Antigone, Interrupted by Bonnie Honig PDF

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Sample text

40 Stephen White might note with approval how shared finitude brings these women together, reprising the improbable connections between Achilles and Priam, mourners whose truce instances the power of mortalist humanism. But, as in that scene from Homer, the parties here are also easily driven apart. They are soon interrupted by a third, conservative-looking woman who stumbles on the scene and questions its authenticity. “This is staged,” she says for the camera’s sake, a comment that is not untrue: Moore is filming the women’s encounter, after all.

Almost twenty years later, in The Mourning Voice, she is not so sure. Focusing on the fifth-century ban on lamentation, which constrained and marginalized the loud and showy lamentations then identified with women and elites, she wonders whether tragedy with its own loud, showy laments might not have been perhaps subversive rather than complicit. Where earlier Loraux thought the city of forgetting’s ban on laments was upheld by staging banned laments safely away from the city in the circumscribed space and time of the theater, now she wonders whether maybe the opposite is taking place: what if tragedy did not interpellate citizens into polis ideology, as she earlier argued, but instead interpellated spectators into membership in an extra-political community?

In each chapter, I track a “turn to Antigone,” looking at how particular theorists, philosophers, critics or directors cast some problem of culture or politics as Oedipal and then propose some solution, labeled Antigonean. I note the limits of these turns to Antigone: in each case, lamentation, ethics, and/or resistance turn out just to feed rather than break cycles of violence and, more often than not, they just recirculate gender stereotypes rather than interrupt them. In each case, what starts out as a politics of lamentation soon slides into something more like a lamentation of politics (and a turn to ethics or humanism).

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