The Returns Of Antigone

Examines Antigone’s influence on contemporary European, Latin American, and African political activism, arts, and literature. Despite a venerable tradition of thinkers having declared the death of tragedy, Antigone lives on. Disguised in myriad national costumes, invited to a multiplicity of international venues, inspiring any number of political protests, Antigone transmits her energy through the ages and across the continents in an astoundingly diverse set of contexts. She continues to haunt dramatists, artists, performers, and political activists all over the world. This cutting-edge, interdisciplinary collection explores how and why, with essays ranging from philosophical, literary, and political investigations to queer theory, race theory, and artistic appropriations of the play. It also establishes an international scope for its considerations by including assessments of Latin American and African appropriations of the play alongside European receptions of the play.

Sophocles's classical tragedy, Antigone, is continually reinvented, particularly in the Americas. Theater practitioners and political theorists alike revisit the story to hold states accountable for their democratic exclusions, as Antigone did in disobeying the edict of her uncle, Creon, for refusing to bury her brother, Polynices. Antigone in the Americas not only analyzes the theoretical reception of Antigone, when resituated in the Americas, but further introduces decolonial rumination as a new interpretive methodology through which to approach classical texts. Traveling between modern present and ancient past, Andrés Fabián Henao Castro focuses on metics (resident aliens) and slaves, rather than citizens, making the feminist politics of burial long associated with Antigone relevant for theorizing militant forms of mourning in the global south. Grounded in settler colonial critique, black and woman of color feminisms, and queer and trans of color critique, Antigone in the Americas offers a more radical interpretation of Antigone, one relevant to subjects situated under multiple and interlocking systems of oppression.

In this groundbreaking book, Tina Chanter challenges the philosophical and psychoanalytic reception of Sophocles' Antigone, which has largely ignored the issue of slavery. Drawing on textual and contextual evidence, including historical sources, she argues that slavery is a structuring theme of the Oedipal cycle, but one that has been written out of the record. Chanter focuses in particular on two appropriations of Antigone: The Island, set in apartheid South Africa, and Tègònni, set in nineteenth-century Nigeria. Both plays are inspired by the figure of Antigone, and yet they rework her significance in important ways that require us to return to Sophocles' "original" play and attend to some of the motifs that have been marginalized. Chanter explores the complex set of relations that define citizens as opposed to noncitizens, free men versus slaves, men versus women, and Greeks versus barbarians. Whose Antigone? moves beyond the narrow confines critics have inherited from German idealism to reinvigorate debates over the meaning and significance of Antigone, situating it within a wider argument that establishes the salience of slavery as a structuring theme.

Antigone is universally celebrated as the ultimate figure of ethical resistance to the state power which oversteps its legitimate scope and as the defender of simple human dignity (more important than all political struggles). But is she really so innocent and pure? What if there is a dark side to her? What if Creon, the representative of state power, also has a valuable point to make? And what if both Antigone and Creon are part of a problem that only a popular intervention can confront? Žižek's rewriting of this classic play confronts these issues in a practical way: not by theorizing about them, but by imagining an Antigone in which, at a crucial moment, the action takes a different turn, an Antigone along the lines of Run, Lola, Run or of Brecht's learning plays. A brilliantly funny, moving and political piece for those who are interested in reading and watching Antigone in an entirely new way.

Sophocles' Antigone is a touchstone in democratic, feminist and legal theory, and possibly the most commented upon play in the history of philosophy and political theory. Bonnie Honig's rereading of it therefore involves intervening in a host of literatures and unsettling many of their governing assumptions. Exploring the power of Antigone in a variety of political, cultural, and theoretical settings, Honig identifies the 'Antigone-effect' - which moves those who enlist Antigone for their politics from activism into lamentation. She argues that Antigone's own lamentations can be seen not just as signs of dissidence but rather as markers of a rival world view with its own sovereignty and vitality. Honig argues that the play does not offer simply a model for resistance politics or 'equal dignity in death', but a more positive politics of counter-sovereignty and solidarity which emphasizes equality in life.

In this book, Wm. Blake Tyrrell and Larry J. Bennett examine Sophocles' Antigone in the context of its setting in fifth-century Athens. The authors attempt to create an interpretive environment that is true to the issues and interests of fifth-century Athenians, as opposed to those of modern scholars and philosophers. As they contextualize the play in the dynamics of ancient Athens, the authors discuss the text of the Antigone in light of recent developments in the study of Greek antiquity and tragedy, and they turn to modern Greek rituals of lamentation for suggestive analogies. The result is a compelling book which opens new insights to the text, challenges the validity of old problems, and eases difficulties in its interpretation.

Sophocles was the Aaron Spelling of ancient Greek world--his plays had all the makings of a modern soap! But archaic translations of his ancient work make it almost impossible to see any of the Melrose Place-like plots! BookCaps can help readers who have struggled in the past with Sophocles classic plays with this modern retelling. Antigone is a tragedy by Sophocles written in or before 442 BC. Chronologically, it is the third of the three Theban plays but was written first. The play expands on the Theban legend that predated it and picks up where Aeschylus' Seven Against Thebes ends. The original text is also presented in the book, along with a comparable version of both text. We all need refreshers every now and then. Whether you are a student trying to cram for that big final, or someone just trying to understand a book more, BookCaps can help. We are a small, but growing company, and are adding titles every month.

According to Greek legend, Antigone, the daughter of Oedipus, secretly buried her brother in defiance of the order of Creon, king of Thebes. Sentenced to death by Creon, she forestalled him by committing suicide. The theme of the conflict between Antigone and Creon--between the state and the individual, between man and woman, between young and old--has captured the Western imagination for more than 2000 years. George Steiner here examines the far-reaching legacy of this great classical myth. He considers its treatment in Western art, literature, and thought--in drama, poetry, prose, philosophic discourse, political tracts, opera, ballet, film, and even the plastic arts. A study in poetics and in the philosophy of reading, Antigones leads us to look again at the influence the Greek myths exercise on twentieth-century culture. "A remarkable feat of intellectual agility."--Washington Post Book World "[An] intellectually demanding but rewarding book. . . consistently stimulating and sometimes disturbing."--The New Republic "An. . . account of the various treatments of the Antigone theme in European languages. . . Penetrating and novel."--The New York Times Book Review "A tradition of intelligence and style lives in this prolific man."--Los Angeles Times "Antigones triumphantly demonstrates that Antigone could fill several volumes of study without becoming tedious or exhausted."--The New York Review of Books