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El presente ensayo ofrece una lectura contemporánea de la posición de cinco personajes de la tragedia sofoclea Antígona: Creonte, Antígona, Ismene, Hemón y Tiresias. Sostengo que en sus planteamientos podemos encontrar los ejes centrales de diversas discusiones de la filosofía del derecho, encarnada en problemas tales como la obediencia al derecho, los órdenes de normatividad del derecho positivo y de la ética, la relación entre derecho y poder, y entre derecho y razón práctica, en la forma de la prudencia y de la modulación en la aplicación de la ley y de sus sanciones. En ese sentido, el análisis es una prueba de la tesis central, es decir, que Antígona es una suerte de caleidoscopio para pensar asuntos centrales de la filosofía del derecho contemporánea y que, en consecuencia, su valor no es meramente histórico.

This article addresses the controversy created by the public reconfiguration of medical Cannabis in Brazil. The play character Antigone is borrowed to make sense of this transformation, reconstructed based on activist manifestations, especially of patients and their families. Public insurgent declarations emerge against prohibitionist legal provisions, referred to by the activists themselves as "peaceful civil disobedience,' under a moral key that breaks with the language of individual freedom, articulating notions of duty and necessity. [ABSTRACT FROM AUTHOR]

Here we present the translation of the "Prologue" from María Zambrano's work titled "La tumba de Antígona." In the text, originally published in 1967, Zambrano redefines the myth of Antigone, giving the character a different destiny than the one presented by Sophocles in the classical version of the myth. According to Zambrano, after being entombed alive, the protagonist does not kill herself but undergoes a kind of anagnorisis, a self-recognition, which occurs as she engages in dialogue with the other characters in the story. Through deep reflections and some dialogues, Antigone starts contemplating her own condition and the way she has sacrificed herself throughout her journey to support and defend the lives and ideals of others, such as her father, the city, her brothers, her fiancé, and the king. Antigone finally manages to find time for herself, and it is in this possibility that she achieves what Zambrano calls poetic transcendence. The translated text here is the "Prologue" of Zambrano's work, which announces an Antigone who turns what would have been her moment of decline, being buried alive, into a time of affirmation and self-recreation. [ABSTRACT FROM AUTHOR]

The article aims to analyze the rejection of the possibility of burying the remains of the dictator Videla in the city of Mercedes (Buenos Aires, Argentina). Based on a survey of the press, on the specialized literature on the deaths of political criminals and authoritarian leaders and on Martha Nussbaum's theorization of political emotions, the paper proposes an interpretation of the turn that took place in a few days after the death of the dictator: from serene expressions of relief in the national public space to the vehement rejection of his burial in his hometown. In the light of the tragedy of Antigone, our interpretation proposes that the problem of Videla's burial points to the knot tied in Argentina between the culture of human rights and the experience of disappearances. [ABSTRACT FROM AUTHOR]

It is usually thought that guilt comes from a transgression of the norm or law. The universal reason determines to act according to the duty of a subject withdrawn within himself. The action that emanates from obedience to the law is the moral virtue of the singular. But Hegel proposes the tragedy of an opposition between two duties that compel to act, at the same time, according to them. However, in obeying one of the laws the other is transgressed. Thus, the virtue of following the law is, at the same time, transgression with respect to the other opposing law. Fate condemns Antigone to violate the law of reason, acting, however, in accordance with her duty. The ethical substance is broken, how to avoid guilt? [ABSTRACT FROM AUTHOR]

Sofoklejeva Antigona ima bogato in edinstveno, več kot stoletno zgodovino uprizarjanja na slovenskih poklicnih odrih. Začela se je z neuspelo predstavo pod taktirko Hinka Nučiča na odru ljubljanske Drame leta 1912 in nadaljevala s priljubljeno postavitvijo Frana Lipaha v istem gledališču na predvečer druge svetovne vojne. Po vojni je primat pri uprizarjanju te tragedije prevzelo Slovensko ljudsko gledališče Celje (tedaj se je imenovalo Mestno gledališče Celje); vse do leta 2013 je bilo celo edino slovensko poklicno gledališče, ki jo je uprizarjalo, prvič leta 1956 (r. Herbert Grün), nato še leta 1973 (r. Franci Križaj), nazadnje pa leta 2011 (r. Anđelka Nikolić). Glavni razlog za to nenavadno odsotnost Sofoklejeve Antigone na drugih slovenskih poklicnih odrih je bila najverjetneje izjemna priljubljenost Smoletove drame z istim naslovom, ki je bila v tem času uprizorjena kar osemkrat, še dodatno pa so Sofokleja izrivale tudi (redkejše) uprizoritve drugih modernih Antigon (Dušan Jovanović, Miro Gavran, Janusz Głowacki). Zadnje desetletje je vendarle prineslo preporod zanimanja za Sofoklejevo različico (in obenem tudi zaton zanimanja za uprizarjanje Smoleta, kar pritrjuje naši spekulaciji o njunem programskem konkuriranju). Po kritiško dobro sprejeti celjski uprizoritvi v režiji Anđelke Nikolić, sta bili leta 2013 prvič na sporedu dve uprizoritvi, prva v Mestnem gledališču ljubljanskem (bralna uprizoritev, r. Ira Ratej) in druga v Lutkovnem gledališču Ljubljana (r. Marko Čeh). Nazadnje, leta 2017, pa se je Antigona v udarnem slogu končno vrnila tudi v ljubljansko Dramo (r. Eduard Miler).

Tudi za postpostdramski čas je značilno spogledovanje s ključnimi formami svetovne dramatike, kot so antične in elizabetinske tragedije, ter z njihovimi temami, ki jih aplicira na popolnoma sodobne probleme. Izmed mnogih besedil je mogoče izbrati tri: Die Schutzbefohlenen Elfriede Jelinek, Antigona v Molenbeeku Stefana Hertmansa ter Romeo in Julija sta bila begunca Vinka Möderndorferja. Poleg razmerja do antike povezuje vse tri drame še tematska rdeča nit: migracije ter z njimi povezane nesrečne usode beguncev. Izkaže se, da je edina optimistična različica te teme nastala pri Ajshilu, vse tri sodobne drame pa bi bilo mogoče brez težav uvrstiti med tragedije. Takšna je drama Jelinekove, ki je nastala po resničnem dogodku iz leta 2012, ko je skupina migrantov protestno vdrla v Votivno cerkev na Dunaju in zahtevala zase in za sebi podobne človeka dostojno azilno obravnavo. Jelinek izkaže ves etični razkroj Evrope, ki se skriva za visokoletečimi ideali človekoljubja, dejansko pa ravna prav nasprotno. V tem primeru gre za razmerje med migranti, ki so pravi tujci, in pa Evropejci. Tujca, ki je že polnopraven državljan Evrope, predstavi Hertmans, le da svojo »Antigono« zaplete še s klasično zgodbo pokopa mrtvega brata, ki je v tem primeru terorist. Ta Antigona je še vedno tujka, a tudi že državljanka Evrope. Zadnji korak v tej smeri naredi Möderndorfer, ki pa kot migrante, torej kot tujce, obravnava ekonomsko ogrožene Evropejce. Nobena od treh dram nima izhoda in slehernikova usoda se konča tragično.

El presente texto aborda la figura de Antígona a través de las diversas recepciones que esta ha tenido en la teoría feminista, particularmente en María Zambrano, Judith Butler y Bonnie Honig, en tanto en cada una de ellas, además de una interpretación, hay un modelo de acción política y de confrontación con la institucionalidad. El exilio, el duelo y la natalidad, modelos que identificamos en cada una de estas autoras, aparecen como tres modelos diferentes, pero que en el análisis se revelan más cercanos y porosos a los posibles cruces. Finalmente, proponemos a partir del término “obediencia promiscua”, utilizado por Butler, una posible respuesta feminista al conflicto irresoluble con el poder institucional.

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This article aims to analyzing and projecting María Zambrano's representation of Antigone's myth within contemporary debates about the recovery of the bodies of human victims in post-violence contexts. Beyond the mythic-religious framework in which The Tomb of Antigone seems to be located, it will be unraveled the different semantic and philosophical layers underlying Zambrano's re-reading of the Theban heroine. This will pave the way towards highlighting the subversive political potential of Antigone's gesture by embracing historical subjects traditionally marginalized from the public space. [ABSTRACT FROM AUTHOR]

O artigo trata da controvérsia instaurada pela reconfiguração do problema público da Cannabis medicinal no Brasil. Mobiliza-se a personagem Antígona para dar sentido a essa transformação, reconstruída a partir de manifestações de ativistas, em especial pacientes e familiares de pacientes. Percebe-se a emergência de declarações públicas de insurgência contra os dispositivos legais proibicionistas, referidos pela própria militância como “desobediência civil pacífica”, em uma chave moral que rompe com a linguagem da liberdade individual, articulando noções de dever e necessidade.

El conflicto principal de la tragedia Antígona de Sófocles es fácilmente explicable por el enfrentamiento de posturas antitéticas que encarnan los protagonistas de la obra, Creonte y Antígona, entre la ley del Estado y la piedad familiar, como apuntan los muchísimos estudios que se han ocupado sobre el tema. En este artículo ponemos de manifiesto que esta oposición es susceptible de analizarse también desde un enfoque estilístico. A lo largo de la tragedia son frecuentes los juegos lingüísticos, las paradojas y las yuxtaposiciones de dos términos contrapuestos que tienden a conceder énfasis y a reforzar lingüísticamente este enfrentamiento.

El artículo estudia la reescritura poética realizada por José Watanabe de Antígona de Sófocles, enfatizando dos dimensiones: las operaciones de absorción y transformación que conducen al texto final, y la particular lectura de esta Antígona desde el contexto de su publicación. En diálogo con conceptos como reescritura y dialogismo (Bajtín), memoria (Jelin) y violencia (Žižek), el análisis constata que los nuevos sentidos que esta Antígona incorpora plantean preguntas y demandas fundamentales en relación con el proceso de violencia y dictadura que se vivía en el Perú, así como con las razones históricas que contribuyeron a su desencadenamiento. A partir de esto, Antígona relieva implícitamente la necesidad de intervenir, desde la poesía y el arte, en la vida del país, e inicia, simbólicamente, una nueva etapa en el desarrollo de la poesía sobre el conflicto armado interno.

Prispevek je avtorica pripravila za pogovorni večer na Prvi gimnaziji Maribor 26. oktobra 2022.

Pričujoči članek obravnava vpliv dramske klime, v kateri se prepletajo zunanje in notranje okoliščine dramskega dogajanja, na odločitve, sodbe in ravnanja dramskih likov. To ponazarjava s primeroma iz Antigone in Trahink. V vzdušju povojnih Teb Ismena omahuje med strahom pred kaznijo in strahom pred božanskim srdom zaradi nepokopa Polinejka. Prav tako lahko vpliv dramske klime opazimo v Kreontovi spremembi odločitve glede Ismenine obsodbe na smrt. Posebno pozornost v članku dobi tudi zahtevno vprašanje atribucije verzov v Antigoni 572, 574 in 576, ki pomembno vpliva na razume­vanje psihologije junakov. Druga obravnavana junakinja, Dejanejra, strahoma pričakuje prerokovano odločitev Heraklove usode v Tra­hini, na robu civilizacije. S spoznanjem resnice o Ioli se Dejanejrina psihološka napetost zaostri do skrajnosti in po premisleku, ki zori v njej v zaodrski tišini med prvim in drugim dejanjem, se odloči za usodno dejanje.

The main conflict in Sophocles’ Antigone is easily explained as the confrontation of contradictory points of view that are embodied by the leading roles in performance, Creon and Antigone, between the State law and the family piety, as many scholars have shown. In this paper the author shows that this conflict can be analyzed too from a stylistic perspective. Throughout the tragedy many linguistical paradoxes and juxtapositions of two contradictory words can be found. These terms are prone to give emphasis and reinforce linguistically this conflict. [ABSTRACT FROM AUTHOR]

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The article addresses the resignification of the character of Antigone in the figure of the Uruguayan poet, pedagogue, and feminist Luisa Luisi through the concept of “parrhesia” (Michel Foucault). I explore how Antigone's parrhesiastic attitude was embodied in the presence and speech of Luisi at the funeral of Julio C. Grauert, updating the Antigone myth as a symbol of rebellion, and connected to the feminist movements of the early 20th century.

If actuality is one of the features that characterizes the Classics, Gené's work still assumes a creepy value. Originally written for the Grupo Actoral 80 (GA 80) of Caracas in 1988, the action takes place in an undetermined place in Latin America that has suffered an invasion by a neighboring country, with the excuse of an old border dispute. The pressing news gives a new dimension to the complaint and gives a new layer of meaning to the many readings it proposes.

Sofoklejeva Antigona ima bogato in edinstveno, več kot stoletno zgodovino uprizarjanja na slovenskih poklicnih odrih. Začela se je z neuspelo predstavo pod taktirko Hinka Nučiča na odru ljubljanske Drame leta 1912 in nadaljevala s priljubljeno postavitvijo Frana Lipaha v istem gledališču na predvečer druge svetovne vojne. Po vojni je primat pri uprizarjanju te tragedije prevzelo Slovensko ljudsko gledališče Celje (tedaj se je imenovalo Mestno gledališče Celje); vse do leta 2013 je bilo celo edino slovensko poklicno gledališče, ki jo je uprizarjalo, prvič leta 1956 (r. Herbert Grün), nato še leta 1973 (r. Franci Križaj), nazadnje pa leta 2011 (r. Anđelka Nikolić). Glavni razlog za to nenavadno odsotnost Sofoklejeve Antigone na drugih slovenskih poklicnih odrih je bila najverjetneje izjemna priljubljenost Smoletove drame z istim naslovom, ki je bila v tem času uprizorjena kar osemkrat, še dodatno pa so Sofokleja izrivale tudi (redkejše) uprizoritve drugih modernih Antigon (Dušan Jovanović, Miro Gavran, Janusz Głowacki). Zadnje desetletje je vendarle prineslo preporod zanimanja za Sofoklejevo različico (in obenem tudi zaton zanimanja za uprizarjanje Smoleta, kar pritrjuje naši spekulaciji o njunem programskem konkuriranju). Po kritiško dobro sprejeti celjski uprizoritvi v režiji Anđelke Nikolić, sta bili leta 2013 prvič na sporedu dve uprizoritvi, prva v Mestnem gledališču ljubljanskem (bralna uprizoritev, r. Ira Ratej) in druga v Lutkovnem gledališču Ljubljana (r. Marko Čeh). Nazadnje, leta 2017, pa se je Antigona v udarnem slogu končno vrnila tudi v ljubljansko Dramo (r. Eduard Miler). Članek pregledno obravnava vse naštete uprizoritve in jih ovrednoti s pomočjo sočasne kritiške ter poznejše gledališkozgodovinske recepcije.

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Martin Heidegger je svoje branje Sofoklove Antigone razgrnil v dveh znamenitih sklopih predavanj na Univerzi v Freiburgu; prvi sklop, ki ga je študentom predstavil leta 1935, je osemnajst let pozneje s popravki in dopolnitvami objavil v knjigi Uvod v metafiziko (Einführung in die Metaphysik); drugega, ki ga je naslovil Hölderlinova himna »Ister« (Hölderlins Hymne »Der Ister«), je lahko leta 1942, sredi vojne vihre, podal le v okrnjeni različici, v natisnjeni celoti pa je svetovni javnosti postal dostopen šele leta 1984. Članek preučuje razloge, zakaj je razkritje Heideggerjeve druge obravnave Antigone – ki s prvo vzpostavlja intriganten interpretativni kontrast – odigralo ključno vlogo v osrednjem filozofskem projektu Tineta Hribarja in s tem v širši slovenski recepciji mita o Antigoni od druge polovice osemdesetih let do danes.

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Resulta interesante considerar ciertas reelaboraciones del mito de Antígona en el marco de la relación entre irracionalismo y tragedia durante el contexto del exilio y de la posguerra civil española. Tanto La tumba de Antígona de María Zambrano como La sangre de Antígona de José Bergamín señalan—a partir de sus semejanzas y también de sus diferencias—una cierta conciencia sobre el declive de la razón. Asimismo, la diversa valoración que exhiben con respecto a la existencia de un nuevo saber experiencial—de herecia unamuniana—ayuda a comprender el contraste de ambas miradas sobre la tragedia como fuente de conocimiento. It is interesting to consider certain reworkings of the myth of Antigone in the context of the relationship between irrationalism and tragedy in the context of exile and the post-Spanish Civil War period. Both La tumba de Antígona by María Zambrano and La sangre de Antígona by José Bergamín point out—from their similarities and also their differences—a certain awareness about the decline of reason. Likewise, the different valuation they show in relation to the existence of a new experiential knowledge—of Unamunian heritage—helps to understand the contrast of both views on tragedy as a source of knowledge. [ABSTRACT FROM AUTHOR]

In this work I share some brief reflections on poetic texts by three contemporary Peruvian poets "dedicated" to Antigone: Antígona by Jorge Eduardo Eielson (1924-2006), Antígona by José Watanabe (1946-2007) and Las flores de Antígona by Javier Sánchez Torres (1982). The first two are "consecrated" poets, also translated into Italian; the latter, on the other hand, is a younger poet from Lima, in the making, who, however, has already received several literary awards. I analyze the originality of their adaptations in the historical and political context of the Andean country. [ABSTRACT FROM AUTHOR]

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In the attempt to build its identity, each culture appeals to its own and foreign elements, trying to generate representations of itself. In the case of Argentine culture, among the non-proprietary elements are those that belong to the GrecoLatin culture, among them the literary system, on which we focus our gaze. For various purposes, the authors appropriate the classical greco-latin texts by re-elaborating and resignifying them. In this paper we focus on a rewriting of Antigone by Sophocles: Antígonas: linaje de hembras by Jorge Huertas, contemporary Argentine playwright, to analyze the relationships and confrontations that are gestated around the use/abuse of power. The transfer of the Greek tragedy to contemporary Argentina allows us to deal with a problem of old roots, the issue of power and the relationships that are established around it, with new perspectives. Thus, the appropriation and recreation of a classic text allows testing new ways of saying reality, always complex and multiple, accounting for the contribution of the ancient world to the Western cultural corpus, in general, and the Argentine, in particular.

El presente artículo discute la obra pseudónima de Kierkegaard “El reflejo de lo trágico antiguo en lo trágico moderno”. El joven esteta A traza una distinción entre la “culpa antigua” y la “culpa moderna”. A utiliza esta distinción para formular una potente crítica a la ética moderna. No obstante, dicha polémica contra los conceptos éticos de la Modernidad no implican un retorno a la moralidad trágica antigua.

In this article, I seek, at first, to examine several common-sense distinctions between suicide and self-sacrifice, adopting that around the intended destination of the act (for the agent himself or for others, respectively). In the second step, I try to defend this criterion of distinction against some central objections. Though defending this criterion of distinction against such objections, I intend, finally, to establish questions on the intersections between suicide and self-sacrifice, caused by extreme situations. In order to discuss these overlaps, I make a brief analysis, above all, of Sophocles' Antigone. [ABSTRACT FROM AUTHOR]

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In the 1980s, Tine Hribar laid the philosophical foundations for the Slovene reconciliation project, especially with his writings on the Antigone myth, which he began publishing in 1986 in Nova revija and which found their condensed form in the influential monograph Tragična etika svetosti (Tragic Ethics of the Sacred). At the very outset of this project, in the programmatic text Posvečenost mrtvih (The Sanctity of the Dead), Hribar made it quite clear that he drew his main inspiration from one of the great philosophical discoveries of the 1980s, Heidegger's interpretation of Sophocles's Antigone in Hölderlin's Hymn "The Ister," a lecture series from 1942 that only became available to the general public in 1984. Hribar's interpretation of Heidegger's reading of Antigone follows a three-part outline: 1. The fundamental (unwritten) law that Antigone follows is not divine law, but the "law of being." 2. This law is "the law of the dead" and "the fundamental law of the living." 3. This law in all times and places dictates that the dead must be buried. By burying the dead, man -- in the past, present and future -- fulfills the law of being; by failing to bury them, he violates it. The third point is undoubtedly Hribar's addition; we do not find it in Heidegger. For Heidegger, all the conflicts of "beings" that the main philological and philosophical movements project onto Sophocles's tragedy is merely a false front, an instrument for the forgetting of being. Hribar's project -- the project of an explicit "reference to beings" -- therefore undoubtedly belongs among those interpretations of Antigone that Heidegger decisively rejects, including (and sometimes even more harshly) in Hölderlin's Hymn "The Ister." [ABSTRACT FROM AUTHOR]

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El presente texto busca poner en evidencia las relaciones intertextuales que existen entre el mito de Antígona y otros relatos —audiovisuales, fotográficos y teatrales— con el fin de ir desentrañando la potencia vital de sus protagonistas. El legado del arquetipo de Antígona se hace presente en los hipertextos como una fuerza desobediente a los mandatos oficiales, una figura femenina que se resiste a la injusticia y al orden patriarcal impuesto por las leyes de la ciudad de Tebas. El documental Nostalgia de la luz del chileno Patricio Guzmán, la obra de teatro uruguaya Antígona Oriental de Volker Lösch y Marianella Morena y el Siluetazo realizado por las Madres de Plaza de Mayo en compañía de tres artistas visuales serán las obras que nos permitirán aproximarnos a la figura de Antígona desde los testimonios de las mujeres que perdieron a sus hermanos, padres e hijos —descendientes de Polinices— en el marco de las dictaduras de los años setenta en el Cono Sur.

En el presente artículo nos proponemos realizar un análisis de diversas reescrituras que desde Latinoamérica se han realizado a partir del texto Antígona de Sófocles, tomando como corpus de análisis: Antígona Vélez (1951-Argentina) de Leopoldo Marechal, Antígona furiosa (1986-Argentina) de Griselda Gambaro, La pasión según Antígona Pérez (1968-Puerto Rico) de Luis Rafael Sánchez, Antígona (1999- Perú) de José Watanabe, Antigonón. Un contingente épico (2013-Cuba) de Rogelio Orizondo y Antígonas. Tribunal de mujeres (2014-Colombia) de Carlos Satizabal. Partimos del supuesto de que este teatro acude a esta reescritura como una forma de repensar los pasados y presentes nacionales y, en especial, como una manera de no olvidar las experiencias muchas veces traumáticas que estos territorios han experimentado.

Nas tragédias de Sófocles, os personagens são responsáveis por seu destino: a Fortuna atua, mas os heróis concorrem para que o mesmo se cumpra e se realize. A tragédia de Antígona, encenada em 441 a.C, revela a escolha livre que a protagonista tomou como resolução: apesar do édito proibitório de Creonte, resolve, embora sabendo que vai morrer por dar sepultura a seu irmão Polinice. Percebemos, portanto, a oposição de duas normas jurídicas: athemistía, a ilegalidade de uma decisão representada em Creonte, que representa uma pólis especial, a pólis sofística, em contraposição a thémis ou nómos, inserida na decisão de Antígona. Sob tal embate, o presente artigo procura analisar juridicamente a obra Antígona. Buscamos compreender a luta entre o direito natural e positivo.

Este artículo analiza el potencial didáctico de la tragedia griega como recurso docente en Educación Primaria en España, a través de la obra “Antígona” de Sófocles, desde un enfoque de mejora de las competencias sociales y cívicas. La originalidad de este estudio reside en la hipótesis de que la inclusión en el aula de la tragedia griega a edades tempranas, permitiría al alumnado valorar la herencia cultural griega en el presente, así como comenzar a madurar el pensamiento crítico, a través de la identificación de problemáticas sociales derivadas de la guerra, la represión, la esclavitud, la injusticia o las desigualdades. Se efectúa un análisis comparativo entre las exigencias curriculares en cuestiones cívicas y las competencias que alcanzaría el alumnado incluyendo la tragedia griega en el ámbito escolar.

En esta contribución, queremos examinar el concepto de hermandad desarrollado por María Zambrano en su obra de teatro La tumba de Antígona. En el largo prólogo, que tiene entidad de texto independiente, se pone énfasis en la heroína como la hermana que se sacrifica y que en la soledad llega a asumir la plenitud de su ser. En la tragedia, que empieza cuando la joven ya ha sido condenada, Ismene y Antígone, al contrario del modelo de Sofocles, están unidas. Antígona no hace distinciones entre Eteocles y Polínices y les reprocha su falta de hermandad. Polínices lanza entonces la utópica visión de la “ciudad de los hermanos” en la que no existen ni padres ni hijos y no hay lugar para el sacrificio. Aunque al final de la obra, la protagonista es llevada a la tierra prometida del amor, tenemos motivos para considerar que esta no coincide con la “ciudad de los hermanos”, ni en la dimensión personal, ni en la política. Los valores de libertad, igualdad y fraternidad los viven ya Antígona e Ismene. La ciudad deseada por Zambrano, ¿no sería “la ciudad de las hermanas”?

A partir del ejemplo de la versión cinematográfica de la Antígona de Sófocles realizada por Giorgos Tzavellas en 1961, una película que hizo gala de una supuesta fidelidad para con la obra original al apartarse del espíritu y la estética del denominado cine péplum, en este trabajo abordaremos la dificultad de adaptar al medio cinematográfico una tragedia ática. Reflexionaremos, asimismo, sobre la revisitación de los clásicos, y consideraremos el asunto de la fidelidad estableciendo una analogía con las interpretaciones historicistas de la música antigua.

Antígona, de Sófocles, escrita por volta de 441-440 a.C. é a tragédia mais estuda e interpretada da história do teatro clássico. São diversos os ângulos interpretativos e de análise que a 2500 a.C. desafiam os exegetas e estudiosos das diversas áreas do conhecimento humano. A forma como a peça é, interpretativamente, recebida varia conforme os interesses do tempo no qual ela é estudada e encenada. Objetiva-se, nesse trabalho, por meio de uma análise hermêutico-dialética de revisão de literatura, apresentar possíveis impactos que o descumprimento da lei civil que impedia a jovem princesa Antígona a oportunizar um sepultamento digno a seu irmão, Polinice, possui para a formação de um ethos educativo e emancipador de cidadãos que busquem na sua práxis a plena justiça social, diante de leis tecidas pela lógica excludente de um poder de estado que almeja apenas se perpetuar no poder. Os personagens principais são analisados e contextualizados à luz da compreensão de um ethos formativo que priorize a lógica da justiça em detrimento da lógica fria da lei jurídica. Conclui-se que o interdito de Creonte, ainda, está vivo em nosso tempo, e a educação é um dos principais instrumentos, para transformar o status quo que vitimiza, injustamente, muitas pessoas em nome de uma razão de estado divorciada de princípios ético-morais.

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)