Particularly in Creon’s debate with Haemon, and from then on, Sophocles shows distinct aspects of how anger acts on the tyrant’s ability to judge and how this can be related to inextricable familial and political ties. Given that every modern reading of the play applies a philosophical conceptualization for understanding emotions and thus suffers the consequences of a historical gap between interpretative and original vocabularies, this paper argues that the Aristotelian conceptualization of emotions is a relevant philosophical tool to (...) better contextualize Creon’s anger in Sophocles’ Antigone. The essay discusses Creon’s thymetic responses in the face of Haemon’s admonition and Antigone’s oligoria, and offers two examples of Aristotelian readings of Creon’s thymetic akrasia. One of the possible readings considers the specific role of phantasia in Creon’s understanding of reality. This philosophical explanation of a revengeful tyrant reveals important connections between psychology and politics in the government of the city. (shrink)

Creon's ghost -- Shadows and light -- Rule and measure -- The ancient courts of ancient men -- Law breaking -- Law's practical theory -- Timeliness and justice -- A poet dies.

This paper reads Sophocles' " Antigone " contextually, as an exploration of the politics of lamentation and larger conflicts these stand for. Antigone defies Creon's sovereign decree that her brother Polynices, who attacked the city with a foreign army and died in battle, be dishonoured - left unburied. But the play is not about Polynices' treason. It explores the clash in 5th century Athens between Homeric/elite and democratic mourning practices. The former memorialize the unique individuality of the dead, focus (...) on the family's loss and bereavement and call for vengeance. The latter memorialize the dead's contribution to the immortal polis and emphasize the replaceability of those lost. Each economy of mourning sees the other as excessive and politically unstable. The remainders of both, managed by way of exception institutions such as tragedy and the Dionysian Festival, continue to haunt us now. (shrink)

This is certainly true for every translation, because every translation must necessarily accomplish the transition of the spirit of one language into that of another.We all know who and what Creon was. He was a tyrant—a proto-Nazi, according to French playwright Jean Anouilh. He was not even the same person in Sophocles's three Theban plays, according to translator H. D. F. Kitto.2 He was Antigone's uncle, her mother's brother. He was a symbol of the transition from a "rule of (...) tradition" to a "rule of law" in ancient Greece, according to political scientist Catherine A. Holland.3 We also all know what those terms mean—tyrant, the same person, uncle, brother, rule of tradition, rule of law.... (shrink)

This essay critiques Professor Martha Nussbaum's book, Liberty of Conscience: In Defense of America's Tradition of Religious Equality . Nussbaum's thesis is that the entire tradition of religious liberty in America can be both best understood and justified by recourse to the overarching principle of equal respect —that “[a]ll citizens have equal rights and deserve equal respect from the government under which they live.” Nussbaum insists that equal respect pervades the tradition and that all other values of religious liberty are (...) subordinate to it. She examines various free-exercise and establishment issues in light of this principle, concluding that the tradition of religious equality is under threat and calling for renewed vigilance in its defense. This essay criticizes Nussbaum's elevation of the principle of equal respect to supreme normative status. It claims that Nussbaum's single-minded focus on equal respect distorts and misunderstands the conflicts actually at issue in many religious liberty disputes. The essay focuses specifically on the inadequacies of her assessment of two prominent religious liberty cases, one in the free exercise and the other in the established context. This essay concludes that there are reasons for deep skepticism about Nussbaum's approach as a comprehensive theory of the religion clauses. (shrink)

This paper reads Antigone from the perspective of the Chorus. Whereas most interpreters read Antigone from the perspective of Creon and Antigone’s respective laws, I maintain that the protagonists represent laws that are distinctly apolitical. Alternatively, I argue that the Chorus make the polis—past, present, and future—the center of their thought and action and are therefore uniquely political. Through close attention to the Chorus’s composition as a body that is both one and many at the same time, and by (...) tracing their evolving position throughout the action of the drama and in their choral odes, I argue that they model a reflective and political orientation to judgment rooted in plurality, tradition, and innovation. (shrink)

In his Mann ohne Eigenschaften, Robert Musil has the character Clarisse comment on a debate between her husband, Walter, and Ulrich, the “man without qualities,” about the “impossible” relation between art and life. “‘Ich find das doch sehr wichtig,’ sagte sie, ‘daß in uns allen etwas Unmögliches ist. Es erklärt so vieles. Ich habe, wie ich zuhörte, den Eindruck gehabt, wenn man uns aufschneiden könnte, so würde unser ganzes Leben vielleicht wie ein Ring aussehen, bloß so rund um etwas.’ Sie (...) hatte schon vorher ihren Ehering abgezogen und guckte nur durch seine Öffnung gegen die belichtete Wand. ‘Ich meine, in seiner Mitte ist doch nichts, und doch sieht er genau so aus, als ob es ihm nur darauf ankäme.’” The English translation is even stronger: “There is nothing inside, and yet it looks as though that were precisely what matters most.” This essay interrogates this “nothing” that matters most in relation to the crown of royal authority, the “hollow crown,” as Richard II calls it in Shakespeare’s play. I further flesh out the matter and materiality of this bit of nothing in relation to the struggle between Creon and Antigone in Sophocles’ play about the foundations of royal authority. The queen in the former play and Antigone in the latter are presented as being too much sad, as manifesting a grief that pertains to this nothing, to an indeterminate loss they both “encyst” (upon) in their subjective stances. (shrink)

I maintain that Hegel’s reading of the Antigone underestimates the power of the negativity to which Antigone’s action is dedicated. I argue that the negativity of death and the sacred cannot, contrary to Hegel, to be sublated and thus incorporated into the progression of Spirit. Bataille’s treatment of the sacred better characterizes the unworldly force and the otherness with which Antigone and Creon are confronted when their actions bring the divine and the human into conflict. Antigone’s obedience to what (...) she understands to be her divine obligation is a devotion to a negativity which exceeds and subverts all dialectical comprehension. Although her action brings the divine and the human political sphere into a moment of identity, allowing for the sublation of the ethical world, Antigone’s action is a transgression in Bataille’s sense of the term, and it points toward the limits of reason. The Antigone narrative thus exceeds Hegel’s use of it and is ultimately more consistent with Bataille’s understanding of the sacred. (shrink)

Hegel’s treatment of Sophocles’s Antigone exposes a tension in our own landscape between religious and civil autonomy. This tension reflects a deeper tension between unreflective, implicit norms and reflective, explicit norms that can be autonomously endorsed. The tension is, as Hegel recognizes, of particular importance to women. Hegel’s characterization of this tension in light of Antigone is, as H.S. Harris argues, both a more developed and a more fundamental moment in the Phenomenology of Spirit than the moment of Enlightenment autonomy (...) (with its powers of reflective self-critique). Indeed, George Steiner has remarked that, for the German idealists, Antigone exemplifies the very “pivot of consciousness,” so fundamental is the tension that it expresses. I argue that, while Hegel demonstrates the necessity of the modern transition to explicit norms that can be autonomously endorsed, explicit norms nevertheless depend on a background of unreflective norms for their force. Moreover, Hegel uses the conflict between Antigone and Creon to illustrate the tension and mutual dependence between these two types of norms. (shrink)

In Sophocles’ Oedipus Coloneus, after laying hands on Antigone and Ismene, Creon ridicules Oedipus by saying these words :οὔκουν ποτ’ ἐκ τούτοιν γε μὴ σκήπτροιν ἔτιὁδοιπορήσῃς.Then you shall never more walk with the aid of these two props!It is possible that Creon is here alluding to Oedipus’ actual appearance throughout the play. As far as we know, Oedipus comes on stage with no walking stick, and uses Antigone and Ismene as a crutch while walking. Creon's comparing Oedipus’ (...) daughters to a crutch, however, is also metaphorical. Such a metaphor is quite common in some modern languages, but was known by ancient Greek poetry as well. In Euripides’ Hecuba, for instance, Hecuba depicts her daughter Polyxena as her crutch. (shrink)

Paul Ricoeur sustains in Soi-même comme un autre that the tragical conflict in Sophocle’s Antigone is only ethical. Antigone and Creon confront each other because they both have limited and partial views of good life. The aim of this brief paper is to show that Antigone's tragedy must be situated in the religions domain. Only Greek theology - the belief in a ‘cruel’ and ‘satanic’ God - gives us the ‘tools’ to understand Sophocles' complex imaginary.

Philosophical Studies Vol. 2, No. 2, p. 163, l. 24 for ‘Pocreon’ read “Creon’ and p. 165, l.4 for “Nereus” read “Nessus”, l. 16 for “Corrolate” read “Correlate” and l. 27 for “ Trachinae ” read “ Trachiniae ”. Proffessor Mackinnon should also have been described as Norris-Hulse Professor of Divinity in the University of Cambridge and Fellow of Corpus Christi College.

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. (shrink)

One central point of contention between Hegel’s feminist critics and his defenders centers on whether he provides a model of ethical community that could effectuate harmony between the two sexes. Hegel’s account of Antigone is taken as the centerpiece of this debate because it assigns Antigone and Creon to two independent moral laws, the divine and human respectively. Many feminists argue, first, that in accepting the sexed assignment of women to the separate moral sphere of the family with its (...) attendant religious duties, Hegel subscribes to a dubious naturalistic assumption that women have a different ethical sensibility from men; and second, that this assumption leads Hegel to misconstrue women’s ethical agency. Irigaray alternatively holds that, while there is a natural difference between the sexes, Hegel’s Antigone nonetheless projects a male fantasy about woman’s ethical orientation. In contrast to both positions, Nadine Changfoot demonstrates that the logic of Hegel’s account points beyond the Greek war between the sexes to a model of ethical community that prizes divine and human law equally without necessarily perpetuating the assignment of women and men to these two, separate social spheres. The dialectic calls for, without realizing, gender equality. (shrink)

L'espace fait partie de ces réalités quotidiennes qui, selon Georges Pérec, loin d'être des évidences, sont en fait des opacités. Opacité au sens de ce qui est toujours déjà là mais sans être jamais interrogé, sans que sa réalité ni sa nature ne soient questionnées. Pourtant l'espace est à la fois notre matière et notre forme, ce dans quoi nous vivons et ce que nous créons, ce qui nous habite et ce que nous tissons. Pour tenter d'éclairer cette réalité énigmatique, (...) nous prendrons un chemin de biais, et nous interrogerons la manière dont les différents arts (peinture, architecture, art des jardins, danse, arts plastiques) s'emparent de l'espace et nous invitent à en faire une expérience à chaque fois singulière et intrigante. (shrink)

Philosophical Studies Vol. 2, No. 2, p. 163, l. 24 for ‘Pocreon’ read “Creon’ and p. 165, l.4 for “Nereus” read “Nessus”, l. 16 for “Corrolate” read “Correlate” and l. 27 for “ Trachinae ” read “ Trachiniae ”. Proffessor Mackinnon should also have been described as Norris-Hulse Professor of Divinity in the University of Cambridge and Fellow of Corpus Christi College.

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 117-131 [Access article in PDF] Conscience, Citizenship, and Global Responsibilities Richard Reilly St. Bonaventure University A version of this paper was presented at the Sixth International Conference of the Society for Buddhist-Christian Studies held at Pacific Lutheran University in Tacoma, Washington, in August 2000.Upon discovering that Antigone had buried her brother, Polyneices, King Creon ascertains that she indeed had known of his decree forbidding (...) any honor to be shown to the dead traitor, and asks, "You still dared break this law?" Antigone responds: Yes, because I did not believe that Zeus was the one who had proclaimed it; neither did Justice, or the gods of the dead whom Justice lives among. The laws they have made for men are well marked out. I didn't suppose your decree had strength enough, or you, who are human, to violate the lawful traditions the Gods have not written merely, but made infallible. These laws are not for now or for yesterday, they are alive forever; and no one knows when they were shown to us first. 1Thus arises the dynamic confrontation between conscience and the state in the guise of two very solitary individuals: Antigone, committed to her brother out of love and religious duty, and Creon, striving to reestablish political order so necessary to the welfare of the community. We might say, in the idiom of Saint Augustine and Martin Luther King Jr., for Antigone, "an unjust law is no law at all," or at least not one that should bind one's conscience. In his "Letter from Birmingham Jail," King agonized over the lack of support, much less solidarity, of the Christian community in the effort to achieve racial justice in America. Antigone is provided no comrade (although her sister, Ismene, is sympathetic); no one of religious authority pleads Antigone's case or provides her with moral support. In this respect, Antigone's situation is mirrored in that of Franz Jagerstatter, the Austrian Catholic beheaded for his refusal to be conscripted into the army in support of the Nazi's cause. [End Page 117]Surely, one owes much to one's state, especially if it is justly ordered, safeguards individuals' rights, and promotes the common good. Both out of gratitude and a sense of fair play, one should do one's "public duty"—including upholding the law, paying taxes, voting, and otherwise participating in the political life of the community, and so on. We might say, as Jesus said, "render unto Caesar what is Caesar's and render unto God what is God's." 2 What does not belong to Caesar is the nature, meaning, and destiny of one's life; or to put it otherwise, what does not belong to Caesar is the allegiance or fidelity of one's conscience. This paper has three aims: (1) to show that to be respectful of life entails "global responsibilities"; (2) to articulate a rational ground for the view that "life" and "conscience" do not belong to the state; and (3) to argue that religious communities should encourage and honor individuals of conscience and that the state should recognize as a fundamental human right a citizen's noncooperation with policies or behaviors that are life-destroying. That Buddhism and Christianity are "world religions" provides each with the opportunity and the responsibility to do whatever is possible to promote peace, prosperity, and well-being of all human beings. Buddhists and Christians would do well to join together to articulate "ethical responsibilities" in a culture-neutral way to underscore their independence from political structures and ideologies on the one hand and to emphasize their global applicability on the other. Respecting Life—a Global Precept Encountering spiritual traditions nourished in other cultures allows one to rethink one's cultural assumptions. The spread of Buddhism in the West is especially potent in this regard. One of the most fundamental of all moral laws is: "One ought not to kill." But what does this really mean? What does it require of each of us? Buddhism offers important insights in this regard. In what follows, I shall offer... (shrink)

Le méchant n'a pas droit à la part du juste", répond Créon à Antigone. Mais qui distribue les mérites, et selon quels critères? Les représentations du juste varient d'une époque à l'autre, d'un continent à l'autre et même au sein d'une société pourtant assez homogène quant à sa composition, son histoire et son mode de vie. En atteste suffisamment le regard que l'on a porté sur l'esclavage, que l'on porte encore sur la domination masculine, l'avortement ou le mariage entre personnes (...) du même sexe...0Peut-on affirmer, comme une vérité absolue, ceci est juste? Les valeurs fournissent les critères d'appréciation d'une norme morale, sociale ou juridique mais, pour la seule Raison, quelle est la valeur d'une valeur? Vaut-elle absolument, pour tous, ou relativement, en un certain temps, en un certain Beu? Certains sont-ils dans le vrai, d'autres dans l'erreur? Si l'on ne parvient pas à établir une vérité de la valeur, faut- il admettre que tout se vaut? Faut-il renoncer à lutter et laisser à ceux qui croient le soin de définir ce qui doit être? Ou bien faut- il s'en tenir à ce qui est, qui sera juste par cette seule vertu? Peut- on échapper à l'impuissance relativiste sans le secours de la métaphysique? Ces questions se posent depuis toujours.0Explorer les réponses qui leur ont été données, les soumettre à une analyse critique rigoureuse, tel est l'objet de cet ouvrage. (shrink)

The focus of this paper is Butler's recent work on Antigone, kinship and the state. Like many advocates of radical democracy, Butler is suspicious of attempts to enlist state support for political demands, preferring politics at the level of civil society. Butler turns to the narrative of Antigone, in part, to explore just such a version of (feminist?) resistance to the state but also, crucially, to contemplate the constitutive role that Antigone (and her contemporary counterparts) represents in respect of the (...) formation of the state and politics. While sympathetic to Butler's thesis in general, in this paper, I raise three sets of questions concerning her reading of the state. First, I explore the ambiguity surrounding her conceptualization of the state. Next, I turn to the tension between the state's purported efficacy in achieving its aims and the theory of resignification that Butler deploys widely throughout her work. Finally, I look at the understated role of Creon whose failure to compel obedience from Antigone is largely occluded in Butler's re-reading of Antigone. (shrink)

Abstract: William Conklin takes on Hegel’s interpretation of Sophocles’ Antigone in this essay. Hegel asked what makes human laws human and what makes divine laws divine? After outlining Hegel’s interpretation of Antigone in the light of this issue, Conklin argues that we must address what makes human law law? and what makes divine law law? Taking his cue from Michel Foucault’s “What is an Author?”, the key to understanding Sophocles’ Antigone and Hegel’s interpretation to it, according to Conklin, is the (...) relationship between legal authority and an author. Antigone’s divine law opposes Creon’s human law in terms of whether the sense of legal authority presupposes an author. Antigone’s tribe recognises divine laws as nested in an impersonal Fate or Moira common to the Helenes as experienced through rituals and other personal experiences. Such an unwritten law lacks an author “whose origin we know not when”. The city-state’s citizens recognize authority in terms of whether a law has a source in a juridical representer of an invisible author. The invisible author is the city-state external to the representers. The representers interpret human laws in a manner which tries to access the invisible author. What becomes important is that philosophical consciousness observes how the characteristics of the two senses of legal authority clash. (shrink)

In this article, I elucidate Martin Heidegger’s interpretation of Soph-ocles’ tragedy Antigone from a topological point of view by focusing on the place-character of Antigone’s poetic ethos. Antigone’s decision to defy Creon’s order and bury her brother Polynices is discussed as a movement that underpins her poetic disposition as a demigod. Antigone’s situatedness between gods and hu-mans is identified as the place of poetic dwelling, and the significance of Antig-one’s relation to the polis is explained. The main argument of (...) the article is two-fold: 1) When we read Antigone focusing on the notion of dwelling, we can better make sense how Heidegger’s engagement with the question of finitude closes the envisioned gap between ontology and ethics. 2) The idea of poetic dwelling is a confrontation with spatio-temporal limits of human existence, and requires a more holistic way of thinking about the place of humans in the world, thinking beyond being-action dichotomy. (shrink)

Ce n'est pas en pensant que nous créons des mondes. C'est en comprenant le monde que nous apprenons à penser. La cosmovision est un terme qui devrait désigner un ensemble de fondements d'où émerge une compréhension systémique de l'Univers, de ses composantes comme la vie, le monde dans lequel nous vivons, la nature, le phénomène humain et leurs relations. C'est donc un champ de la philosophie analytique nourri par les sciences, dont l'objectif est cette connaissance agrégée et épistémologiquement soutenable de (...) tout ce que nous sommes et contenons, qui nous entoure, et qui nous concerne de quelques manières que ce soit. C'est quelque chose d'aussi vieux que la pensée humaine et, en plus d'utiliser des éléments de la cosmologie scientifique, il englobe tout ce qui, dans la philosophie et la science, se réfère à l'univers et à la vie. Une cosmovision n'est pas un ensemble d'idées, d'hypothèses et de suppositions, mais un système établi sur l'observation, l'analyse, la preuve et la démonstration. Aucune cosmovision n'entend définir, établir ou proposer, mais seulement comprendre, analyser et interpréter. Chacun de nous construit et transporte sa cosmovision tout au long de sa vie, sans établir de forme, comme toile de fond de nos pensées et de nos comportements. Linguistiquement, le terme « cosmovision » dériverait de l'allemand, équivalent au concept de « Weltanschauung », tel qu'il a été utilisé par plusieurs philosophes. Cependant, cette relation linguistique n'est pas applicable, car elle contredit ce que nous proposons comme cosmovision. Ce mot allemand fait référence à une vision prélogique ou proto-expérimentale de la réalité, avec un contexte intuitif et loin des connaissances critiques encore inexistantes au moment de sa formulation. Sans aucun doute, les cosmovisions, au sens où nous les entendons, abritent et utilisent ces éléments proto-expérimentaux ou prélogiques qui incluent l'histoire, l'inconscient collectif et tous les archétypes que nous portons. Or, dans le concept que nous appliquons ici, la cosmovision va bien au-delà de ce contenu, d'abord en le soumettant constamment à la pensée critique actuelle et enfin en faisant de l'expérience analytique (et non de la pensée elle-même ou de l'intuition) son univers réel. António Lopes expose l'étendue de ce contenu : [ ] « Les cosmovisions ne sont pas le produit de la pensée. Ils ne naissent pas du simple désir de savoir. L'appréhension de la réalité est un moment important dans sa configuration, mais, néanmoins, ce n'en est qu'un. Elle vient de la conduite vitale, de l'expérience de la vie, de la structure de notre totalité psychique. L'élévation de la vie à la conscience dans la connaissance de la réalité, dans l'évaluation de la vie et dans la réalité volitive est le travail lent et ardu que l'humanité a fait dans le développement des conceptions de la vie. (W.Dilthey, 1992 [1911] : 120). Dans cet ouvrage, nous cherchons à esquisser une cosmovision fondée sur les réalités que la science offre aujourd'hui. Nous ne proposons, à aucun moment, de faire de la science ; ou théoriser la philosophie, mais nous chercherons toujours à être soutenus par eux ou, du moins, protégés par eux des distorsions cognitives que nous portons habituellement. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:FROM CAIN AND ABEL TO ESAU AND JACOB Angel Barahona UniversidadComplutense, Madrid The theme of twins or of enemy brothers is one which fascinates anthropologists owing to its frequency, the beauty of its mythopoetic settings, and its social significance. The theme always appears in relation to fratricidal violence, and is always linked to myths offoundation or origin. Clyde Kluckhohn in his book about brothers "born in immediate sequence" reminds (...) us that the death of one of them brings with it a momentary peace, the foundation ofa new social order. Thus it is not the fact ofbeing twins, or antagonistic brotherhood per se which is the key to the stories, but violence: Twins are impure in the same way that a warrior steeped in carnage is impure, or an incestuous couple, or a menstruating woman. All forms of violence lead back to violence. We overlook this fact because the primitive concept of a link between the loss ofdistinctions and violence is strange to us; butwe need only consider the calamities primitive people associate with twins to perceive the logic of this concept. Deadly epidemics can result from contact with twins, as can mysterious illnesses mat cause sterility in women and animals. Even more significant to us is the role oftwins in provoking discord among neighbors, a fatal collapse of ritual, the transgression of interdictions—in sort, their part in instigating asacrificial crisis....Behindthe image oftwins lurks the baleful aspectofthesacred, perceived as a disparate but formidableunified force. (Girard 1977, 58) All the mythological, literaryand historical accounts oftwinswhichwe have involve bloody conflict: Eteocles and Polyneices, Romulus and Remus, Richard the Lion Heart and John Lackland, and so on. To a 2 Angel Barahona surprising extent even the development of the different stories is similar. When Polynices departs from Thebes leaving his sister there, hoping to reign through her, he takes with him his fraternal conflict as if it were an attribute of his being. Wherever he goes his brother appears to him, and will oppose him to the death. When an oracle announced to Adrastrus that his two daughters would marry, respectively, a lion and a wild boar, animals which are different in their appearance but identical in their violence, it was presaging fraternal conflict. In Euripides' The Suppliant Women, the king tells how he came upon his sons-in-law. At his door, one night, Polynices and Tideus, both reduced to poverty, were quarreling furiously over possession ofa camp bed. Their brotherhood by virtue ofmarriage with two sisters brings them within the fraternalcategory, likeOedipus and Creon, orDionysus and Pentheus, rival cousins. A plot of land or a kingdom, a woman or an object, the status of firstborn or an unjust inheritance, all give pretexts for conflict. We cannot avoid conflict when desires converge on the same object. It is difficult for the brothers to be aware of their symmetry, their reciprocity, the intense violence which is hidden behind their brotherhood,—an awareness which might spare them their confrontations—because they never occupy the same positions atthe same time. The reciprocity is real, but it is the sum of non-reciprocal moments. The antagonists occupy the same positions in time, but successively, not simultaneously. The same acts and the same sentiments appear in cyclical alternation, but the brothers cannot directly observe their own reciprocity, and thus their identical nature, because they seem to be differentiated by the role which each one plays. Cain and Abel There are many stories ofconfrontations between brothers in Scripture, including those related to the rights of the first born. From Genesis 4,5 onwards we see how these are an interminable source ofconflicts. The first example, Cain and Abel: "And the LORD had regard for Abel and his offering, but for Cain and his offering he had no regard. So Cain was very angry, and his countenance fell" anticipates the themes ofthe blessing and the looking at the face. And we can observe the games of symmetry with the language: "the LORD had regard for Abel and his offering, but forCain and his offering he had no regard." Cain and Abel are presented as an agriculturalist and as a shepherd respectively, two forms ofsocial life. In this quarrel... (shrink)

This detailed commentary on the action and argument of Sophocles' Antigone is meant to be a reflection on and response to Hegel's interpretation in the Phenomenology. It thus moves within the principles Hegel discovers in the play but reinserts them into the play as they show themselves across the eccentricities of its plot. Wherever plot and principles do not match, there is a glimmer of the argument: Haemon speaks up for the city and Tiresias for the divine law but neither (...) for Antigone. The guard who reports the burial and presents Antigone to Creon is as important as Antigone or Creon for understanding Antigone. The Chorus too in their inconsistent thoughtfulness have to be taken into account, and in particular how their understanding of the canniness of man reveals Antigone in their very failure to count her as a sign of man's uncanniness: She who is below the horizon of their awareness is at the heart of their speech. Megareus, the older son of Creon, who sacrificed his life for the city, looms as large as Eurydice, whose suicide has nothing in common with Antigone's. She is "all-mother"; Antigone is anti-generation. (shrink)

Sophocles' Antigone, written around 441-440 B.C. is the most studied and interpreted tragedy in the history of classical theater. There are diverse interpretive angles and analysis that at 2500 BCE challenge exegetes and scholars from the various fields of human knowledge. The way the play is, interpretatively, received varies according to the interests of the time in which it is studied and staged. The objective of this work, by means of a hermeneutic-dialectic analysis of literature review, is to present possible (...) impacts that the non-compliance with the civil law that prevented the young princess Antigone from giving a dignified burial to her brother, Polynices, has on the formation of an educational and emancipating ethos of citizens who seek, in their praxis, full social justice in the face of laws woven by the excluding logic of a state power that aims only to perpetuate itself in power. The main characters are analyzed and contextualized in the light of the understanding of a formative ethos that prioritizes the logic of justice over the cold logic of legal law. We conclude that Creon's interdict is still alive in our times, and education is one of the main instruments to transform the status quo that unjustly victimizes many people in the name of a state reason divorced from ethical and moral principles. (shrink)

Marie Cabaud Meaney looks at Simone Weil's Christological interpretations of the Sophoclean Antigone and Electra, the Iliad and Aeschylus' Prometheus Bound. Apart from her article on the Iliad, Weil's interpretations are not widely known, probably because they are fragmentary and boldly twist the classics, sometimes even contradicting their literal meaning. Meaney argues that Weil had an apologetic purpose in mind: to the spiritual ills of ideology and fanaticism in World War II she wanted to give a spiritual answer, namely the (...) re-Christianization of Europe to which she wished to contribute in some way. To the intellectual agnostics of her day she intended to show through her interpretations that the texts they cherished so much could only be fully understood in light of Christ; to the Catholics she sought to reveal that Catholicism was much more universal than generally believed, since Greek culture already embodied the Christian spirit - perhaps to a greater extent than the Catholic Church ever had. Despite or perhaps because of this apologetic slant, Weil's readings uncover new layers of these familiar texts: Antigone is a Christological figure, combating Creon's ideology of the State by a folly of love that leads her to a Passion in which she experiences an abandonment similar to that of Christ on the Cross. The Iliad depicts a world as yet unredeemed, but which traces objectively the reign of force to which both oppressors and oppressed are subject. Prometheus Bound becomes the vehicle of her theodicy, in which she shows that suffering only makes sense in light of the Cross. But the pinnacle of the spiritual life is described in Electra which, she believes, reflects a mystical experience - something Weil herself had experienced unexpectedly when 'Christ himself came down and took her' in November 1938. In order to do justice to Weil's readings, Meaney not only traces her apologetic intentions and explains the manner in which she recasts familiar Christian concepts, but also situates them among standard approaches used by classicists today, thereby showing that her interpretations truly contribute something new. (shrink)

The distribution of the parts among the actors in the O.C. is a problem that has long defied solution. In all the other extant plays of Aeschylus, Sophocles, and Euripides the dramatis personae can without difficulty be divided between three actors: but the construction of the O.C. is so complex that it does not admit any such simple allocation. When the part of Oedipus has been assigned to the first actor, and that of Antigone to the second, the roles of (...) the Stranger , Ismene , Creon , and Polyneices must clearly belong to the third: who, then, is to play Theseus ? It seems impossible to allot the part complete to any one of the three actors. Faced by this crux, all those who have dealt with the subject have chosen one or the other of two clear-cut alternatives, either the assumption of a fourth regular actor, or else the splitting-up of the single part of Theseus between two or three actors. These two alternatives, both of which are far from satisfactory—the former infringing the three-actor rule, the latter offending against scenic probability and realism—are fully examined below; at the end of the paper a new part-distribution is suggested, which, it is hoped, avoids both these faults. (shrink)

Examination of Sophocles’ Antigone reveals how the corpse remains a historically, culturally and politically inscribed subject. To leave Polynices’ corpse, by Creon’s decree, to the open air to be consumed by carrion is e!ectively to erase Polynice’s status as an Athenian citizen and transubstantiate the materiality of the corpse into one that is immaterial and non-human – that of a slave. Antigone’s refusal to leave the unburied remains of her brother - a refusal that has been traditionally romanticized as (...) an act of rebellion against authoritarian control - circumscribes and rei”es class boundaries between the free, the civilized, and the unfree, uncivilized slave. In e!ect, Polynices’ unburied body unearths the ways in which a “western, hegemonic canon” has e!ectively buried a history of chattel slavery that has made much of this cultural output possible. An engagement with particularly notable ruminations on Antigone, such as Hegel’s and Derrida’s, serves to exemplify how the “gure of Antigone has been appropriated in ways that consolidate, rather than disrupt, a tradition of thought that evades its own implication in slavery and colonialism. (shrink)

Le texte montre que Jan Patočka a développé une pensée du tragique dans deux directions principales : une philosophie du tragique qui met en avant, à travers la lecture d’Antigone, le rôle de la Nuit et de la finitude dans l’existence, par opposition au surrationalisme de Créon et à l’absolutisation de la loi du jour, dont notre surcivilisation technique est l’héritière. La pensée originale du sacrifice, chez Patočka, et sa propre mort s’inscrivent de plain-pied dans le cadre de cette philosophie (...) du tragique. Mais le philosophe a développé aussi, notamment à travers son entente d’Œdipe, une phénoménologie du tragique, comme expérience de la finitude et de la problématicité de l’ouverture humaine par rapport à l’ouverture primordiale du monde. Sous deux angles différents mais complémentaires, ces deux approches originales du tragique sophocléen touchent au cœur de la pensée du philosophe, dont la vie n’a pas échappé au tragique de l’histoire de son temps. (shrink)

Seneca's Medea carries out a plan of revenge that follows a retaliation mechanism inspired both by fury and by an established principle of reciprocity. This principle follows the rules, described in Seneca's De ira, of revenge aroused by anger. Medea had earlier been guilty of crimes against her own family, in order to assist Jason; she now maintains that she has fallen victim to the very same offenses. Therefore she now resolves to perpetrate similar crimes upon the husband who has (...) decided to leave her. In retaliation for the loss of her father's kingdom, of her brother Absyrtus, and of her own virginity she now kills Creon and his daughter, as well as her own children. Medea can thus create a fictitious link between the parts of her identity that have been thrown into disarray by her separation from Jason. In fact, the crimes she commits as a wife, in order to get rid of Jason, are just the inexorable consequence of the crimes she had committed as a girl, in order to join him. The separation which thus comes about conforms to the rules of a normal Roman divorce: the wife leaves her husband's home as well as her children, but her dowry is returned to her. Towards the end of the tragedy, Medea goes so far as to say that she has retrieved the "dowry" of crimes she paid in order to become Jason's wife, since she has recovered her father's kingdom, her brother, and her virginity as well. This is no more than a wild illusion, but in considering its elaborate rhetorical form we gain an idea of the kind of balance which is the aim of Seneca's Medea as she accomplishes her revenge. (shrink)

ZusammenfassungAus der Sicht der offenen Transzendentalphilosophie kommt es weniger auf eine physikali‐stische Gesamttheorie der Welt an als auf eine Analyse der normativen Tätigkeiten, die wir in die‐ser ausüben. Es wird gezeigt, wie wir – vor allem auch in der Wissenschaft – selbst die Voraus‐setzungen schaffen, die es uns erlauben, aufgrund von Wertungen ausgewählte Ziele zu erreichen. Pragmatische Erwägungen bedingen in einer gegebenen Situation den Entschluss, einen bestimm‐ten Kontext abzugrenzen, indem wir die dazu erforderlichen Regeln annehmen. Dadurch erzeugen wir ein relatives (...) Apriori, das uns die Mittel liefert, um zwischen analytisch und synthetisch, zwischen Sprache und Theorie etc. zu unterscheiden.Die Methode führt zu einem pluralistischen Weltbild: Nach der Wahl der linguistischen und ontologischen Bestandteile kann die Wahrheitsfrage im Sinne Tarskis nur mehr intern geregelt werden, während sich rivalisierende Systeme als ganze allein aufgrund von pragmatischen Krite‐rien vergleichen lassen.Es werden die deskriptiven und normativen Aspekte der Begriffe des Wertes, der Norm und der Regel erörtert, um schliesslich auf die zentrale Rotle zu verweisen, die Konventionen als nicht der Willkür ausgesetzte, sondern rational begrundete Festlegungen in sämtlichen unseren Aktivitäten spielen.SummaryFollowing my conception of open transcendentalism philosophy is less concerned with a naturalistically conceived theory of the world than with the normative activities we display in this world. By our own cultural and intellectual presuppositions we create the means – scientific or others – required for the achievement of certain goals which have previously been accepted as valuable. Pragmatic considerations induce us to establish, in given situations, what 1 call contexts by adopting particular rules. We thus produce a pragmatically relativized apriori providing us with a clearcut distinction between the analytic and the synthetic, between language and theory etc.The method issues in a pluralistic world view: Once the matter concerning the choice of a linguistic system and an ontology is settled the question of truth in Tarski's sense can only be raised internally while theories as a whole are compared on purely pragmatic grounds.I discuss some descriptive and normative aspects regarding the notions of value, norm and rule in order to ascertain the primary role played by conventions in all our activities. I rid the word of the connotation of arbitrairiness often attached to it in Anglo‐Saxon philosophy by restricting its use to deliberate acts concerned with rationally justified decisions.ResumeSelon ma conception du transcendentalisme ouvert, la philosophic est moins concernée par la recherche?on;une théorie globale du monde, telle que la préconise le naturalisme, que par ľanalyse des activités normatives que nous exerçons dans celuici. Nous créons nous‐mêmes les présuppositions qui nous permettent?on;atteindre un but – scientifique ou autre – dont la valeur a été préalablement admise. Ce sont des délibérations de type pragmatique qui nous incitent, dans une situation donnée, àétablir – en acceptant des règies idoines – ce que j ‘appellerai un contexte. Nous produisons ainsi un a priori relatif dont les préceptes, admettant une distinction stride entre ľanalytique et le synthétique, la langue et la théorie etc., resteront en vigueur tant que le cadre conceptuel en question prévaudra.La méthode mène à une vision pluraliste du monde: Le choix des éléments linguistiques et ontologiques une fois accompli, la question de la vérité, conformément à la définition de Tarski, ne peut être posée que de manière interne, tandis que la comparaison de systèmes rivaux s'opérera àľaide de critères purement pragmatiques.Dans la dernière partie, j'évoque quelques aspects descriptifs et normatifs des concepts de valeur, de norme et de règie afin de dégager le rôle central des conventions dans nos activités culturelles. Je libère la notion de convention de toute connotation ayant trait àľarbitraire en lui conférant le sens?on;un decision rationnellement justifyée. (shrink)

‘Unhappy boy, what a deed you have done! What came into your mind? What disaster destroyed your reason?’ This version of 1228–9, by Andrew Brown in his recent commentary, represents the majority opinion. But what ‘deed’ has Haemon done that justifies such an outburst? Jebb, followed by Kamerbeek and Brown, claims that the deed which causes Creon to wail aloud with charges of insanity is Haemon's entry into Antigone's tomb. Kamerbeek and Brown justify the extremity of Creon's reaction (...) by claiming that Creon knows that Haemon intends to kill himself. But is it reasonable to suppose that Creon's first reaction to the shocking scene of Antigone's hanging corpse and Haemon helplessly wailing would be that Haemon is on the verge of killing himself? Creon has not had time to predict his son's actions and his screams of dismay are most naturally read as a reaction to something he sees before his eyes. It would also be strange if Creon had absolutely no reaction to Antigone's death; he expected to find her alive. (shrink)

This article pushes Lacan into the area of moral philosophy. In the posthumously published Conversations of Goethe with Eckermann and Soret, Goethe expresses his perplexity concerning a short passage in the tragedy of Antigone in which the eponymous character gives to Creon a rather extravagant justification of her deadly gesture. This essay contends that Lacan’s reference to Goethe in his Ethics of Psychoanalysis clarifies what is at stake in his dialogues with Aristotle and Kant. Moral sensibility gravitates towards contingencies (...) that hinder a subject from fully participating in the market of exchangeable goods and the realm of social justice or the universal demands of a categorical imperative. In the tragedy of Antigone, a contingent blood tie incarnates a symbolic value that accumulates such enormous power that it isolates Antigone from her social context and even from her desire for self-preservation. Moral sensibility circulates around those areas in which an individual is separated from the universal. (shrink)

On a l’habitude de lire dans Antigone l’histoire d’un conflit entre d’un côté l’expression des liens affectifs et de la piété, et de l’autre les prérogatives de l’État dont le but premier serait le maintien des institutions. D’un côté Antigone fidèle à son frère, de l’autre Créon attaché à sa Cité. D’un côté la morale de l’affectivité ou de la conviction (Gesinnungsethik), de l’autre la morale de la responsabilité (Verantwortungsethik), pour parler comme Max Weber. Cette lecture classique de la tragédie (...) demeure sans doute pertinente à bien des égards, mais traduit-elle l’essentiel? Et si l’intention du poète n’avait pas été d’en rester à cette confrontation mais de suggérer, par-delà l’affrontement ruineux, une troisième voie possible? Il n’y aurait plus alors deux termes seulement, le privé et le public que tout sépare, mais deux manières pour l’ordre public lui-même de se rapporter au privé, l’une conflictuelle et tyrannique, celle de Créon, l’autre conciliatrice et délibérative – démocratique en ce sens –, celle défendue par Hémon, par Tirésias, et finalement peut-être par Sophocle lui-même qui, par l’emploi d’un vocabulaire tiré de l’expérience politique athénienne, dénoue d’une main l’intrigue qu’il noue de l’autre. Éclairée entre autres par Aristote, une interprétation nouvelle de la pièce en découle, celle d’un poète qui surjoue les conflits pour mieux insinuer les moyens politiques de les résoudre ou de les atténuer. (shrink)

When Demosthenes brought Aeschines to trial on a charge of malfeasance as an ambassador, he made what seems now the astonishing declaration in connection with Aeschines' acting of the part of Creon in Sophocles' Antigone: ⋯στε γ⋯ρ δ⋯που το⋯θ' ὅτι ⋯ν ἅπασι τοῖς δρ⋯μασι τοῖς τραγικοῖς ⋯ξα⋯ρετ⋯ν ⋯στιν ὥσπερ γ⋯ρας τοῖς τριταγωνισ ταῖς τὺ τοὺς τυρ⋯ννους κα⋯ τοὺς τ⋯ σκ⋯πτρ' ἔχοντας εἰσι⋯ναι. Until the last generation this was taken at face value as indicating that of the three actors presenting (...) a tragedy the third was regularly assigned the part of royalty. But that the title rôle in such plays as Sophocles' Oedipus Tyrannus or an important character such as Creon in the Antigone should have been entrusted to the third ranking actor is incredible. How is the discrepancy to be explained? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sophocles’s Enemy Sisters: Antigone and IsmeneWm. Blake Tyrrell (bio) and Larry J. BennettAt the core of the Oedipus myth, as Sophocles presents it, is the proposition that all masculine relationships are based on reciprocal acts of violence. Laius, taking his cue from the oracle, violently rejects Oedipus out of fear that his son will seize his throne and invade his conjugal bed. Oedipus, taking his cue from the oracle, (...) does away with Laius, violently rebuffs the sphinx, then takes their places—as king and “scourge of the city,” respectively. Again, Oedipus, taking his cue from the oracle, plots the death of that unknown figure who may be seeking to usurp his own position. Oedipus, Creon, and Tiresias, each taking his cue from the oracle, seek one another’s downfall.All these acts of violence gradually wear away the differences that exist not only in the same family but throughout the community.—René Girard, Violence and the SacredRené Girard does not include feminine relationships in his assessment of the Oedipus myth, yet the same redundancy that characterizes the males marks the females.1 Jocasta conjoins in one person multiple and redundant social roles: she is the mother and wife of the same person, for which she [End Page 1] hangs herself, leaving for Oedipus “many pains that a mother’s furies fulfilled” (Homer Odyssey 11.279–80). Her daughters, their father’s sisters, manifest kinship redundancy in two persons. Incest produces circularly, reverting to a sibling of the parent rather than moving forward with a descendant. The absence of linear progression from one generation to the next creates a sameness and equilibrium that thwart separation and individuality. Oedipus’s brothers/sons fail in their adult roles, because neither can overcome the other’s right to the throne of Thebes and the mastery of its royal household. They are enemy brothers locked in reciprocal violence.2 Antigone and Ismene have escaped notice not only as enemy sisters but even as products of the same incest. Audiences for Sophocles’s Antigone have viewed them as “normal” women and cooperated with his characters in emphasizing the differences between them. They have assumed from Antigone’s betrothal to Haemon and resistance to Creon that she is the elder, more mature sister.3 They tend to accept without question that Antigone engages in burial rituals with Polyneices’s corpse (241–58) and returns to it (442–35).4 Bernard M. W. Knox’s critically powerful concept of the “Sophoclean hero” has bolstered this view of Antigone while reducing Ismene to a foil, and abetted the tendency of modern producers of the play to cast an older or more famous actress in the role of Antigone.5 Naturalistic readings like that of C. M. Bowra—“seeing that Ismene is her only close relative in the world, Antigone is remarkably cold to her”6—have masked the source and hence the vehemence of Antigone’s fury.That the reciprocity of the violence between Ismene and Antigone has gone unnoticed is understandable in view of the familiarity of the conflict between their brothers. Males in Greek society pursued difference by striving to excel as aristoi (best) in competition for prestige, wealth, and power.7 Whenever Eteocles and Polyneices came together, each asserted a right to Oedipus’s household and throne that was equally matched, and violence ensued from the equilibrium. On the other hand, Greek women were not supposed to compete with one another for distinction. They wove wool for clothes, maintained the household, and cared for the children, the sick, and the dead, activities that required cooperation away from public view.8 Proximity to other women was the norm and desideratum. Moreover, lawgivers like Solon based their funeral legislation on the premise that every woman wanted to participate in mourning.9 For the sake of public tranquillity, legislators tried to limit the numbers of women participants by imposing restrictions according to degrees of kinship, for instance, to children of fifth cousins. In this context, women were interchangeable, and the places they held during birth, coming of age in wedding ceremonies, and death, [End Page 2] were open to more than one woman. Closeness and... (shrink)

A new interpretation of Hegel's reading of Sophocles's Antigone, focussing on Antigone's urge to action grounded in her religious feeling, on her facing the risk of death and the consequences of this move for her sense of self-awareness, becoming also conscious of her onesidedness in respect to Creon's (equally onesided) reasons.

Lacan reads Antigone, like Heidegger, in the light of the problematic of the truth (of the desire of) the subject/Dasein. The privilege accorded to the figure of Antigone and the rejection of Creon to which his interpretation bears witness, must also be understood against philosophical background. It also provides an insight into why Lacan gives Antigone – and only Antigone – a paradigmatic significance in the determination of the aim of analysis. we pointed to the analogy made by Lacan (...) between Tiresias and the analyst. the intervention of Tiresias may be understood according to the model of an analytical interpretation. The intervention of Tiresias then also corresponds to what Lacan writes elsewhere about the aim of analysis: The analysis must aim at the passage of true speech, joining the subject to another subject, on the other side of the wall of language. (shrink)

The story of Medea has exerted a powerful influence on creative artists since the time of Euripides. It is a tale that has been told in many ways and in several genres. This article offers a discussion of Christa Wolf's 1996 novel, Medea.Stimmen (Medea. Voices), a modern retelling through the voices, and conflicting perspectives, of the major characters involved with Medea, including Jason, Agameda, Akamas, Leukon, Glauce and Medea herself.Medea's role within feminist literary reception and women's literature cannot be overlooked (...) because of the crucial archetype she represents. One task of Feminist criticism has been to expose, deconstruct and rectify prevalent male (mis) interpretations of female archetypes, such as Medea, Medusa and others, and the patriarchal distortions they introduced through 3 000 years of male literature. In the patriarchal realm, Medea represents the Witch, the black Sorceress, and the archetype of the Negative Mother. These negative interpretations or archetypes may be attributed to misogynist perceptions of Medea as the vilest of women, because she committed the most despicable of all crimes — killing her children, the patriarchy's heirs — to take revenge on Jason, the husband who abandons her in Corinth (her place of exile) to marry Glauce, King Creon of Corinth's daughter, for reasons of political expedience.As a writer with her roots in the former East-German regime, Wolf perceives the Medea story as an account of a woman with both extraordinary powers and human shortcomings, who is misunderstood by the Colchians and the Corinthians alike. Wolf explores the distorted patriarchal motives for their loathing of Medea and Medea's ultimate powerlessness to do anything more than accept her tragic destiny. In doing so, Wolf does not attempt to manipulate the Medea story to suit the one-sidedness of some more radical feminist ideologies. (shrink)

The Phoenician Women, Euripides’ peculiar retelling and refashioning of the Theban myth, offers a portrait of Antigone before she becomes the actor we mostly know today from Sophocles’ play. In this under-studied Greek tragedy, Euripides portrays the political and epistemological dissolution that allows for Antigone’s appearance in public. Whereas Sophocles’ Antigone appears on stage ready to confront Creon with her appeal to the universal unwritten laws of the gods and later dissolves into the female lamenting a lost womanhood, Euripides’ (...) Antigone experiences the opposite journey, thereby offering insights into the conditions that allow for her exposure in the political arena. A speech by Eteocles at the center of the play questions the existence of absolutes, calls injustice beautiful, and opens the door for Antigone’s entrance into the public sphere. With this speech Eteocles challenges us to consider the conditions of political openness in the modern age. (shrink)

G. W. F. Hegel's discussion of the Antigone in the Phenomenology of Spirit has provoked ongoing debate about his views on gender. This essay offers an interpretation of Hegel as condemning social arrangements that take the authoritativeness of identities and obligations to be natural or merely given. Hegel criticizes the ancient Greeks' understanding of both the human law and the divine law; in so doing, he provides resources for a critique of essentialist approaches to sex and gender. On this interpretation, (...) Hegel views the conflict between Antigone and Creon as tragic because the gendered identities and obligations inherent to Greek Sittlichkeit are naturalized and withheld from scrutiny and revision. In the conclusion, I suggest how Hegel's criticisms pose a challenge to certain approaches to religious ethics. (shrink)

On this paper, we intend to make a psychological description of Creon as presented in Antigone, Sophocles tragedy. First, we will make a general description of the narcissistic personalities, based on the descriptions that the DSM-V and some authors make of this personality disorder. Then we will show that Creon’s case corresponds to this psychological description and intend to study the cause of his behavior. Finally, we will answer possible objections that could be made to the fact that (...) we are applying psychological categories to the Greek tragedy. Based on Kierkegaard’s description of the Greek tragedy, we will show that it cannot be understood on purely moral terms and how psychoanalysis allows us to rescue the tragic character of Creon. (shrink)

In this study we argue that Sophocles’ Antigone deals with a conflict between two different ways in which the human relates to the divine. One of the main factors causing this conflict is that the positions taken by the play’s main characters are characterized by their boldness and insolence. The conflict between Antigone and Creon takes place because two misconceptions of the divine seek to annihilate each other. The limitations in both Antigone’s and Creon’s misconceptions are caused by (...) a god. Due to the vagueness as to the exact divine cause of their misconceptions, the learning process of the two main characters in Sophocles’ play proves to be tragic, since it does not lead them to understand which god has made them fall into disgrace or which particular course of action they should have followed in the past or should follow henceforth. (shrink)

The article is based on the assertion that conflict constitutes an important element of social reality both in its moral and political aspect. The conflicts of: Antigone and Creon, Socrates and Athens, Christ and the Pharisees, Gandhi and the British, M.L. King and the racists, have clearly contributed to moral development. Conflicts arise from the human need of using one’s freedom in questioning the existing order, in distrusting every truth. It is not the fact of the existence of conflicts (...) that is bad for a civil society, but the lack of skills to solve them. Hence the importance of the need for a dialogue in civil society. The author presents various kinds of dialogue and supports rationality as a moral stand. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Matthew S. Santirocco JUSTICE IN SOPHOCLES' ANTIGONE Sophocles' Antigone is most often apprehended in terms of conflicts, an approach which the play does indeed invite. The personal clash of Antigone and Creon generates conflicts on many different levels— political (individual or family vs. state, aristocracy vs. democracy), theological (gods vs. men), philosophical (nature vs. law or convention), sexual (woman vs. man), even chronological (young vs. old). However, insofar (...) as no list can ever be so inclusive as the play itself, all such discussions tend by their very nature to be reductionist. And even if a balanced critique were possible at this level, a tragedy is not the sum of abstract conflicts; it is theatre, people in action. Furthermore, the conflict approach encourages us to ask the wrong questions. Although conflict need not imply resolution, critics persist in searching for it. Yet there is no resolution in the Antigone except by death. Similarly, such an approach invites us to ask who is right, Antigone or Creon. But in a very real sense this question misses Sophocles' point. Relevant, perhaps, to versions by Anouilh and Brecht, the question misleads when applied to the ancient play. It is interesting that we oversimplify, for Sophocles' sympathies are more expansive and complex than these modern interpretations of his myth. For all these reasons a valid alternative approach to the play may be to consider it not in terms of the conflicts incarnated in the personalities but rather in terms of one theme in the context of which all the conflicts are played out. The precise issue here, as so often in Greek tragedy, is a philosophical one. As the religious thought of an earlier era was yielding to judicial and political thought, and as older heroic ideals were being supplanted by a rationalistic view of man, tragedy's function in fifth-century Athens was, in part at least, to expose and explore these cultural displacements, either by affirming traditional values and concepts or else by questioning their continued validity. One such concept, perhaps the most recurrent in tragedy, 180 Matthew S. Santirocco181 is justice, dike. Originally a term used to refer to things as they are, dike came also to acquire a normative sense, things as they ought to be. At different times and in different contexts the word can signify custom or usage, law-enforcing authority, penalty, and ofcourse "justice" as a higher standard. Its precise semantic range is wide and fluctuating. Thus tragedy becomes, in a sense, a matter of vocabulary. In the Antigone the characters appeal to justice, but each defines it differently, so that the conflict is not so much between justice and injustice as between one sort of justice and another. The Oresteia of Aeschylus had earlier celebrated the transition from vendetta justice to courtroom justice. The Antigone, however, focuses not so much on the changes in dike as on a question these changes raise, namely the very possibility of dike. The establishment of the law court brought Aeschylus' trilogy to a resolved ending. Sophocles' vision in the Antigone is much more austere. Although he acknowledges the existence of an ideal of justice, he exposes the tensions and ambiguities inherent in it and thereby questions whether that ideal can ever be realized in the lives of men. II A key text concerning justice is contained in one of the choral odes. But can it be trusted? The tragic chorus is not, after all, the mouthpiece of the poet as was the comic chorus in Aristophanes' parabaseis. Nor is it always or necessarily the mouthpiece of the audience, SchlegeFs "ideal spectator." In the Antigone, as elsewhere, the chorus simply constitutes a panel of the population (here, of Thebes) and its perspective on the action is, if not omniscient, not particularly partisan either. Gordon Kirkwood has demonstrated the many dramatic functions of the Sophoclean chorus, including its ambiguities. In the Antigone no fewer than three odes are ambiguous, leaving in doubt the identity of the one who has disturbed order and right (332-75), who has violated the will of heaven (582-625), and whose mind has been perverted by love (781-816). Although the chorus may not be aware of the... (shrink)

Este artículo compara las secuencias compositivas de la Antígona del escritor Jean Anouilh en relación con la pieza homónima de Sófocles. Se analizan las confluencias y los aspectos divergentes entre los personajes protagónicos y secundarios de ambas creaciones y se menciona la función del coro. Finalmente se exponen las conclusiones, y se subraya el tono fundamentalista que el personaje de Creón adquiere en el final de la obra. This article compares the compositional sequences of the Jean Anouilh's Antigone in relation (...) with the homonym Sophoclean play. Convergences and divergent aspects between the protagonists and secondary characters of both plays are analyzed and also the role of the Chorus is mentioned. Finally conclusions are presented, highlighting the fundamentalist tone which Creon acquires at the end of the play. (shrink)

Focusing on the way in which sexual difference is articulated in Sophocles' Antigone , I offer a reading that reverses the dialectic most commonly ascribed to the play. While most interlocutors of this classic tragedy connect its heroine to divine law and the private realm and see Creon as a representative of human law and politics, I trace what I call a Sophoclean reversal at the core of the play, suggesting that, through a series of negations and contaminations, things (...) are the opposite of what they seem to be. Using Hannah Arendt's distinction between the private and public realms as my main point of departure, I show how such a reading reveals the internal contradiction and inherent impossibility of a society whose foundation is the exclusion of women from political life. Such a society, just like Antigone, is an anti seed : it carries within it the necessity of its own downfall. (shrink)