The purpose of this article is to present and review Juidth Butler`s critical theory on gender identity and its effectiveness in four perspectives: parody, performativity, subjection, and melancholia. Butler is one of the most famous and influential queer theorists and feminists in the comtemporary feminist politics of identity. Gender identity is a highly important subject in the contentious feminist camp, because `Woman` cannot represent all the spectrum of subaltern and subcategorical `women`, and also the `women` cannot describe the provisional and temporal identities of individual `women-in-process`, though feminism is not possible without the political subject of Woman. Butler`s anti-essential and constitutive gender is constructed by four methodological forms: parody, performativity, subjection, and melancholia. Gender is only a parody without the original gender characteristic or the proper gender core, because mimesis structure inverts and displaces the imitated/the imitating in that the copy imitates the ideal element presumed to be original, not original itself. Performativity means gender is constituted in repetitively stylized acts, corporealization mode, and discursive ritual. Gender is a set of `repeated acts` within a highly rigid regulatory frame, and the `repeated stylization of the body` that congealed over time, and also the `repeated discursive effect` to produce the appearance of substance. Subjection presents subject formation method in the form of paradox: subject`s self-construction as a ontological being depends on subjection to the predominant power system. Melancholia suggests an incomplete and unfinished identification mode incorporating the prohibited and excluded taboo. After all, the transformative possibility of repeated and reiterative re-signification, re-articulation, and re-appropriation of unfixed, changeable, self-contradictory gender identity including constitutive outside is the subversive and revolutionary possibility of feminist politics in Judith Butler.