Download e-book for kindle: Antigone, Interrupted by Bonnie Honig

By Bonnie Honig

ISBN-10: 1107036976

ISBN-13: 9781107036970

Sophocles' Antigone is a touchstone in democratic, feminist and criminal idea, and doubtless the main commented upon play within the heritage of philosophy and political thought. Bonnie Honig's rereading of it as a result consists of intervening in a bunch of literatures and unsettling a lot of their governing assumptions. Exploring the facility of Antigone in quite a few political, cultural, and theoretical settings, Honig identifies the 'Antigone-effect' – which strikes those that enlist Antigone for his or her politics from activism into lamentation. She argues that Antigone's personal lamentations might be noticeable not only as indicators of dissidence yet relatively as markers of a rival international view with its personal sovereignty and power. Honig argues that the play doesn't supply easily a version for resistance politics or 'equal dignity in death', yet a extra optimistic politics of counter-sovereignty and harmony which emphasizes equality in lifestyles.

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And a focus on natality – which is no less minimal than mortality, ontologically speaking – may generate new commonalities while orienting humanism differently than mortality does. In Sophocles’ Antigone the Chorus’ response to divisions of civil war and conflict is to issue an invitation in the play’s fifth stasimon to go to the feast of Dionysus and forget their strife, in dance. No one takes up their invitation. 27 Faced with the undeniability of death and decomposition, inconsolable at the loss of his friend, his brother, Patroclus, Achilles mourns.

In other words, for Loraux, tragedy does not just mirror or even explore the divisions of the political world. It offers an Tragedy, maternalism, ethics 25 “anti-politics” that points beyond them. Her anti-politics of grief is an example of what I call here mortalist humanism. Mortalist humanists commonly take Antigone, the great lamenter, as their representative, but Loraux prefers Cassandra, in whom Loraux finds a particularly compelling “tragic configuration of the mingling of voices” (2002a: 74–75).

I started crying in pain” (2006). As we will see, similar strategies – of enacting equality, performing parody, and moving from Tragedy, maternalism, ethics 35 mortalism into politics – are also discernible in Sophocles’ text and they plot the path of his protagonist. Sheehan also embraces the media’s label “peace mom” (so titling her memoir), however, and so fails to attend to the label’s reinstatement of contested heteronormative identities. Is “peace mom” a new subject position or is Sheehan just folded by that term into a very old one?

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Antigone, Interrupted by Bonnie Honig


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