By Bonnie Honig
Sophocles' Antigone is a touchstone in democratic, feminist and criminal conception, and probably the main commented upon play within the historical past of philosophy and political concept. Bonnie Honig's rereading of it as a result comprises intervening in a number of literatures and unsettling a lot of their governing assumptions. Exploring the facility of Antigone in numerous 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 could be obvious not only as symptoms of dissidence yet relatively as markers of a rival international view with its personal sovereignty and power. Honig argues that the play doesn't provide easily a version for resistance politics or 'equal dignity in death', yet a extra confident politics of counter-sovereignty and team spirit which emphasizes equality in existence.
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Additional resources for Antigone, Interrupted
Sophocles’ use of the theatrical device of interruption (what Freud also relies on but refers to, perhaps jokingly, as “persuasion”) calls attention to the costs of the polis’ interruption of the heroic form of life: its eﬀort to displace appetite with reason, desire with wants, and bodies with words. This is no rejection of reason but rather a way to highlight its work. This is one of Sophocles’ contributions, still underexplored, to (post)modernity’s critique of reason, to which I attend in Chapter 5.
To be here. But it’s freeing also . . because I ﬁnally have a place . . to put all my pain and all my anger . . ” In Moore’s ﬁlm, Lila Lipscomb is a woman brought down by grief and incapable of political engagement, more Ismene than Antigone, we might think. 41 In real life, however, Lila Lipscomb does far more: she joins Cindy Sheehan in political activism, founding Gold Star Families for Peace. Yet it is Sheehan, not Lipscomb, who is depicted in the popular media as a mourning mother radicalized into activism by her son’s death.
And third, Sheehan allows her loss of her son to press her into an encounter not just with mortal ﬁnitude but with political loss, which dawns on her when police ﬁngerprint her after an arrest: “That’s when the enormity of my loss hit me. I have lost my son. I have lost my First Amendment rights. I have lost the country that I love. Where did America go? 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.