LITERATURE

FACULTY OF HUMANITIES
UNIVERSITAS ISLAM NEGRI MAULANA MALIK
IBRAHIM MALANG
2023
 MOTTO

“Change your mind, and you can change your life”

2022
 DEDICATION

I proudly dedicated this thesis especially to myself, who has managed to defeat

her own self so that this thesis can be completed. This thesis is also proudly

dedicated to my dearest family; my father Sadeli, my mother Khusniah, and my

brother Rizki Maulid Abdilah. Thank you for all for so patiently living with me.
 ACKNOWLEDGEMENT
Bismillahirrahmanirrohim.
All praise to Allah SWT, who has given His guidance and blessing for

me so that I could finish this thesis entitled Gender Performativity in Adam

Silvera’s They Both Die at The End. Also, Shalawat and Salam are always praised

to our beloved Prophet Muhammad SAW who spreads awesome lights to human

in the world.

The researcher realizes that this thesis would not have been possible

without the guidance, direction, advice, and encouragement that supported the

completion of this thesis. I would like to thank other parties.

First I would like to deliver my deepest gratitude to my supervisor, Dr.

Hj. Isti’adah, M.A. Thank you for her attention and guidance from the beginning

of writing until the completion of this thesis. My deepest gratitude also goes to my

academic advisor, Ulil Fitriyah, M.Pd., M.Ed. for helping my study journey in

Universitas Islam Negeri Maulana Malik Ibrahim Malang. Also, I thank all

lecturers at English Literature Department Maulana Malik Ibrahim State Islamic

University Malang.

Second, Thank you to all who have supported the smooth running of this

thesis. Thank you for helping me and being a good person. The researcher admit

that this thesis is far from perfect and has many shortcomings. Thus, to improve

this work, criticisms and suggestions are welcomed. Hopefully, this thesis would

give significant benefit to other researchers and people who read it.
 ABSTRACT

Desabrina, Syafira Fauziah. 2021. Gender Performativity in Adam Silvera’s

They Both Die At The End. Undergraduate Thesis. English Literature
Department, Faculty of Humanities, Universitas Islam Negeri Maulana Malik
Ibrahim Malang.
Advisor : Dr. Hj. Isti’adah, M.A.
Keywords : Gender, Gender Identitiy, Performativity

Gender is a form of imitative structure that is carried out repeatedly to

form a gender identity. Gender identity can be either masculine or feminine,
which is not limited to men and women. In its application, feminine can be pinned
on men and vice versa, masculine can be owned by women. Gender performivity
makes all of these things possible. In this study, gender qualitativeity uses gender
performativity as its method, which is a qualitative research method that aims to
categorize events that occur in the object of research. The data for this research
were obtained from a novel entitled They Both Die at The End written by Adam
Silvera. The results of the study show that the main characters know their sexual
identity and feel confident about it. To find out the characteristics of gender
identity in this study, it can be seen through the performativity of physical
appearance, social and sexual activity of the characters in the novel. This research
provides an overview of how performativity forms self-identity, and it is
impossible to reach the final because the basis of this behavior is human freedom.
 ‫مستخلص البحث‬

‫دي ساب ري نا‪ ،‬ش ف يرا ‪Gender Performativity in Adam Silvera’s They Both ،٢٠٢٢ ،‬‬
‫‪ .Die at The End‬البحث الجامعي‪ ،‬قسم األدب اإلنجليزي‪ ،‬كلية العلوم اإلنسانية‪ ،‬جامعة موالنا مالك‬
‫إبراهيم اإلسالمية الحكومية ماالنج‪.‬‬
‫المشرف ‪ :‬ماج س ت ير اال س تدامة هجري ة دك تور‪.‬‬
‫الكلمات الرئيسيات ‪ :‬القضايا الجنسانية‪ ،‬غريب‪ ،‬األداء الجنساني‪.‬‬

‫المثلية الجنسية هي شكل من أشكال الميل الجنسي من نفس الجنس‪ .‬يتكون المثلية الجنسية من المثليين أو‬
‫المثليات والمثليين ومزدوجي الميل الجنسي ومغايري الهوية الجنسانية‪ .‬لذلك ‪ ،‬ال تقتصر المثلية الجنسية‬
‫على الرجال والرجال فقط أو يطلق عليهم مثليو الجنس ‪ ،‬ولكن أيضا العالقات التي أنشأتها النساء والنساء أو‬
‫ما يسمى بالمثليات‪ .‬تستخدم هذا البحث األداء األدبي النسوي للجنسين كمنهج ‪ ،‬وهو منهج الكيفي يهدف إلى‬
‫تصنيف األحداث التي تحدث في موضوع الدراسة‪ .‬تم الحصول على بيانات هذا البحث من الكتاب بعنوان‬
‫"‪ "They Both Die at The End‬كتبه آدم سيلفيرا‪ .‬أظهرت نتائج البحث أن الميول الجنسية للشخصيات‬
‫في المقاالت تم تصويرها بشكل واضح للغاية على أنها مثلي الجنس‪ .‬لمعرفة خصائص المثليين جنسيا في‬
‫هذا المقال يمكن رؤيتها من خالل المظهر الجسدي والمناقشة الجنسية المثلية والنشاط الجنسي للشخصيات‬
‫في الكتاب‪.‬‬
 ABSTRAK

Desabrina, Syafira Fauziah. 2021. Gender Performativity in Adam Silvera’s

They Both Die At The End. Undergraduate Thesis. English Literature
Department, Faculty of Humanities, Universitas Islam Negeri Maulana Malik
Ibrahim Malang.
Advisor : Dr. Hj. Isti’adah, M.A.
Keywords : Gender, Gender Identitiy, Performativity

Gender merupakan bentuk struktur imitative yang dilakukan berulang-

ulang hingga membentuk sebuah identitas gender. Identitas gender dapat berupa
maskulin dan fiminim yang tidak terbatas pada laki-laki dan perempuan. Dalam
pengaplikasiannya, feminim dapat disematkan pada laki-laki dan sebaliknya,
maskulin dapat dimiliki oleh perempuan. Performativitas gender membuat semua
hal tersebut mungkin terjadi. Pada penelitian ini menggunakan performatifitas
gender sebagai metodenya, yaitu sebuah metode penelitian kualitatif yang
bertujuan untuk mengkategorikan kejadian yang terjadi pada objek penelitian.
Data penelitian ini diperoleh dari sebuah novel berjudul They Both Die at The End
yang ditulis oleh Adam Silvera . Hasil penelitian menunjukkan bahwa karakter
utama mengetahui identitas seksual mereka dan merasa yakin atas hal tersebut.
Untuk mengetahui ciri dari identitas gender dalam penelitian ini dapat dilihat
melalui performativitas penampilan fisik, performativitas sosial, dan
performativitas aktivitas seksual karakter dalam novel. Penelitian ini memberikan
gambaran mengenai bagaimana performativitas membentuk identitas diri, dan
tidak mungkin mencapai final karena dasar dari perilaku ini adalah kebebasan
manusia.
 TABLE OF CONTENT

APPROVAL SHEET ..................................................................................... ii

LEGITIMATION SHEET ............................................................................ iii
MOTTO ........................................................................................................ iv
DEDICATION ............................................................................................... v
ACKNOWLEDGEMENT ............................................................................ vi
ABSTRACT ............................................................................................... viii
‫ مستخلص البحث‬.................................................................................................. ix

ABSTRAK ..................................................................................................... x
CHAPTER I ................................................................................................... 1
INTRODUCTION ......................................................................................... 1
A. Background of the Study.................................................................... 1
B. Problems of The Study ....................................................................... 7
C. Objective of The Study ...................................................................... 7
D. Scope and Limitation ......................................................................... 7
E. Significant of The Study ................................................................... 7
F. Definition of Key Terms .................................................................... 8
CHAPTER II .................................................................................................. 9
REVIEW OF RELATED LITERATURE ..................................................... 9
A. Gender Studies ................................................................................... 9
B. Gender identity ................................................................................ 11
C. Performativity in Gender................................................................. 14
CHAPTER III .............................................................................................. 18
A. Research Design ............................................................................... 18
B. Data and Data Source ....................................................................... 19
C. Data Collection................................................................................. 19
D. Data Analysis ................................................................................... 20
CHAPTER IV .............................................................................................. 21
FINDINGS & DISCUSSIONS .................................................................... 21
A. Gender Performativity Represented in the novel
They Both Die at the End ............................................................................ 21
CHAPTER V................................................................................................ 39
CONCLUSION AND SUGGESTION ........................................................ 39
A. Conclusion ....................................................................................... 39
B. Suggestion ........................................................................................ 40
BIBLIOGRAPHY ........................................................................................ 42
CURRICULUM VITAE .............................................................................. 43
 1

CHAPTER I

INTRODUCTION

A. Background of the Study

Gender is something not uncommon human know since they born. Many

aspects influenced by human social knowledge and beliefs about gender over

time (Polderman, 2018). Beside, the term gender is always associated with the

word sex where humans define positional subordinate. This position is caused

by the attribution of naturally constructed biological facts as cultural identities

and roles (Liputan Media Fisip, 2022)). Butler (1990: 33) says ”there is no

original gender identity, all are formed through repeated performances to form

identities”. Butler (2004) also states that true identity is incoherent or

impermanent. According to him, there is no gender identity behind gender

expression. Gender identity is formed performatively; repeated until it reaches

the 'original identity’ (Butler J. , 2004).

Gender has a function as the main role of human biology that exist long

time ago. Through basic things such as behavior and social roles, support or

social status will be obtained with the other things such as how to resolve

conflicts that occur (Zosuls, Miller, Ruble et all, 2011) . Ogunleye and

Babatola (2013; 1) state that gender has evolved according to the times,

although there are differences in making it happen. This is what will measure

how a person can be analyzed and served with events or experiences that have

been seen during life (Bussey & Bandura, 1999).

 2

Gender stereotypes and gender roles are part of gender. Gender roles are

defined based on behavior (Brannon, 1996). Santrock (2007) reveals that

gender roles are expectations that exist in society that determine how men and

women should act, think, feel in certain social roles. Gender stereotypes are

generalizations of prejudice about the behavioral roles of men and women.

Gender stereotypes are characteristics that are believed to be inherent in men

and women. At a glance, gender stereotypes and gender roles appear to have

complementary meanings. Gender roles are more social roles, gender

stereotypes are more masculine and feminine traits. So because of the

proximity of these terms, when discussing men and women they are always

used side by side. Wenar & Kerig (2002) said that adolescents are able to

understand that a person's gender is permanent, they also understand that the

genitals (genital) are an important determinant of gender. Bjorklund (in

Brannon, 1996) reveals that gender identity is the process of identifying

someone as male or female. Gender identity is the awareness that someone is

male or female, this awareness develops from early childhood (Papalia, Olds

& Feldman, 2006). This identification relates to individual subjective feelings

about being a man or a woman (Semiun, 2006).

Butler rejects the notion of culturally constructed gender, because gender

is an unstable repetition. So according to Butler (2019), gender is an act of

performativity which is an act of repetition. So that gender must be seen as

something that continues to move dynamically. Acceptance of gender based

on social norms with certain social characteristics is referred to as

 3

performance. Senelick (2000: 10) states that gender is unstable, always

moving with time. Therefore, gender cannot be seen only as a person's sex.

Regarding gender, social construction in Indonesia emphasizes that the

ideal gender behavior is in accordance with their sex identity, such as men

must be masculine, and women must be feminine (Soedarwo, 2020). In other

words, the concept of gender is inherent in socially constructed traits, for

example if men are considered stronger, mighty, manly, aggressive and

rational while women are considered gentle, beautiful, motherly, passive and

emotional. However, apart from all these journeys, it is social construction

that distinguishes the characteristics inherent in the two genders (Soedarwo in

Modul 1, 2020).

Butler (2004) breaks the cultural assumption that women must be

feminine, and men must be masculine. The definition of gender as a

permanent culture has been understood by society from generation to

generation. According to Butler's (2004) interpretation of gender, the first is

that the subject has first been constructed by gender labeling and the second is

that social norms have limited the function of gender based on culturally

agreed upon sexual orientation (Xhonneux, 2013: 298). It is this understanding

of gender that develops in society that continues to develop and cannot be

stopped (Adriana, 2009).

There is correlation between performativity and literature. Literary works

give space for humans to be dynamic but firm. Dent (2003) said that
 4

performativity tends to be in the form of assertive sentences such as

declarations. In this case binding action is not only shown. The power of

performativity is very much taken into account in this case to show identity.

Butler (1993) claims that, to determine his identity, a person has the right to

choose the gender that is considered appropriate. Gender is something that

cannot be formed and determined but is thought repeatedly and believed.

Performativity is a declaration of identity in a professional manner

(Whiteheat, 2003).

In the novel We Both Die at The End (2020) written by Adam Silvera,

where the main characters Mateo Torrez and Rufus Emeterio told by someone

they are going to die that day, so they work hard to do many things that

teenagers have never done before. The incident was recorded as clearly

described by Silvera as full awareness of the feelings they had until they both

had to accept the fact that their identity change by social construction.

The main characters in the novel shows their gender identity based on

performativity’s. The approach used is a gender performativity approach

regarding motivation in human thought and behavior, in accordance with

Butler's theory: gender performativity method (Butler J. , 2019). The theory

that will be applied in this analysis is social identity in a performativity

perspective.

The researcher analyzes the personalities of the main characters Mateo

Torrez and Rufus Emeterio in the We Both Die at The End’s novel which is a
 5

modern literary genre, including how the personalities work in their common

functions in some issues. This novel not only presents the background of a

character with a depiction of the life of a supernatural teenager where he

knows when he will die but also has an artistic performativity in depicting

viewpoints and keywords according to Freud's theory (2013; p. 3129).

However, the effect given from this reflective novel is how to hold a

encounter with failure and find the answer from the question that made by

ourself. Freud said the form of this failure could be mental illness, and

homosexuality identity which are very interesting to examine one by one. The

effect of this failure is intellectual and moral damage and unsettling medical

reputation.

The novel We Both Die at The End’s can be studied using the

performativity’s Butler theory with the problem of the indeterminacy of the

self-identity of the characters Mateo and Rufus which is the object of this

research. This performance theory is in accordance with the aspects shown in

the novel, that gender identity is not determined psychologically, but through

social instruction (Butler J. , 2019). Identity is derived from performative

actions, which are always changing. This is what Butler called human identity

is never stable. In interpreting identity, it can be determined by interpreting the

performativity of conversation, the performativity of appearance and

physicality, and the performativity of sexual activity.

In the previous researcher such as Broek R, V, D. (2019), it is said that the

past, role, gender determines the personality and how social conditions affect
 6

the individual's mindset, so in this case there are small basic things that have

not been studied, namely how a person's mental condition is personally

without or before being exposed to ―outside impacts. Other researchers such

Septiadi have concentrated on how the influence of the outside world affects

the identity of a person who is preferred. The researcher will discuss the

concept of gender performatifity which focused on gender identity, which is

about how the both gender and personality of a person. That is why it is

important to study the researcher journal as a reference to determine problem

solving so that we can see the social influences on personal identity.

Based on the explanations above, the researcher wants to analyze the

performativity in Adam Silvera’s novel Thry Both Die At The End following

the previous studies. The researcher focuses that is in accordance with this

study, namely studying imitative processes that are carried out in a

performative manner, and interpreting gender as a performative structure. The

researcher wants to present new results and conclusions on the selected

literary works.
 7

B. Problems of The Study

As the background of the study has been discussed before, the researcher

formulates the problem:

1. How is the men characters show their gender identity based on

performatifity’s theory We Both Die at The End?

C. Objective of The Study

Based on the background of study, the objective of the research is to

analyze how the main characters show their gender identity based on

performatifity’s theory We Both Die at The End.

D. Scope and Limitation

Based on the background of the study, the scope of this study is to use data

obtained from Adam Silvera’s Novel They Both Die At The End. The

researcher only focuses on the plot, characters and storylines so that magical

and unique elements can be found, according to the existing data collection

methods.

E. Significance of The Study

This significance in this study can provide benefits both theoretically and

practically, especially how to solve these problems based on the conditions of

gender performativity. The researcher uses the study of gender performativity

Judith Butler’s book Performative Acts and Gender Constitution (2019).

 8

Theoretically, this research can contribute to the study of gender in

literature, especially regarding the role of gender performativity in literary

works. In practical terms, this research will make the reader understand more

about how gender socially influences the assessment of gender in literary

works. Therefore, the researcher hopes that this thesis will provide assistance

to readers and become another reference.

F. Definition of Key Terms

Since the keyword encompass the main point in this study, the researcher

provides the definition as the follow.

1. Gender

Butler (2004) said that gender is imitative structures, or the result

of a process of imitation, repetition, and performativity is “an

imitated structure, or result of process of imitation,reiteretion, and

performativity” (Butler, 2004).

2. Performativity

A proof of identity that is shaped by time and institutionalized

through repeated actions (Butler, 1993).

3. Gender Identity

Core of self-interpretation of someone’s gender identity which is

closely related to social roles and functions and is formed in

various social contexts (Meissner, 2005).

 9

CHAPTER II

REVIEW OF RELATED LITERATURE

A. Gender Studies

Gender, according to Judith Butler (2004), is neither what one "is" nor

what one "has." Gender is the apparatus through which the masculine and

feminine are produced and normalized and the interstitial forms of hormonal,

chromosomal, psychic, and performative that gender assumes. Assuming that

gender now and always exclusively refers to the matrix of the "masculine" and

"feminine" misses the critical point that the production of that comprehensible

binary is dependent, that it comes with a price, and that those permutations of

gender that do not fit the binary are just as much a part of gender as the

binary's most normative instance. Confusion of the definition of gender with

its normative expression inadvertently reconsolidates the norm's power to

constrain the definition of gender (Butler J. , 2004).

Actual distinctions between men and women are more scalar than binary,

with so many women and men occupying the same scale positions (Jagger,

2008). Take a look at our voices. Men's vocal tracts are on average longer than

women's, resulting in a lower voice pitch. However, Jagger (2008) realizes in

today's environment, people's actual spoken voice pitch does not simply

follow the size of their vocal tract.

 10

Males and females start to differentiate their voices at the age of 4 - 5

years, well before puberty, distinguish male and female vocal tracts, as boys

consciously and instinctively drop their voice pitch while females increase

theirs. Finally, regardless of the length of a child's vocal tract, one can

typically discern whether they are male or female based solely on the pitch

and sound of their voice.

The concept of gender offers the necessary factual information and

policies, programs, and projects to incorporate a gender perspective (Butler J. ,

2019). Gender analysis highlights the inequalities among women and men

regarding their relative role in society and the allocation of resources,

opportunities, restrictions, and power in each environment as a preliminary

step for gender equality. Gender analysis enables the creation of treatments

that address gender inequities and meet the needs of both men and women in

this way. Indeed, it reveals the varied roles of women and men in programs,

activities, and projects at various levels; their respective decision-making

power over resources and societal material and non-material benefits; and

their gender-specific demands, priorities, and responsibility (Ali, 2014).

Because it defines the current status of contextual conditions by gender

and investigates the origins and effects of gender differences on the target

group, a whole gender analysis helps policymakers comprehend gender

inequalities in each circumstance or sector (Adriana, 2009).

 11

Examining the root causes of gender inequality and discrimination can aid

in the development of relevant and focused goals and methods to reduce

gender disparities. Andriana (2009) states gender analysis leads to increased

gender responsiveness of policy and regulations because it lays the

groundwork for assuring that all citizens — men and women — are met.

Gender analysis plays a vital role when focusing on institutions and

organizations to determine how the nature of their delivery services may affect

women and men, or even how institutions themselves are 'gendered,' for

instance, in the workplace environment of recruitment practices, gendered

labor divisions, and women's access to decision-making positions.

B. Gender Identity

Judith Butler (2004) says that gender is a matter of performativity.

Therefore, gender for Butler is not someone, but something that people do,

gender is more of doing than being. That is, there is no gender essence behind

gender expression; it is the performativity that forms what is considered the

essence, so that there is no real gender. Therefore, gender and sex are not a

"substantial metaphysics", but are attributes, which are formed through

performance or performativity (Jagger, 2008).

Gender identity is part of a person's complete identity in which there is a

connection with gender (Soedarwo, 2020). Meissner (2005) defines gender as

one's internal experience of gender and being part of one's self-identity.

Furthermore, gender identity is divided into two parts, namely core gender

identity and gender role identity.

 12

Core gender identity is the feeling of being a woman or a man that is

formed at a certain age based on biological aspects that distinguish themselves

between men and women.

Meanwhile, gender role identity is an individual's feeling of gender,

whether masculine or feminine, and is influenced by sociological, biological,

and psychological (Butler J. , 2019). The case of gender identity is a

significant issue in cultural studies. In short, identity is the concept of self.

Along with the development of thinking, the issue of identity begins to be seen

as something complicated, not only as an answer to the question 'Who am I?'.

Identity as a person's understanding of what or who he is is a complex issue.

Information technology and transportation are growing, so cultural, class and

gender barriers are slowly breaking down (Meissner, 2005). Identity is

considered as a solid bridge between an individual and the people in the

surrounding environment. In relation to the issue of identity stability, ideas

about identity are divided into essentialists and non-essentialists.

The essentialist concept is the concept that identity is something that has

existed in humans since birth and is permanent. This thinking is based on

natural conditions, such as race, as well as cultural and historical similarities.

With the development of cultural studies, these essentialist concepts began to

be reviewed and deconstructed (Ayuningtyas, 2009). Sexual identity is more

directed as an identification related to objective knowledge about whether an

individual is a man or a woman based on the types of genitals he has.

(Semiun, 2006).
 13

Gender identity bring the highly complex development that is dialectically

tied to a more extensive global developmental process of mental growth. The

development of gender, psychosexuality, and identity are all interwoven.

Masculinity and femininity are shaped significantly by interpersonal

interactions in the intersubjective field at a given moment and place. There are

numerous benefits to using this new understanding in psychiatry (Butler J. ,

2019, p. 23). Gender is employed in clinical practice as a tool for the

psychodynamic understanding of development and disease and as an

operational notion.

Stuart Hall said that identity is a flexible construction, a process not only

of being but also of becoming that underlies the basic difference between 'who

we are' and 'what we are'. This 'becoming' process also occurs continuously,

depending on social conditions, culture, space and place and others

(Rutherford, 1990). Many aspects play a role in the process of finding and

forming one's identity. Identity also means how humans position themselves

and how humans are positioned by others. In short, identity is a matter of

position, not essence, and this position is influenced by factors of self-

awareness (ie subjectivity) and socio-cultural interactions with other people.

Therefore, it can be said that a person's identity is fluid (Rutherford, 1990, p.

20).
 14

Furthermore, identity is characterized by similarities and differences.

Based on differences in gender, race, or ideology, humans are classified into

certain groups. Differences in identity can also be the basis for the formation

of power relations between groups. Then, based on the similarities, a person

identifies himself with a certain group. An individual can also have several

identities, depending on which aspect is the reference point. These aspects

include body condition, character, family relationships and religion. Judith

(2004) said that gender identity can be analyzed into appearance and

environment analysis (Butler J. , 2004).

C. Performativity in Gender

For Zaddie (2012), the defining features of performativity in the part of

gender identity as a treatment were the centrality of transference and

resistance. As an academic subject, performativity can be defined as that

branch of gender initiated by Freud that is concerned with three distinct areas

of study: the development of the mind and the influence of early experience

on adult mental states; the nature and role of unconscious mental phenomena;

and the theory and practice of socialize, particularly transference and

countertransference (2012).
 15

The term gender was introduced by social scientists to explain the

differences between women and men which are innate as God's creations and

which are cultural formations that are learned and socialized since childhood

(Butler J. , 2004). This distinction is very important, because so far human

characteristics that are natural and non-natural (gender) are often mixed up

(Sasongko, 2009). This difference in gender function really helps us to rethink

about the division of roles that have been considered to be inherent in women

and men in order to build a picture of gender relations that are dynamic and in

accordance with the realities that exist in society. Differences in the concept of

gender socially have given rise to different roles of women and men in society

(Butler J. , 2004). In general, the existence of gender has given birth to

differences in roles, responsibilities, functions, and even spaces and places

when humans move. In such a way, it seems that this gender difference is

embedded in our perspective, so that we often forget as if it is something

permanent and eternal (Butler J. , 2019).

Identity is obtained from performative actions, which are always changing.

This is what Butler called human identity is never stable (Butler J. , 2019).

From this Butler's view, it is fine for someone to have a masculine identity at

one time and a feminine identity at another. Likewise with male feminine or

female masculine. This of course also affects the problem of mindset and the

way of socializing. It is the performative action that forms self-identity, and it

is impossible to reach the final because the basis of this behavior is human

freedom.
 16

It is possible for someone who has become transgender to want to return to

their original identity, or to become a transgender again, it all comes back to

the will of the individual. (The Unnatural Sexual Orientation.pdf, 2019).

There are some ways to interpreting a person's identity, Butler (2019)

determines from three things, namely the performativity of appearance and

physique, the performativity of conversation, and the performativity of sexual

activity.

1. Performativity of appearance and physique

Performativity of appearance and physique is the second way to know

someone's identity. A person's appearance usually emphasizes

femininity more than masculinity as a man. These appearances are not

fully justified because even in society you can find a transgender

person who looks physically like a woman but still likes the opposite

sex. A person's physical appearance can be identified by how he

dresses, behaves, and shows his sexual orientation ((Ritzer, 2014, pp.

1100-1101).

2. Performativity environtment

A person's identity can also be categorized through the process of the

environtment in the place. Sexual conversation performance refers to

how an individual interacts and gives codes to their interlocutor.

Stigma said that a man should have masculine qualities and like

women vice versa.

 17

According to Ritzer (2014), behavior, knowledge and confessions are

all examples of challenging dominant sex categories of gender and

sexuality.

3. Performativity sexual activity

Performativity of sexual activity can be seen from how he treats his

partner. The form of a person's sexuality can also be seen from their

performativity and dreams in having sex with a partner at a certain

time. Performativity marginalizes and permanently deconstructs

sexuality and identity (Butler J. , 2019).

 18

CHAPTER III

RESEARCH METHOD

The researcher presents research design, data and data source, data

collection and data analysis of this research to point out what the researcher

does in this research.

1. Research Design

As stated in the research topics, this research is conducted to determine a

perspective in responding to a reality in gender performativity using

qualitative approach, because it aims to analyze and investigate how textual

and visual elements in the novel They Both Die at The End work in raising

male issue. Thus, the researcher in this study uses the gender performatifity.

Septiadi (2014) say that the method of this literary criticism is the study that

seeks to interpret any given work of literature. The different class of literary

criticism provide lenses ultimately reveal the important aspects of the literary

work. By using experimental principles, as attitudes, beliefs, motives, gender

behavior, etc. The researcher wants us to learn about the social gender as a

part of performatifity criticism by means of the queer literary criticism

through this interpretation. Since the results of this study are in the form of

words and utterences, and aims to portray the author perspective about gender

issues contain in They Both Die at The End novel (Silvera A. , 2022), so the

qualitative method is suitable to be applied. According to Butler, the conflicts

that occur during each of these stages can have a lifelong influence on
 19

personality and everyday behavior. Personality consists of characteristic

patterns of thoughts, feelings, responses to problems, and behavior that make a

person unique (Schultz, 2017, p. 407).

2. Data and Data Source

The data source of this research is entitled They Both Die At The End by

Adam Silvera. The form of sentences, dialogue and keyword in the novel

which contains 250 pages with four part and eighty-eight chapter participate to

find the answer in research question. They Both Die At The End (2017)

published by Harper Collins Ltd., in the I London Bridge Street, London SEI

9GF, United Kingdom.

3. Data Collection
First, the researcher does some steps to collect the data by reading the

whole story of Adam Silvera’s They Both Die At The End. Then rereading

Adam Silvera’s They Both Die At The End and taking notes in the words,

phrases, sentences, and dialogue to get the objective of the study in the

research. Also, to get the evidence from the thery used in the thesis. Last,

arranging the relevant data that has been collected and adjust to the specified

gender performativity theory.

 20

4. Data Analysis

This research is a research of literary works through document analysis in

the form of literature study. The form of this research is the form of a

depiction of a certain situation using Judith Butler’s literary gender

performativity. Gender performativity method is used to examine the contents

of a document with analysis and classification step, the researcher focuses on

the performativity. By recognizing this method, researcher provides

information about how to in a written literary gender performativity work in

the form of a novel.

 21

CHAPTER IV

FINDINGS & DISCUSSIONS

In this chapter, the researcher focuses on describing and elaborating the

analysis to answer the research question using gender performativity theory in

Judith Butler’s book Performative Acts and Gender Constitution (2019). The

research question raises on how gender performativity is represented by the main

characters of Adam Silvera's novel They Both Die at The End. The data will

follow the storyline from two main characters named Mateo and Rufus that

mainly circulates around their gender identity in all the story to present gender

performativity. The researcher found three out of three performative acts in the

gender performativity being presented by both characters, namely performative

appearance and physique, environment, and sexual activity.

A. Gender Performatifity Represented in the Novel They Both Die at the

End

Butler (1990) describes how the realness of gender and sexuality is

produced and reproduced through actions and desires that imply the most essential

gender identity. This practice of gender performativity, according to Butler

(1990), can produce a naturalized effect of gender identity. Butler (2019) also said

the action is activity that is carried out routinely, thereby creating some patterns

and judgments of that individual.

 22

This section thus presents the analysis of how gender performativity is

performed by the main characters, Mateo and Rufus, in They Both Die at The End.

The following analysis classifies and identifies gender performativity into three

performative acts: performative appearance and physique, environment, and

sexual activity.

a. Performative Appearance and Physique

Performative appearance and physique are two ways to determine one's

identity, exploring how gender is constructed and expressed through bodily

presentations and aesthetics. A person's physical appearance can be identified by

how they dress, behave, and show their mannerism. These choices reflect social

and cultural expectations associated with masculinity and femininity.

Correspondingly, Mateo and Rufus occasionally perform their unconventional

gender performativity through their bodily behaviors and mannerism on a daily

basis.

Firstly, Mateo engages in his unconventional gender performativity

through his bio in the website CountDowners, a forum for Deckers. The following

data explains Mateo’s specific details he writes in his bio:

 23

”Name: Mateo Torrez

Age: 18
Gender: Male
Height: 5’10”
Weight: 164 lbs.
Ethnicity: Puerto Rican
Orientation: <skip>
Job: <skip>
Interests: Music; Wandering
Favorite Movies / TV Shows / Books: Timberwolves by Gabriel Reeds;
“Plaid Is the New Black”; the Scorpius Hawthorne series
Who You Were in Life: I’m an only child and I’ve only ever really had my
dad. But my dad has been in a coma for two weeks and will probably wake
up after I’m gone. I want to make him proud and break out. I can’t go on
being the kid who keeps his head low, because all that did was rob me of
being out there with you all—maybe I could’ve met some of you sooner.
Bucket List: I want to go to the hospital and say goodbye to my dad. And
then my best friend, but I don’t want to tell her I’m dying. After that, I don’t
know. I want to make a difference for others and find a different Mateo
while I’m at it.
Final Thoughts: I’m going for it.

From the data above, the researcher can conclude that Mateo exhibits the

performative aspects of appearance and physique. Mateo provides information

about his age, height, weight, ethnicity, and gender. This self-presentation reflects

how individuals perform and express their gender identity through their physical

characteristics and attributes. Mateo's inclusion of these details suggests a

recognition of the importance of appearance in shaping his gendered identity.

Mateo's description of himself as male aligns with societal expectations of

gender and reflects the performance of masculinity. This performance is

 24

influenced by cultural and societal norms that ascribe specific traits, behaviors,

and appearances to masculinity.

Meanwhile, Rufus also performs his unconventional gender identity

through his bio as shown in the data below.

“Name: Rufus Emeterio

Age: 17.
Gender: Male.
Height: 5’10”.
Weight: 169 lbs.
Ethnicity: Cuban-American.
Orientation: Bisexual.
Job: Professional Time Waster.
Interests: Cycling. Photography.
Favorite Movies / TV Shows / Books: <skip>
Who You Were in Life: I survived something I shouldn’t have.
Bucket List: Do it up.
Final Thoughts: It’s about time. I’ve made mistakes, but I’m gonna go out
right.” (p. 39)

Rufus explicitly states his gender as male, highlighting the performative

aspect of gender by presenting this information as a self-declaration. This

indicates that he acknowledges and affirms his gender identity as part of his self-

presentation. However, the unconventional part is that Rufus also mentions his

ethnicity as Cuban-American and his sexual orientation as bisexual. By including

these aspects of his identity alongside their gender, Rufus recognizes the

intersectionality of different social categories and how they inform his

experiences and self-perception.

 25

Moreover, Rufus’ assertion of surviving something he "shouldn't have"

and his desire to "go out right" suggests a departure from societal expectations or

norms. This could indicate a resistance to predefined roles and expectations of

how one should live or behave, showcasing an element of challenging and

subverting traditional gender norms (Butler, 2019).

Regarding performative acts through appearance, Rufus also performs his

gender through clothing choices and the selection of activities that align with

masculine norms. It can be shown in the excerpt below.

“Malcolm played bodyguard because he knew I still needed a minute. I

change into my cycling gear—my gym tights with blue basketball shorts
over them so my package isn’t poking out there like Spider-Man’s, and my
favorite gray fleece—because there’s no other way I can imagine getting
around this city on my End Day except on my bike (p. 15).

From the data above, Rufus’ choice of cycling as his preferred mode of

transportation on his "End Day" implies that this is a regular practice for him. By

repeatedly engaging in this activity, he reinforces his gender identity as an active,

sporty individual. The act of physically riding a bike becomes a way for him to

embody and express his gender.

Moreover, Rufus describes his choice of clothing as he changes into his

cycling gear. He consciously selects specific items, such as gym tights with

basketball shorts, to avoid drawing attention to his genitals. This demonstrates

how he is performing his gender by adhering to social expectations of modesty

and appropriateness.
 26

Rufus’ decision to wear specific clothing to avoid his "package" or genital

being visible reflects his desire to conform to societal norms and expectations

regarding masculine presentation. This demonstrates how he is performing his

gender by adhering to social expectations of modesty and appropriateness. This

adherence to gendered norms and self-policing highlights the ways in which

individuals are influenced by societal pressures to fit within prescribed gender

categories (Butler, 2019).

Rufus’ reference to Spider-Man suggests that he is aware of the cultural

expectations around male bodies and the portrayal of superheroes. By mentioning

Spider-Man's costume and the desire to avoid a similar appearance, Rufus engages

in the negotiation of his own masculinity, seeking to align himself with socially

accepted standards of masculinity.

Rufus’ choice of clothing and mode of transportation demonstrates his

agency in performing his gender identity. He actively selects clothing that he

believes aligns with societal expectations while also allowing him to engage in his

preferred activity. This illustrates how individuals negotiate and exercise agency

within the constraints of gender performativity. Rufus’ choice of clothing and

transportation also can be used to negate notions that exert binary fixed gender

identity. As a bisexual and part of a queer community, Rufus still adheres to

certain masculine presentation. It supports Butler’s idea (1990) that gender

identity cannot necessarily be found behind the expressions of gender itself and

that gender is a performance individuals do on certain moments.

 27

Thus, the data above showcases the ways in which Rufus performs his

gender through clothing choices and the selection of activities that align with

masculine norms. It reflects the individual's navigation of societal expectations

and the conscious performance of gender in order to fit within accepted categories

of masculinity and it does not necessarily relate to his sexuality.

b. Performative Environtment

Gender performativity extends beyond individual actions and includes the

performative environment in which gender is constructed and maintained. Gender

is not solely performed by individuals but is also shaped and reinforced by social,

cultural, and institutional contexts, such as gender roles and languages. This

performative environment also consists of discourses and language that shape

through media representations, literature, and everyday conversations,

contributing to the creation of gender norms and influence how individuals

perceive and enact their gender. Language itself plays a crucial role in the

construction and maintenance of gender categories. Gender roles, on the other

hand, often work as a binary division of work in our society. Subsequently, such

performative acts can be found in the conversations and interactions as well as

activities done by Mateo and Rufus.

To begin with, doing household chores is one of the performativity Mateo

engages in that can be perceived as unconventional, as shown in the data below.

 28

“I did the dishes, swept dust and candy wrappers out from underneath the
couch, mopped the living room floor, wiped the bathroom sink clean of my
toothpaste smears, and even made my bed” (p. 24)

From the data above, it can be concluded that Mateo routinely does

household chores typically associated with femininity, such as doing the dishes,

sweeping, mopping, and cleaning the bathroom sink. These activities are often

stereotypically assigned to women in traditional gender roles, and Mateo's

performance of these tasks challenges the notion that such chores are inherently

gendered. By actively participating in these domestic tasks, he disrupts and

challenges gender norms that dictate certain chores as the responsibility of

specific genders. This challenges the idea that household chore is inherently tied

to gender identity, emphasizing the performative aspect of these activities.

Mateo's mention of making his bed and cleaning toothpaste smears

highlights their attention to personal grooming and tidiness. This demonstrates the

his performance of self-presentation, aligning with cultural expectations of

cleanliness and orderliness associated with societal norms of masculinity.

In this case, Mateo's engagement in traditionally feminized household

chores and his emphasis on cleanliness and orderliness can be seen as a

subversion of traditional gender expectations. This challenges the notion that

certain tasks are only suitable for specific genders, highlighting the arbitrary

nature of assigning gender roles.

 29

By actively engaging in these household chores, Mateo also exercises

agency in shaping their gender performance. He demonstrates a sense of

autonomy and actively chooses to participate in these tasks, challenging the

assumption that domestic labor is solely the responsibility of women.

Thus, it can be interfered how Mateo in this excerpt performs and

challenges gender norms through their engagement in traditionally feminized

household chores. His actions demonstrate agency, subversion, and a rejection of

rigid gender roles. As Butler (2019) stated, subversive acts and performances can

expose the constructed nature of gender and open up possibilities for alternative

gender expressions.

Another performative acts regarding to environment is how Mateo and

Rufus engage in communication, establish boundaries, and negotiate trust within

the context of their gendered interaction with one another. The following data

highlights the performative nature of gender as individuals navigate social

expectations, disclosure, and the evolving dynamics of interpersonal relationships.

“I’m choosing the place. I mostly trust him, but until I know everything, I
don’t want to be completely alone with him again.
-We walk in silence into Central Park,-” (Silvera A. , 2017, p. 98)
“And you’re not supposed to be a total stranger,” I say. We’ve been
together for several hours now. I sat down with him at his favorite diner,
where he told me who he wanted to be if he had years ahead of him. “But
you’re apparently running from the cops and you never mentioned that
once.” (Silvera A. , 2017, p. 98)
 30

As shown in the excerpt above, Mateo starts to develop a certain amount

of trust and companionship with Rufus. The fact that Mateo feels the need to

express caution and establish boundaries with Rufus suggests an awareness of

social norms, safety concerns, and personal experiences associated with

interpersonal relationships. This reflects how gender performativity can be

influenced by societal norms and expectations regarding masculinity and

interactions between men. By expressing his needs, expectations, and concerns

towards Rufus in the context of their gendered interactions, Mateo emphasizes the

importance of knowing everything about Rufus before feeling comfortable being

alone with him again. This highlights the significance of open and honest

communication in establishing trust and maintaining boundaries within

interpersonal relationships. Gender performativity encompasses the ways in which

individuals communicate their needs, expectations, and concerns within the

context of their gendered interactions.

The setting of Central Park can also play a role in the performative

environment. Public spaces like parks can have cultural and social expectations

that influence how individuals perform their gender. The presence of others, the

potential for surveillance, and the need to navigate public spaces can shape the

dynamics of the interaction and the performativity of gender. Besides, Mateo's

choice to walk together with Rufus in Central Park reflects a performative aspect

of companionship. The act of walking in silence can be seen as a non-verbal

performance of connection, intimacy, or shared experience.

 31

Moreover, Mateo mentions spending several hours together with Rufus,

indicating a progression of time in their interaction. The performative nature of

gender is not static but evolves and develops over time as individuals engage with

others and exchange information. As Butler (2019) states, the process of getting to

know someone and sharing personal details can influence the dynamics of gender

performance and understanding between individuals.

Other social expectations are also being showcased in the interactions

between Mateo and Rufus above. Mateo references the expectation of not being a

"total stranger" after spending several hours together. This suggests an awareness

of societal norms regarding familiarity and comfort levels in interpersonal

relationships. Mateo's comment reflects how individuals navigate and negotiate

social expectations tied to gendered interactions.

Mateo also points out that the other person did not mention running from

the police despite spending considerable time together. This highlights the ways in

which gendered assumptions and expectations can influence perceptions and

judgments within interpersonal dynamics. Gender performativity is intertwined

with the ways in which individuals interpret and respond to others based on

cultural and social expectations.

Thus, it can be concluded how Mateo in this excerpt of his point of view

engages in communication, establishes boundaries, and negotiates trust within the

context of his gendered interaction with Rufus. Their interactions highlights the
 32

performative nature of gender as individuals navigate social expectations,

disclosure, and the evolving dynamics of interpersonal relationships.

In regards to its ever-changing and dynamic nature, gender performativity

also encompasses challenges towards traditional narratives and redefining one’s

agency. Through the interaction between Rufus and Mateo and their process of

getting to know about each other, some influences have been exchanged between

the two, challenging some traditional norms and narration. Several data below

shows their relationship dynamics and developments breaking away from societal

norms and expectations.

“That’s not our story.” Mateo squeezes my hands. “We’re not dying
because of love. We were going to die today, no matter what. You didn’t
just keep me alive, you made me live.” He climbs into my lap, bringing us
closer. He hugs me so hard his heart is beating against my chest. I bet he
feels mine. “Two dudes met. They fell in love. They lived. That’s our
story.” (p. 289).
“I would’ve loved you if we had more time.” I spit it out because it’s what
I’m feeling in this moment and was feeling the many moments, minutes,
and hours before. “Maybe I already do. I hope you don’t hate me for saying
that, but I know I’m happy (p. 307).
But because we’re about to die, I want to say it as many times as I want—I
love you, I love you, I love you, I love you.” (p. 311).

Several challenges of societal expectations and norms can be concluded

through the conversations between Rufus and Mateo. Firstly, they challenge

traditional narratives around love, relationships, and death. Mateo especially states

in the first excerpts that their same-sex love will not save them from death. By

doing so, Mateo challenges societal expectations and norms that often romanticize

love and see it as magical.

 33

In addition, three excerpts above also exhibit how Mateo expresses his

own agency and emotional state by openly sharing his feelings. He spits out his

emotions and speaks honestly about his love and happiness. This demonstrates the

performative aspect of gender, where individuals assert their emotions and desires

within the context of their gendered interactions. Though heteronormative society

expects cis men to hide their feeling and true self for showing emotions being

perceived as weak and effeminate, Mateo does not hesitate to show his emotions.

Mateo also emphasizes that their story is about two men meeting, falling

in love, and living. By asserting their own narrative, both Mateo and Rufus

challenge dominant heterosexual narratives that often dominate cultural and

societal understandings of relationships by developing their relationship any

further romantically. This highlights the subversive potential of gender

performativity to redefine and challenge normative expectations.

The physical act of Mateo climbing into Rufus’ lap and hugging him

tightly showcases emotional connection and intimacy. This challenges traditional

notions of masculinity that often discourage or downplay displays of vulnerability

and emotional closeness between men. Rufus’ mention of feeling Mateo's heart

beating against his chest further emphasizes the physical and emotional

connection they share.

 34

Align to what Mateo has confided, Rufus also has the same outlook

towards their interaction and relationship. They seem to have a mutual feeling

toward each other. For them, gender performativity is not an obstacle to express

their love feelings. It can be seen in the data below, showing Rufus' confession

about his feelings for Mateo.

“Yo. You know damn well I love you too.” Man, it actually hurts how
much I mean this. “I don’t talk out of my dick, you know that’s not me.” I
wanna kiss him again because he resurrected me, but I’m tight (p. 300).

The word "damn" in "you know damn well I love you too" illustrates that

there is an emphasis that shows the feelings of love that Rufus has for Mateo.

Rufus directly expresses his love for Mateo. This challenges traditional

expectations of masculinity that often discourage men from openly expressing

emotions, especially love. Rufus’ assertion demonstrates the performative aspect

of gender, where individuals actively engage in expressions of affection and

emotional connection. Rufus expresses his love for Mateo, challenging the notion

that desire is limited to a single gender. This challenges binary understandings of

sexuality and demonstrates the fluidity of desire and attraction.

Rufus also states, "I don't talk out of my dick, you know that's not me."

This emphasizes the rejection of objectifying language and behavior associated

with hypermasculinity. His statement suggests a desire for genuine and

meaningful communication beyond superficial or sexualized interactions.

Moreover, he mentions how much he means his expression of love, highlighting

emotional vulnerability.
 35

This challenges societal norms that expect men to be emotionally guarded and

detached. By embracing vulnerability, Rufus actively performs a version of

masculinity that goes against traditional expectations.

Rufus also expresses a desire to kiss Mateo, showcasing a longing for

physical intimacy. This challenges notions of masculinity that often discourage

men from openly expressing their desires for affectionate and intimate touch.

Rufus’ tightness suggests a mixture of emotions and a struggle to fully express his

desires due to societal expectations.

This excerpt also highlights the complexities of love and how it intersects

with gender performativity. Rufus’ expressions of love and desire challenge

normative expectations while navigating his own gendered identity. It reflects the

potential for individuals to actively perform and negotiate their gender and

intimate relationships.

Thus it can be perceived that Rufus challenges societal expectations and

norms regarding desire, emotions, and expressions of love. His interaction with

Mateo showcases the fluidity of desire, the authenticity of emotional expression,

and the negotiation of vulnerability and physicality within the performative

context of gender.
 36

c. Performative Sexual activity

Gender performativity extends to the realm of sexual activity, exploring

how gender is constructed and performed through sexual practices and

interactions. Sexual activity is influenced by societal scripts and norms that dictate

how individuals should behave, express desire, and perform their gender during

sexual encounters. These scripts often reinforce binary gender roles, expectations,

and power dynamics.

Sexual activity involves performative aspects where individuals engage in

specific behaviors, gestures, and roles that align with socially constructed notions

of gender and sexuality. These performances may include adopting certain

positions, engaging in specific acts, or expressing desire in ways associated with

particular gendered roles.

In novel They Both Die at the End, Mateo and Rufus perform several

sexual acts that are considered subversive. Rufus’ performative sexual acts,

specially, is highlighted considering his sexuality as a bisexual. The excerpts

below illustrate how Rufus and Mateo engage in performative sexual activity to

challenge societal norms, assert his desires, and express a shared sense of defiance

and intimacy.

“I kiss the guy who brought me to life on the day we’re going to die.” (p.

189)

We rest our heads on his pillows. I’m hoping we die in our sleep; that
seems like the best way to go. I kiss my Last Friend because the world can’t
be against us if it brought us together (p. 316).
 37

Exhibiting Rufus’ perspective, the data above shows that he describes

kissing Mateo, the person who brought him to life, on the day they anticipate their

own death. This act of kissing can be seen as a performative expression of desire,

highlighting the narrator's agency in expressing affection and intimacy. This act

reflects the performative nature of desire and the expression of emotional and

physical connection within sexual encounters.

By engaging in a same-gender kiss, Rufus and Mateo also challenge

societal norms and expectations regarding heteronormative relationships. This

subversion disrupts the binary construction of gender and challenges the idea that

desire should be limited to specific gender categories, highlighting the potential

for individuals to perform and subvert societal expectations through their sexual

interactions.

Moreover, the performative sexual act between Mateo and Rufus occurs

within the context of their impending death. This heightened situation highlights

the role of power dynamics and the performative nature of sexuality as they

finally dare to navigate their own desires, vulnerabilities, and expressions of

intimacy subverting traditional narratives.

Rufus also expresses a desire for a peaceful death while resting his head

on Mateo’s pillow. This act of vulnerability and intimacy can be seen as a form of

resistance against the potential oppressions and hardships of the world. Rufus’ act

of kissing his “Last Friend”, in this case Mateo, emphasizes a shared connection

and defiance against external forces.

 38

In addition, Rufus also states that the world cannot be against them if it

brought them together. This assertion speaks to the performative nature of identity

and belonging. By performing his desires and experiencing a connection with

Mateo, Rufus challenges external judgements and societal barriers to affirm their

shared sense of belonging.

Finally, the analysis of this research showcases several important points

that describe and elaborate how gender performativity is represented by Rufus and

Mateo. In their intrapersonal and interpersonal communication as well as

encounters, both characters perform all performative acts: perfomative appearance

and physique, performative environment, and performative sexuality. Further,

there are many conforming as well as subversive performance in regards to

societal expectations and norms within their actions. This situation, therefore,

allows some alternative gender performativity in the society.

 39

CHAPTER V

CONCLUSION AND SUGGESTION

A. Conclusion

The gender performativity in Adam Silvera’s They Both Die at The End

caused by environmental influences of each character in the novel. The

attraction of the character in the novel is very clearly performatively

described. The identity is not purely made by each character, but how the

environment shapes the identity.

In interpreting gender identity in this novel, Zavorski (2018) said it can be

determined by interpreting the apprearance and physique, environtment, and

sexual activity described by Adam Silvera's novel They Both Die at The End

and the following conclusions can be drawn.

First, the apprearance and physique of both characters in the novel

explains that someone’s characters do not have special criteria for appearance.

If the character of Rufus has a fairly feminine appearance and imitates the

appearance of women, then the character Mateo is a representative of a person

who looks like an ordinary man. Once again, the labeling of the gender is

embedded for many reasons. One of them is because of the environment and

circumstances that encourage them to make romantic things happen.

Second, is the performativity of character conversations where they are

aware of and acknowledge their identity who likes men. The consciousness of
 40

Mateo and Rufus characters is explained by how they are attracted to each

other because they have similarities in terms of destiny, then decide to live it

together until the end of their lives. Acknowledging that they have feelings for

each other through the process is no easy feat. With pressure-they both will

die at the same time, then make a change in roles both physically and in real

roles.

And thirdly, the performativity of the sexual activity of both characters in

Adam Silvera's novel They Both Die at The End is explained by how one

character has skinship relations with another character who have the same

gender. Just like Mateo did to Rufus, and Rufus did to Mateo. All these

skinship or presex activities involve how the desire of characters has a desire

for each other and expresses this form of desire into a sexual activity.

B. Suggestion

Research that uses Adam Silvera's novel They Both Die at The End can

not only be studied with Butler's theory, which using sociological, but can also

be analyzed with psychological theory of characters and the forms of

discrimination obtained bythe minority group. In addition, this research can be

a reference and additional knowledge regarding the study of Butler’s gender

performativy in the novel They Both Die at The End.

Based on the results of analysis and research through primary data and

secondary data that have been carried out, the researcher would like to convey

a suggestion that might be helpful for students who want to use the same
 41

source data, that is future researchers are expected to be able to use

performativity theory from other experts, for example Namaste and Stein

Arlene or other experts to analyze changes in a person's sexual orientation

towards same sex.

Finally, the researcher realize that this research can still be better.

Therefore, criticism and suggestions from readers are needed to conduct better

research in the future.

 42

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CURRICULUM VITAE

Syafira Fauziah Desabrina was born in Malang on

August 22nd, 1998. She graduated from SMA Al-Rifai’e

in 2017 and lived in the Al-Rifa’ie 1 Islamic Boarding

School until completing her study in 2017. She started

her higher education in the same year, she enrolled in

English Literature Department, UIN Maulana Malik

Ibrahim Malang and finished her study in 2021. During

her study, she participated in Maliki English Festival 2018 as a committee. In the

same year, she was active in PMII Ibn Aqil Faculty of Humaniora. She also joined

in English Fiesta 2019 in UIN Maulana Malik Ibrahim Malang as general

treasure.
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