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Feminist Readings of Antigone collects the most interesting and provocative feminist work on the figure of Antigone, in particular looking at how she can figure into contemporary debates on the role of women in society. Contributors focus on female subjectivity and sexuality, feminist ethics and politics, questions of race and gender, psychoanalytic theory, kinship, embodiment, and tensions between the private and the public. This collection seeks to explore and spark debate about why Antigone has become such an important figure for feminist thinkers of our time, what we can learn from her, whether a feminist politics turning to this ancient heroine can be progressive or is bound to idealize the past, and why Antigone keeps entering the stage in times of political crisis and struggle in all corners of the world. Fanny Söderbäck has gathered classic work in this field alongside newly written pieces by some of the most important voices in contemporary feminist philosophy. The volume includes essays by Judith Butler, Adriana Cavarero, Tina Chanter, Luce Irigaray, and Julia Kristeva.
Although Hegel and feminism seem an unlikely couple, Hegelian philosophy played a prominent part in the thinking of groundbreaking feminist philosophers from Simone de Beauvoir to Luce Irigaray. This book offers a new generation of feminist readings of Hegel from leading scholars in the both fields. Through close readings and innovative arguments, this book makes a significant contribution to the debate on gender and provides insight into philosophical method.
The celebrated author of Gender Trouble here redefines Antigone's legacy, recovering her revolutionary significance and liberating it for a progressive feminism and sexual politics. Butler's new interpretation does nothing less than reconceptualize the incest taboo in relation to kinship—and open up the concept of kinship to cultural change. Antigone, the renowned insurgent from Sophocles's Oedipus, has long been a feminist icon of defiance. But what has remained unclear is whether she escapes from the forms of power that she opposes. Antigone proves to be a more ambivalent figure for feminism than has been acknowledged, since the form of defiance she exemplifies also leads to her death. Butler argues that Antigone represents a form of feminist and sexual agency that is fraught with risk. Moreover, Antigone shows how the constraints of normative kinship unfairly decide what will and will not be a livable life. Butler explores the meaning of Antigone, wondering what forms of kinship might have allowed her to live. Along the way, she considers the works of such philosophers as Hegel, Lacan, and Irigaray. How, she asks, would psychoanalysis have been different if it had taken Antigone—the "postoedipal" subject—rather than Oedipus as its point of departure? If the incest taboo is reconceived so that it does not mandate heterosexuality as its solution, what forms of sexual alliance and new kinship might be acknowledged as a result? The book relates the courageous deeds of Antigone to the claims made by those whose relations are still not honored as those of proper kinship, showing how a culture of normative heterosexuality obstructs our capacity to see what sexual freedom and political agency could be.
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.
Despite feminism’s uneven movements, it has been predominantly understood through metaphors of generations or waves. Feminism's Queer Temporalities builds on critiques of the limitations of this linear model to explore alternative ways of imagining feminism’s timing. It finds in feminism’s literary and cultural archive narratives of temporality that might now be diagnosed as queer, where queer designates modes of being historical that exceed the linear and the generational. Few theorists have looked to popular feminist figures, literature, and culture to theorize feminism’s timing. Through methodologically creative readings, McBean explores non-generational, anti-linear, and asynchronous time in the figure of Antigone, Marge Piercy’s Woman on the Edge of Time, the film Ladies and Gentlemen: The Fabulous Stains, Valerie Solanas and SCUM Manifesto, and Alison Bechdel’s Fun Home. The first to substantially bring together the ways in which time has come to matter in both feminist and queer disciplines, this book will appeal to students and scholars of feminist, queer and gender studies, cultural studies and literary studies.
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.
A witty, inspiring reckoning with the ancient Greek and Roman myths and their legacy, from what they can illuminate about #MeToo to the radical imagery of Beyoncé. The picture of classical antiquity most of us learned in school is framed in certain ways -- glossing over misogyny while omitting the seeds of feminist resistance. Many of today's harmful practices, like school dress codes, exploitation of the environment, and rape culture, have their roots in the ancient world. But in Antigone Rising, classicist Helen Morales reminds us that the myths have subversive power because they are told -- and read -- in different ways. Through these stories, whether it's Antigone's courageous stand against tyranny or the indestructible Caeneus, who inspires trans and gender queer people today, Morales uncovers hidden truths about solidarity, empowerment, and catharsis. Antigone Rising offers a fresh understanding of the stories we take for granted, showing how we can reclaim them to challenge the status quo, spark resistance, and rail against unjust regimes.
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.
This book is the first to examine the relationship between time and sexual difference in the work of Julia Kristeva and Luce Irigaray. Because of their association with reproduction, embodiment, and the survival of the species, women have been confined to the cyclical time of nature—a temporal model that is said to merely repeat itself. Men, on the other hand, have been seen as bearers of linear time and as capable of change and progress. Fanny Söderbäck argues that both these temporal models make change impossible because they either repeat or repress the past. The model of time developed here—revolutionary time—aims at returning to and revitalizing the past so as to make possible a dynamic-embodied present and a future pregnant with change. Söderbäck stages an unprecedented conversation between Kristeva and Irigaray on issues of both time and difference, and engages thinkers such as Simone de Beauvoir, Jacques Derrida, Sigmund Freud, Judith Butler, Hannah Arendt, and Plato along the way.
When her dead brother is decreed a traitor, his body left unburied beyond the city walls, Antigone refuses to accept this most severe of punishments. Defying her uncle who governs, she dares to say ‘No’. Forging ahead with a funeral alone, she places personal allegiance before politics, a tenacious act that will trigger a cycle of destruction. Renowned for the revelatory nature of his work, Ivo van Hove first enthralled London audiences with his ground-breaking Roman Tragediesseen at the Barbican in 2009. Drawing on his 'ability to break open texts calcified by tradition' (Guardian), the director now turns to a classic Greek masterpiece.