  While Prosser's work primarily focuses on Butler's psychoanalytic account of ego formation, Viviane Namaste's (2000) focuses on Butler's account of queer drag as subversive. In Namaste's view, Butler fails to heed to the larger social context in which gay male drag is situated and through which gender is regulated. Namaste points to the social facts that gay male drag performance is often restricted to entertainment on the stage where it is viewed as “mere performance.” By contrast, gay male sexual identity is not restricted to the stage and is not viewed as “mere performance” (10–13). Given that Butler allows for an ambivalence in subversion, however, it isn't clear that her view cannot accommodate these social facts in the way that she theorizes drag performance in Paris is Burning. Yet Namaste aims for a deeper theoretical critique, charging Butler with departing from a post-structuralist framework which situates such phenomena precisely within a broader social analysis she sees lacking in Butler's account (16–23).