Private is (not) public: About Antigone’s mourning voice and its echo in Hegel and Kierkegaard

Filozofija i Društvo

关键词: Antigone;    lamentation;    ancient theatre;    public speech;    tragedy;    Hegel;    Kierkegaard;   

DOI  :  10.2298/FID1301254S

来源: DOAJ

【 摘 要 】

This paper presents a rereading of the interpretations of Antigone by Hegeland Kierkegaard on the grounds of research of Sophocles’ text and itsperformance in Athenian theatre in the context of socio-political climate ofthe fifth century Athens. Focus is placed on the political aspect of theatre,as well as on the figure of Antigone, her voice and her action, which is thesubject recognized by Hegel. However, what this interpretation lacks is thenotion that Antigone is political and not pre-political figure. Thispolitical aspect reveals itself within the research of ancient Greeklamentation and funeral ritual as an exclusively female practice in ancientGreek tradition, which was subjected to regulations and control in particularby the law of Solo (6th ct. BC). However, new political organization was notbased on family relation and aristocratic clans, as before, but exclusivelyon political bodies. So, for example the vendetta, which was formulated bywomen during the lamentation, was banned by law. Still, in spite of many lawsand regulations by the state, and later on (in the Byzantine period) thechurch, women in Greece succeeded in keeping their important position in allthe practices around the dead, almost until the end of the XX century. So, wesee the example of traditional practice that functions on the margins of thesociety endangering and controlling its official political structure inpre-modern societies. What are the echoes of the political figure ofAntigone, as a woman in charge of the family funeral duties, in the text ofHegel and in the text of Kierkegaard. Where is her voice? And does she actpolitically or privately? [Projekat Ministarstva nauke Republike Srbije, br.177026: Kulturno nasleđe i identitet]

【 授权许可】

Unknown