Tina Chanter and Sean D. Kirkland (Edd.), The Returns of Antigone, New York 2014.

Charles Freeland, Antigone, in her Unbearable Splendor. New Essays on Jaques Lacan’s The Ethics of Psychoanalsysis, New York 2013.

Tina Chanter, Whose Antigone? The Tragic Marginalization of Slavery, New York 2011.

Rose Duroux and Stephanie Urdician (Edd.), Les Antigones contemporaines: de 1945 à nos jours, Clermont-Ferrand 2010.

Barbara Goff and Michael Simpson (Edd.), Crossroads in the Black Aegean: Oedipus, Antigone, and Dramas of the African Diaspora, Oxford 2008.

Hans-Thies Lehmann, "Tragödie und postdramatisches Theater“, in: Bettine Menke and Christoph Menke (Edd.), Tragödie – Trauerspiel – Spektakel, in the series Recherchen, vol. 38, Berlin 2007.

Hans-Thies Lehmann, Tragödie und Dramatisches Theater, Berlin 2013.

Hans-Thies Lehmann, op.cit., 2007, p. 219.

S.E. Wilmer and Audronė Žukauskaitė (Edd.), Interrogating Antigone in Postmodern Philosophy and Criticism, Oxford 2010.

Erin B. Mee and Helen P. Foley (Edd.), Antigone on the Contemporary World Stage, Oxford 2011.

G.W.F. Hegel, “Die konkrete Entwicklung der dramatischen Poesie und ihrer Arten”, in: G.W.F. Hegel, Vorlesungen über die Ästhetik III, edd. Eva Moldenhauer and Karl M. Michel, in the series Georg Wilhelm Friedrich Hegel: Werke, vol. 15, Frankfurt am Main 1986.

Georg Steiner, Antigones, Oxford/New York 1984.

Françoise Meltzer, “Theories of Desire: Antigone Again”, in: Critical Inquiry 37 (2), 2011, p. 169.

Jaques Lacan, The Ethics of Psychoanalysis: 1959–1960, edd. Jacques Alain-Miller and Dennis Porter, in the series The Seminar of Jaques Lacan, vol. VII, New York 1991.

Luce Irigaray, Speculum de l’Autre Femme, Paris 1978.

Judith Butler, Antigone’s Claim, New York 2000.

Jacques Derrida, Glas, edd. John P. Leavy Jr. and Richard Rand, Lincoln/London 1986.

Cecilia Sjöholm, The Antigone Complex; Ethics and the Invention of Feminine Desire, Redwood City 2004.

Bernard Stiegler, Uncontrollable Societies of Disaffected Individuals, Cambridge/Malden 2013, pp. 30–50.

Christiane Zimmermann, Der Antigone-Mythos in der antiken Literatur und Kunst, Tübingen 1993, pp. 89–92.

Lutz Walther and Martina Hayo (Edd.), Mythos Antigone. Texte von Sophokles bis Hochhuth, Leipzig 2004, p. 27.

Anne Carson, Antigone, London 2015.

Anne Carson and Bianca Stone, Antigonick, Highgreen (Northumberland) 2012.

Lot Vekemans was awarded the Mr. H.G. van der Vies-prijs for Zus van in 2005. For a recent analysis of this performance, see Katharina Pewny, “Das Theater der Anderen: Antigone”, in: Nina Birkner, Andrea Geier and Ute Helduse (Edd.), Spielräume des Anderen: Geschlecht und Alterität im postdramatischen Theater, Bielefeld 2014, pp. 211–222.

Judith Butler, op. cit., 2000, p. 71.

Bruno Latour, Reassembling the Social: An Introduction to Actor-Network-Theory, Oxford 2005, p. 89.

See for instance: Wumi Raji, “Africanizing Antigone: Postcolonial Discourse and Strategies of Indigenizing a Western Classic”, in: Research in African Literatures 36, 4 (2005), pp. 135–154; Steven Wilmer and Audronė Žukauskaitė (Edd.), op. cit., 2010; Tina Chanter and Sean D. Kirkland (Edd.), op. cit., 2014; Barbara Goff and Michael Simpson (Edd.), op. cit., 2008; Astrid Van Weyenberg, The Politics of Adaptation: Contemporary African Drama and Greek Tragedy, Amsterdam 2013.

Tina Chanter and Sean D. Kirkland (Edd.), op. cit., 2014.

Tina Chanter, op. cit., 2011. Whose Antigone? might as well be added to the list of publications dealing with the appropriation of Antigone in an African context, since Chanter also discusses African adaptations such as Òsófisan’s Tègònni.

Anne Carson and Bianca Stone, op. cit., 2012.

Bonnie Honig, Antigone Interrupted, Cambridge/New York 2013.

Michel Foucault, Society Must Be Defended: Lectures at the Collège de France, 1975–1976, New York 1997.

Judith Butler, Frames of War. When is Life Grievable?, London/New York 2009.

See Philosophy Performance website: http://performancephilosophy.ning.com/about, which at the time of the proofs of this paper had almost 2200 members. For my own contributions to this research focus, see in particular Freddie Rokem, Philosophers and Thespians: Thinking Performance, Stanford 2010. I have also explored some of the basic principles of logic and tragedy in my article "The Logic of/in Tragedy: Hanoch Levin’s Drama The Torments of Job", in: Modern Drama 56, 4 (Winter 2013), pp. 521–539. This issue of Modern Drama is devoted to "Drama and Philosophy".

Bertolt Brecht, Brecht Collected Plays, vol. 8, edd. Tom Kuhn and David Constantine, London 2003, p. 204. In the first edition of Antigonemodell 1948, Brecht and Neher were given the credits as authors while it says “Redigiert von Ruth Berlau”. It was published by Gebrüder Weiss (Berlin) in 1949. There is also a radically edited Suhrkamp edition of the Antigonemodell 1948 (Bertolt Brecht, Brechts Antigone des Sophokles, ed. Werner Hecht, Frankfurt am Main 1988), where many of the Berlau photos of the production appear, but far from the amount in the 1949 publication, which was later published again by Henscherverlag (Berlin) in 1955 in a different format.

Bertolt Brecht, op. cit., 2003, p. 203.

Id., p. 205.

I am referring to Walter Benjamin’s formulation in "The Concept of History" that "[t]he tradition of the oppressed teaches us that the ’state of exception’ in which we live is the rule. We must arrive at a concept of history which corresponds to this. Then it will become clear that the task before us is the introduction of a real state of exception; and this will improve our position in the struggle against Fascism. Not the least reason that the latter has a chance is that its opponents, in the name of progress, greet it as a historical norm. – The amazement that the things we are experiencing in the 20th century are ’still’ possible is not philosophical. It is not the beginning of knowledge, unless it would be the knowledge that the idea of history on which it rests is untenable." I have used the translations of Dennis Redmond on http://members.efn.org/~dredmond/ThesesonHistory.html (accessed 25.04.2014) as well as by Harry Zohn in Walter Benjamin, Selected Writings, vol. 4, Cambridge (Mass.) 2003, p. 392, to create what I hope is a reliable version of Benjamin’s text.

Samuel Weber, Theatricality as Medium, New York 2004, pp. 124–125.

This is the translation suggested by Judith Butler, Antigone’s Claim: Kinship between Life and Death, New York 2000, p. 8.

Samuel Weber, op.cit., 2004, p. 125.

Laurence R. Horn, “Contradiction”, on: Stanford Encyclopedia of Philosophy, http://plato.stanford.edu/entries/contradiction/ (accessed 27.12.2012).

Aristotle, Poetics, ed. S.H. Butcher, chapter 7, on: http://classics.mit.edu/Aristotle/poetics.1.1.html, (accessed 10.11.2012).

According to Christopher Shields: "In Aristotle’s logic, the basic ingredients of reasoning are given in terms of inclusion and exclusion relations […]. He begins with the notion of a patently correct sort of argument, one whose evident and unassailable acceptability induces Aristotle to refer to is as a ‘perfect deduction’ (APr. 24b22–25). Generally, a deduction (sullogismon), according to Aristotle, is a valid or acceptable argument. More exactly, a deduction is ‘an argument in which when certain things are laid down something else follows of necessity in virtue of their being so’ (APr. 24b18–20)". And, adds Shields, “a deduction is the sort of argument whose structure guarantees its validity, irrespective of the truth or falsity of its premises” (Christopher Shields, “Aristotle: Logic”, on: The Stanford Encyclopedia of Philosophy, http://plato.stanford.edu/entries/aristotle/#RheArt, accessed 15.12.2012).

Laurence R. Horn, op.cit., accessed 27.12.2012.

Quoted from “The Ode to Man in Sophocles’ Antigone” in: Martin Heidegger, An Introduction to Metaphysics, New Haven 1959 (first published 1953), pp. 86–87.

Martin Heidegger, op. cit., 1959 (1953), p. 89.

Martin Heidegger, Hölderlin’s Hymn ‘The Ister’, Bloomington (Indiana) 1996 (first published in 1984), p. 61.

Id., pp. 61–62.

Id., p. 62.

Id., p. 63.

Id., p. 74.

Bertolt Brecht, op. cit., 2003, p. 17. In German: “Ungeheuer ist viel. Doch nichts / Ungeheuer als der Mensch. / Denn der, über die Nacht / Des Meers, wenn gegen den Winter wehet / der Südwind, fähret era us / In geflügelten sausenden Häusern” (Bertolt Brecht, op. cit., 1988, p. 86).

Bertolt Brecht, op. cit., 2003, p. 18.

Sophocles, The Three Theban Plays, edd. Robert Fagles and Bernard Knox, New York 1984, p. 77. In the translation by Richard C. Jebb, the last sentence of the second strophe is: "only against Death shall he call for aid in vain; but from baffling maladies he hath devised escapes” (Sophocles, Antigone, ed. Richard C. Jebb, on: http://classics.mit.edu/Sophocles/antigone.html, accessed 31.01.2015).

Sophocles and Friedrich Hölderlin, Hölderlin’s Sophocles: Oedipus & Antigone, ed. David Constantine, Highgreen (Northumberland) 2001, p. 81. It is unclear exactly where the section in parenthesis fits in. In the translation by Jebb, the second antistrophe begins with: "Cunning beyond fancy’s dream is the fertile skill which brings him, now to evil, now to good" (Sophocles, op.cit.).

Bertolt Brecht, op. cit., 2003, p. 18. The German original of the passage from “Always he knows” to “as his own” is: "Überall weiß er Rat / Ratlos trifft ihn nichts. / Dies alles ist grenzlos ihm, ist / Aber ein Maß gesetzt. / […] / Der nähmlich keinen findet, zum eigenem / Feind wirft er sich auf"; the passage from “By himself alone” to “He becomes to himself” is in German: "Nicht den Magen / Kann er sich füllen allein, aber die Mauer / Setzt er ums Eigene, und die Mauer / Niedergerissen muß sie sein! Das Dach / Geöffnet dem Regen! Menschliches / Achtet er gar für nichts. So, ungeheur / Wird er sich selbst" (Bertolt Brecht, op. cit., 1988, p. 88).

Bertolt Brecht, op. cit., 2003, p. 19. The belting is depicted in Bertolt Brecht and Caspar Neher, Antigonemodell 1948, ed. Ruth Berlau, Berlin 1949, p. 18.

Bertolt Brecht, Brecht’s Antigone des Sophocles, Suhrkamp 1988, Berlin, p. 100.

Ibid.

Bertolt Brecht, op. cit., 2003, p. 23. It is interesting to compare this translation in the Methuen edition with the translation of the same passage in the chapter on Antigone in Barton Byg, Landscapes of Resistance. The German Films of Danièle Huillet and Jean-Marie Straub, Berkeley/Los Angeles/London 1995: "It’s false. Earth is a burden. Home is not only / Earth, not house only. Not where one has poured out sweat / Not the house that helplessly sees the approaching fire / Not where he bowed his neck, not that calls he home" (http://publishing.cdlib.org/ucpressebooks/view?docId=ft4m3nb2jk;query=;brand=ucpress, note 27 in “Antigone” chapter, p. 220, accessed 29.08.2014).

Mutter Courage und ihre Kinder (DEFA-Film 1959/60), after the production by Bertolt Brecht and Erich Engel at the Berliner Ensemble, directed by Peter Palitzsch and Manfred Wekwerth.

Bertolt Brecht, Collected Plays, vol. 5, ed. Ralph Manheim, New York 1972, p. 136.

See my article: Freddie Rokem, “Scenographic Paradigms: Some principles of perception and interpretation”, in: Performance Research: A Journal of the Performing Arts 18,3 (2013), pp. 75–83.

Bertolt Brecht, "Antigone Model 1948", in: Bertolt Brecht, Brecht on Performance: Messingkauf and Modelbooks, edd. Tom Kuhn et al., London 2014, p. 167.

The notion of ‘organizing the scene’ refers to the beginning of Jacques Derrida’s critical interpretation of Hegel’s Antigone adaptation to establish his method of dialectical gradation towards the idea of the spirit as true ethic life. See Jacques Derrida, GLAS, Munich 2006, p. 159.

I am of course aware of the legacy of literature on this issue and I do not want to claim that this is an original idea. See e.g. Freddie Rokem. Philosophers and Thespians. Thinking Performance, Stanford 2009. See also Jean-Luc Nancy, “Theater als Kunst des Bezugs 1”, in: Marita Tatari (Ed.), Orte des Unermesslichen. Theater nach der Geschichtsteleologie, Berlin 2014, p. 95.

See Alexander Ferrari di Pippo, “The concept of Poiesis in Heidegger’s An Introduction to Metaphysics”, in: David Shikiar (Ed.), Thinking Fundamentals. IWM Junior Visiting Fellows Conferences, vol. 9, Vienna 2000, p. 33.

Walter Benjamin, The Origin of German Tragic Drama, London/New York 2003, p. 115, referring to: Jackob Burckhardt, Griechische Kulturgeschichte, vol. IV, ed. Oeri Von Jacob, Berlin/Stuttgart 1902, pp. 2–3.

Walter Benjamin, op. cit., 2003, p. 116.

Ibid., with reference to: Kurt Latte, Heiliges Recht. Untersuchungen zur Geschichte der sakralen Rechtsformen in Griechenland, Tübingen 1920.

Walter Benjamin, “Critique of Violence”, in: Walter Benjamin, Reflections: Essays, Aphorisms, Autobiographical Writings, ed. Peter Demetz, New York 1986, pp. 277–300.

Christoph Menke, Recht und Gewalt, Berlin 2012, p. 8.

Aristotle, The Poetics of Aristotle, ed. Samuel Henry Butcher, on: http://books.ebooklibrary.org/members/penn_state_collection/psuecs/poetics.pdf, 2005 (1902), p. 15.

Christoph Menke, op. cit., 2012, p. 9. It is worth mentioning here that Menke contends that in tragedy – and this is another reason why tragedy is the genre of law – there are always two people needed on the scene. The history of tragedy starts with Aeschylus raising the number of actors from one to two (id., p. 21).

Id., p. 23.

Sophocles, “Antigone”, ed. E.H. Plumptre, in: Charles W. Eliot (Ed.), The Harvard Classics Vol. 8: Nine Greek Dramas, part 6, on: http://www.bartleby.com/8/6/antigone.pdf, 2001 (1909–14), p. 8.

Nancy stresses the indifference of Greek tragedy and especially of Antigone towards the idea of sacrifice. Tragedy is about death as an entrance to another order, into myth (Jean-Luc Nancy, op. cit., 2014, p. 11).

Walter Benjamin, op. cit., 1986, p. 299.

Jacques Derrida, Specters of Marx, New York/London 1994, p. 16.

Ibid.

I put this abbreviated formula for the whole complex of Derrida’s challenge to comprehend and undermine the discourse of and about ‘the end’. See e.g. Jacques Derrida, op. cit., 1994, p. 10: “Staging [the spectre] for the end of history. Let us call it a hauntology. This logic of haunting would not be merely larger and more powerful than an ontology or a thinking of Being (of the ‘to be’, assuming that it is a matter of Being of the ‘to be’, but nothing is less certain)”.

Jean-Luc Nancy, op. cit., 2014, p. 95.

Aristotle, op. cit., 2005 (1902), pp. 12–15.

Jean-Luc Nancy, op. cit., 2014, p. 95.

Alexander Ferrari di Pippo, op. cit., 2000, p. 2.

Philippe Lacoue-Labarthe, Die Nachahmung der Modernen. Typographien II, Basel 2003, p. 45.

George Steiner, Die Antigonen. Geschichte und Gegenwart eines Mythos, München 1990, pp. 20–21.

Philippe Lacoue-Labarthe, op. cit., 2003, p. 34.

George Steiner, op. cit., 1990, p. 4.

Philippe Lacoue-Labarthe, op. cit., 2003, p. 55

See also Jacques Derrida, op. cit., 2006, p. 159.

Philippe Lacoue-Labarthe, op. cit., 2003, p. 42.

Id., p. 39. It is worth mentioning here that Hayden White in his book Metahistory – The historical imagination in the 19^th century (Baltimore 1973) insists on the comical perspective of Hegel’s “tragic concept of history”. According to his extensive interpretation, the idea of reconciliation is based on the significance of the human comedy for Hegel’s construction of the historical process as “happy end”. (In the German version: Hayden White, Metahistory. Die historische Einbildungskraft im 19. Jahrhundert in Europa, Frankfurt am Main 1991, pp. 111–176, especially pp. 156–163, “Von der Tragödie zur Komödie”).

Heidegger, on his part, described the difference between Hegel and Hölderlin in the following way: “[While] Hegel looks backward and closes up, Hölderlin gazes forwards and opens up” (Martin Heidegger, Introduction to Metaphysics, New Haven/London 2000, p. 133).

Lacoue-Labarthe, op. cit., 2003, p. 67.

Id., p. 52.

Id., p. 60.

Id., p. 67. Hölderlin proposes to do that at a point where the dialectical structure of the tragedy is confirmed by an empty articulation – a break or caesura – and postpones the catastrophic turning in terms of active neutrality, e.g. in Antigone the entrance of Tiresias, which is the entrance of prophetic speech.

Id., p. 68.

Alexander Ferrari di Pippo, op. cit., 2000, p. 5.

Martin Heidegger, op. cit., 2000, p. 124.

See Michael Theunissen, Sein und Schein. Die kritische Funktion der hegelschen Logik, Frankfurt am Main 1994, p. 15. Here, he affirms that for Hegel the science of logics was the utmost metaphysics.

Alexander Ferrari di Pippo, op. cit., 2000, p. 26.

Martin Heidegger, op. cit., 2000, p. 154.

Philippe Lacoue-Labarthe, Poetik der Geschichte, Berlin 2004, p. 15.

Martin Heidegger, op. cit., 2000, p. 156.

Id., p. 161.

Sophocles, op. cit., 2001 (1909–14), pp. 10–11.

Martin Heidegger, op. cit., 2000, p. 158.

Id., p. 131.

Id., p. 132.

Id., p. 135.

Id., p. 140.

Id., p. 137.

Id., p. 141.

Id., p. 139. This is a quote of Heraclitus in Heidegger.

Ibid.

See Jean-Luc Nancy, op. cit., 2014: it is mediated by the spoken word and directed towards listeners.

Martin Heidegger, op. cit., 2000, p. 156.

Sophocles, op. cit., 2001 (1909–14), p. 10.

Martin Heidegger, Einführung in die Metaphysik, Tübingen 1998, p. 112.

Ernst G. Sandvoss, Die Wahrheit wird euch frei machen: Sokrates und Jesus, München 2001, p. 71.

Martin Heidegger, op. cit., 2000, p. 159.

Id., p. 160.

Id., p. 161.

See the translator’s footnote 64 in Jacques Derrida, op. cit., 1994, p. 171: “The usual translation of diké is “justice” (in German, Gerechtigkeit). The word Fug nowadays is used today only in stock phrases such as mit Fug und Recht (quite rightfully, quite properly). It is related to Fuge (joint, fugue), Gefüge (structure), Fügung (arrangement [but also ‘destiny’, KR]), fügen (enjoin, dispose), sich fügen (compel [also ‘obey’, KR]), einfügen (fit into, fit in) and verfügen (have at its disposal)”.

Martin Heidegger, op. cit., 2000, p. 171.

Ibid.

Id., p. 170.

Id., p. 189.

See Derrida’s considerations of the problem of Heidegger’s notion of polemos in the context of his rectorship at the University of Freiburg at the beginning of the Nazi regime in Germany. He shines a special light on the homologies that Heidegger makes with the notion of philia. Derrida concludes that Heidegger, at the end, warned that the Germans did not listen to the poetry of Hölderlin and therefore also deaf to his sacrifice (Jacques Derrida, Heidegger’s Ear. Philopolemology. (Geschlecht 4), Bloomington/Indianapolis 1989).

Jacques Derrida, op. cit., 1994, p. 26.

Id,. p. XVII.

Id., p. XVIII.

Id., p. 17.

See the epigraph at the very beginning of this article.

Derrida is not directly referring to the comment on Antigone in the Introduction to Metaphysics, but to the same considerations about diké that Heidegger repeated in “The Anaximander Fragment”, in: Martin Heidegger, Early Greek Thinking. The Dawn of Western Philosophy, New York 1975.

Jacques Derrida, op. cit., 1994, p. 31.

Id., p. 34.

Id., p. 33.

See Jacques Derrida, The Politics of Friendship, London 2003, and Of Spirit: Heidegger and the Question, Chicago 1989. Here, he further develops the questions dealing with justice as a gift and a project of deconstruction through the notion of philia.

Jacques Derrida, op. cit., 1994, p. 63.

Aristotle, Physics: Book II, ed. William Charlton, Oxford 1984, p. 8, 199a.

Sophocles, "Antigone", in: Sophocles, I: Oedipus the King/Oedipus at Colonus/ Antigone, by Sophocles, ed. F. Storr, Cambridge (Mass.)/London 1981, pp. 340–341.

Sophocles, “Antigone”, edd. Michael Holzinger and K.W.F. Sorger, Berlin 2013, l. 332.

Walter Benjamin, "Zur Kritik der Gewalt", in: Walter Benjamin, Zur Kritik der Gewalt und andere Aufsätze, Frankfurt am Main 1965, pp. 29–77.

Isabel Capelao Gil, "L’automne d’Antigone. Le mythe grec et le ’deutscher Herbst’ (1977)", in: Rose Duroux and Stéphanie Urdician (Edd.), Les Antigones contemporaines (de 1945 à nos jours), Clermont-Ferrand 2010, pp. 307–319.

Erika Fischer-Lichte, "Politicizing Antigone", in: S.E. Wilmer and Audrone Zukauskaite (Edd.), Interrogating Antigone in Postmodern Philosophy and Criticism, Oxford 2010, pp. 329–345.

Carl Schmitt, Der Begriff des Politischen, Berlin 1963 (originally published in 1932).

Erika Fischer-Lichte, op. cit., 2010, pp. 345–351.

Hannah Arendt, The Human Condition, Chicago 1958, p. 187.

Id., p. 188.

Margherita Laera, Reaching Athens. Community, Democracy and Other Mythologies in Adaptations of Greek Tragedy, Bern 2013, pp. 210–215.

Hannah Arendt, On Revolution, New York 1963, pp. 126–128.

Cecilia Sjöholm, "Naked Life; Arendt and the Exile at Colonus", in: S.E. Wilmer and Audrone Zukauskaite (Edd.), Interrogating Antigone in Postmodern Philosophy and Criticism, Oxford 2010, p. 51.

Id., p. 52.

Hannah Arendt, "We Refugees", in: Marc Robinson (Ed.), Altogether Elsewhere. Writers on Exile, San Diego 1996, pp. 118.

Cecilia Sjöholm, op. cit., 2010, p. 66.

Hans Kelsen, Reine Rechtslehre, Vienna 1960, pp. 196–227.

Bonnie Honig, Political Theory and the Displacement of Politics, Ithaca/London 1993, pp. 98–99.

Judith Butler, Antigone’s Claim. Kinship between Life and Death, New York 2000, pp. 38–39.

Bonnie Honig, Antigone, Interrupted, Cambridge 2013, p. 196.

Id., pp. 100–101.

Nicole Loraux, L’invention d’Athènes. Histoire de l’oraison funèbre dans la ‘cité classique’, Paris 1983.

Thucydides, History of the Peloponnesian War, Books I and II, ed. Charles Forster Smith, Cambridge (Mass.)/London 2003, pp. 316–347.

Bonnie Honig, op. cit., 2013, pp. 102–103.

Bonnie Honig, "Antigone’s Lament, Creon’s Grief: Mourning, Membership, and the Politics of Exception", in: Political Theory (2009), p. 26.

Bonnie Honig, op. cit., 2013, p. 115.

Klaas Tindemans, “De geboorteakte van de tragische held”, in: Frank Fleerackers (Ed.), Mens en recht. Essays tussen rechtstheorie en rechtspraktijk, Leuven 1996, pp. 385–402.

Bertolt Brecht, The Messingkauf Dialogues, ed. John Willett, London 1994, pp. 76–77.

Florence Dupont, Aristote, ou, Le vampire du théâtre occidental, Paris 2007, pp. 39–61.

Nicole Loraux, Les Enfants d’Athéna. Idées athéniennes sur la citoyenneté et la division des sexes, Paris 1990, p. 71.

Florence Dupont, L’insignifiance tragique, Paris 2001, pp. 11–29.

Florence Dupont, op. cit., 2007, pp. 261–302.

Id., pp. 290–293.

Sophocles, op. cit., 1981, pp. 384–385 (ll. 909–915).

Johann Wolfgang von Goethe, Conversations of Goethe with Eckermann and Soret, ed. John Oxenford, Whitefish (Mont.) 2005, p. 227.

Herodotus, The History of Herodotus, ed. G.C. Macaulay, Book 3, paragraph 119, on: http://www.gutenberg.org/files/2707/2707-h/2707-h.htm#link32H_4_0001 (accessed 08.05.2015).

Bonnie Honig, op. cit., 2013, pp. 132–140.

Sophocles, op. cit., 1981, pp. 382–383 (ll.883–890).

Cornelius Castoriadis, "La ’polis’ grecque et la création de la démocratie", in: Cornelius Castoriadis (Ed.), Domaines de l’homme. Les carrefours du labyrinthe 2, Paris 1986, p. 376.

Id., p. 378.

Id., pp. 379–382.

Michel Foucault, "Discourse and Truth: the Problematization of Parrhesia", ed. J. Pearson, 1999, on: http://foucault.info/documents/parrhesia/index.html (accessed 09.03.2015), lecture 1: “The meaning of the word ‘parrhesia’”.

Klaas Tindemans, "‘And no one knows whence they appeared.’ Sophocles’ Antigone and the setting of the law", in: Current Legal Theory (1994), pp. 25–37.

This is my own translation of Sophocles, op. cit., 1981, p. 348 (l. 457).

Tina Chanter, Whose Antigone? The Tragic Marginalization of Slavery, Albany 2011, pp. 61–74.

This text is the result of research within the framework of the project Unnatural Natures: Technoscientific and Artistic Performances in the 19th and 20th Centuries (Sztuczne natury: performanse technonaki i sztuki w XIX i XX wieku), conducted at the Polish National Science Center (2012/07/B/HS2/01295).

Judith Butler, Antigone’s Claim. Kinship Between Life and Death, New York 2000.

Id., p. 2.

Id., p. 24.

Id., p. 25.

Id., p. 71.

Hélène Cixous, Le Nom d’Oedipe. Opéra tire de Chant du corps interdit, Paris 1978.

Id., p. 56.

Id., p. 14.

Judith Butler, op. cit., 2000, p. 24.

Gayle Salamon, Assuming a Body: Transgender and Rhetorics of Materiality, New York 2010, especially pp. 131–144.

Aristotle, The Complete Works of Aristotle. The Revised Oxford Translation, vol. 1, ed. Jonathan Barnes, Princeton (New Jersey) 1984, p. 360.

Judith Butler, op. cit., 2000, p. 1.

Bruno Latour, Reassembling the Social: An Introduction to Actor-Network-Theory, Oxford 2005.

Id., p. 89.

Id., p. 46.

Bruno Latour, An Inquiry into Modes of Existence: An Anthropology of the Moderns, Cambridge 2013.

In his recent writings, Latour takes into account examples of popular culture, such as James Cameron’s movie Avatar and the TV series Star Trek. Latour’s latest book on the climate crisis and the concept of Gaia, refers at several instances to Game of Thrones, analyzing the declarations of identity, the objectives and the politic decisions that drive the protagonists’ struggle for power as points of departure for constructing a future peace. See Bruno Latour, Face à Gaȉa. Huit conférences sur le Nouveau Régime Climatique, Paris 2015, especially chapter 5, “Comment convoquer les différents peuples (de la nature)?”.

Bruno Latour, We Have Never Been Modern, Cambridge 1993.

Steven Shapin and Simon Schaffer, Leviathan and the Air Pomp: Hobbes, Boyle and the Experimental Life, Princeton 2011.

Bruno Latour, op. cit., 1993, pp. 18–22.

Jean-Pierre Vernant and Pierre Vidal-Naquet, Myth and Tragedy in Ancient Greece, New York 1998, pp. 113–140 (the chapter “Ambiguity and Reversal: On the Enigmatic Structure of Oedipus Rex”).

The argument I develop in this essay, which I explore at greater length in Tina Chanter, Whose Antigone? The Tragic Marginalization of Slavery, New York 2011, is as much a reworking of my own earlier readings of the figure of Antigone as it is of interpretations of others.

Jacques Lacan, The Ethics of Psychoanalysis 1959–1960: The Seminar of Jacques Lacan, vol. VII, ed. Jacques-Alain Miller, London/New York 1992.

Jacques Derrida, Glas, Lincoln (Nebraska) 1986, pp. 133–134.

Derrida suggests that Hegel’s relationship with his sister, to whom he was very close, informs his reading of Antigone.

Judith Butler, Antigone’s Claim: Kinship Between Life and Death, New York 2000; Luce Irigaray, Speculum of the Other Woman, Ithaca (New York) 1985.

I develop the following argument in more detail in Tina Chanter, “Exhuming the Remains of Antigone’s Tragedy: The Encryption of Slavery”, in: Alistair Welchman (Ed.), Politics of Religion/Religions of Politics, Dordrecht/Heidelberg/New York/London 2015, pp. 143–170.

Seamus Heaney, The Burial at Thebes: A version of Sophocles’ Antigone, New York 2004; Fémi Òsófisan, Tègònni: an African Antigone, Abuja 1999; The Island, in: Athol Fugard, John Kani and Winston Ntshona, Statements, Oxford 1974.

Orlando Patterson, Slavery and Social Death: A Comparative Study, Harvard 1982.

G.W.F. Hegel, Phenomenology of Spirit, ed. A.V. Miller, Oxford 1979, p. 288; G.W.F. Hegel, Phänomenologie des Geistes, ed. J. Hoffmeister, Hamburg 1952, p. 340.

G.W.F. Hegel, Hegel’s Aesthetics: Lectures on Fine Art, vol. 1, ed. T.M. Knox, Oxford 1988, pp. 208–211; G.W.F. Hegel, Vorlesungen über die Ästhetik, vol. 2, Frankfurt am Main 1970, pp. 272–275.

In his Aesthetics, Hegel engages in a somewhat tortuous explanation as to why slavery is an inappropriate topic for tragedy. His argument is intriguing on several different levels, as an attempt to negotiate between a Platonic and Aristotelian response to tragic poetry, as an interpretation of Greek tragic heroes, as a reflection on the role of tragedy as a commentary on the transition from Sittlichkeit to Moralität in a society that is transforming from a pre-legal to a law based one, and as a defensive reaction to thinking through the significance of new world slavery and colonialism. Tragic heroes are interpretations of the statues of gods. Their ethical rigidity and inflexibility are reflections of Greek statuary. Hegel’s account, which aligns Antigone with the old order of divinities, and Creon with the new, also manages to infuse Antigone with racialized traits that construe her as on the brink of civilization. Hegel’s attitude towards the ethos of the Greeks is ambivalent. Laudable in bearing unwavering responsibility even for events over which they had no control (e.g. Oedipus accepting responsibility for his unwitting marriage of his mother and murder of his father), yet unsophisticated in their failure to distinguish voluntary from involuntary acts, Greek tragic heroes stand, for Hegel, as both political and moral precursors to nineteenth-century Europe, and as that which modern Europe, allegedly, surpasses in moral sophistication.

Jacques Derrida, “Geschlecht II: Heidegger’s Hand”, in: John Sallis (Ed.), Deconstruction and Philosophy: The Texts of Philosophy, Chicago 1987, p. 162.

Jean-Pierre Vernant, Myth and Society in Ancient Greece, New York 1990, p. 67. Others have pointed out that the law did not so much concern marriage as such, but only stipulated that one’s parents on both sides should be Athenian in order for the claim of an Athenian to be considered legitimate.

William Blake Tyrrell and Larry Bennett, Recapturing Sophocles’ Antigone, Lanham (Maryland) 1998, p. 114.

Sheila Murnaghan, “Antigone and the Institution of Marriage”, in: The American Journal of Philology 107 (1986), pp. 198–206.

William Blake Tyrrell and Larry Bennett, op. cit., 1998, p. 115.

G.W.F. Hegel, op. cit., 1979, p. 275; G.W.F. Hegel, op. cit., 1952, p. 327.

See Alan L. Boegehold, “Perikles’ Citizenship Law of 450/1 BC”, in: Alan L. Boegehold and Adele C. Scafuro (Edd.), Athenian Identity and Civic Ideology, Baltimore 1994, pp. 57–66. Boegehold dismisses the effort to link the law to racial purity.

William Blake Tyrrell and Larry Bennett, op. cit., 1998, p. 115.

Nicole Loraux, Born of the Earth: Myth and Politics in Athens, Ithaca (New York) 2000.

Nancy Sorkin Rabinowitz, Anxiety Veiled: Euripides and the Traffic in Women, Ithaca (New York) 1993, p. 3.

See Paul Cartledge, The Greeks: A Portrait of Self and Others, Oxford 2002. See also Roger Just, Women in Athenian Law and Life, London/New York 1989.

Plutarch, The Rise and Fall of Athens: Nine Greek Lives, ed. Ian Scott-Kilvert, Harmondsworth 1960, p. 203.

Id., pp. 203–4.

Alan L. Boegehold, op. cit., 1994, p. 57.

Sophocles, Antigone, ed. Andrew Brown, Warminster 1987, l. 569, quoted in: William Blake Tyrrell and Larry Bennett, op. cit., 1998, p. 114.

William Blake Tyrrell and Larry Bennett, op. cit., 1998, p. 114.

Mary Beth Mader, “Antigone’s Line”, in: Bulletin de la société Américaine de philosophie de langue Française 14, 2 (2005), pp. 1–32.

Quoted in William Blake Tyrrell and Larry Bennett, op. cit., 1998, pp. 112–3.

Orlando Patterson, op.cit., 1982.

Paul Cartledge, op. cit., 2002, p. 151. See also Frederick Ahl, Two Faces of Oedipus: Sophocles’ Oedipus Tyrannus and Seneca’s Oedipus, Ithaca (New York) 2008. Consider this in the context of arguments circulating concerning slaves as ensouled property, property barely distinguished from four footed animals, a status that renders the humanity of slaves distinctly questionable (see also Paul Cartledge, op. cit., 2002, pp. 136 and 151).

Paul Cartledge, op. cit., 2002; Edith Hall, Inventing the Barbarian: Greek Self-Definition through Tragedy, Oxford 1989.

Wumi Raji, “Africanizing Antigone: Postcolonial Discourse and Strategies of Indigenizing a Western Classic”, in: Research in African Literatures 36, 4 (2005), pp. 135–154.

G.W.F. Hegel, “The End of Art”, in: Bernard F. Dukore (Ed.), Dramatic Theory and Criticism: From Greeks to Grotowski, New York 1974, p. 540.

Biodun Jeyifo, The Truthful Lie: Essays in a Sociology of African Drama, London 1985, p. 24.

Id., p. 26.

Ibid.

Sophocles, Antigone in Greek Tragedies: Volume I, edd. David Green and Richmond Lattimore, Chicago 1968, p. 226.

Biodun Jeyifo and Fémi Òsófisan, “The African Antigone on the Stages of the New World”, in: Olakunbi Olasope (Ed.), Black Dionysos. Conversations with Femi Osofisan, Ibadan 2013, p. 32.

Ibid.

Frantz Fanon, The Wretched of the Earth, London 1967, p. 29.

Walter Rodney, How Europe Underdeveloped Africa, Abuja/Lagos 2005, p. 178.

All references to Tègònni: An African Antigone (refered to as T) are to Fémi Òsófisan, Tègònni: An African Antigone, Ibadan 2007.

Biodun Jeyifo and Fémi Òsófisan, op. cit., 2013, p. 83.

Ibid.

Biodun Jeyifo and Fémi Òsófisan, op. cit., 2013, p. 39.

Ibid.

Ibid.

Karin Barber, I Could Speak until Tomorrow: Oriki, Women, and the Past in a Yoruba Town, Edinburgh 1991, p. 222.

Id., p. 223.

Biodun Jeyifo, op. cit., 1985, p. 26.

Jacques Derrida, “Différance”, in: Michel Foucault et al., Théorie d’ensemble, Paris 1968, p. 283.

Wumi Raji, “Africanizing Antigone: Postcolonial Discourse and Strategies of Indigenizing a Western Classic”, in: Research in African Literatures 36, 4 (2005), p. 143.

Id., p. 137.

James Gibbs, “Antigone and After Antigone: Some Issues Raised by Fémi Òsófisan’s Dramaturgy in Tègònni”, in: Sola Adeyemi (Ed.), Portraits for an Eagle: Essays in Honour of Fémi Òsófisan, Bayreuth 2006, p. 87.

Id., p. 84.

Id., pp. 84–85.

Id., p. 84.

Barbara Goff, “Antigone’s Boat: The Colonial and the Postcolonial in Tègònni: An African Antigone by Fémi Òsófisan”, in: Sola Adeyemi (Ed.), Portraits for an Eagle: Essays in Honour of Fémi Òsófisan, Bayreuth 2006, p. 119.

Kevin J. Wetmore Jr., The Athenian Sun in an African Sky: Modern African Adaptations of Greek Tragedy, Jefferson (North Carolina) 2002, pp. 170–171.

Amanda Shubert, “Antigonick – Anne Carson”, in: Full Stop (27.06.2012), http://www.full-stop.net/2012/06/27/reviews/amanda/antigonick-anne-carson (accessed 21.11.2014), paragraph 3.

Chelsea Allison, “Book Reviews: Antigonick, Translated by Anne Carson”, in: KGB Bar Lit Magazine, http://kgbbar.com/lit/journal/antigonick (accessed 21.11.2014), paragraph 2.

Id., paragraph 2.

George Steiner, “Anne Carson ‘Translates’ Antigone”, in: The Times Literary Supplement (01.08.2012), http://www.the-tls.co.uk/articles/public/anne-carson-translates-antigone/ (accessed 21.11.2014), paragraph 2.

Id., paragraph 1.

Id., paragraph 7.

Amanda Shubert, op. cit., 27.06.2012, paragraph 4.

Fiona Simpson, “Antigonick, By Anne Carson. The Watch, By Joydeep Roy-Bhattacharya”, in: The Independent (26.05.2012), http://www.independent.co.uk/arts-entertainment/books/reviews/antigonick-by-anne-carsonthe-watch-by-joydeep-roybhattacharya-7785712.html?origin=internalSearch (accessed 21.11.2014), paragraph 3.

Id., paragraph 13.

Rachel Galvin, “Looting”, in: Boston Review (01.03.2013), http://bostonreview.net/poetry/rachel-galvin-looting (accessed 21.11.2014), paragraph 11.

Emily Stokes, “Antigonick by Anne Carson – Review”, in: The Guardian (08.06.2012), http://www.theguardian.com/books/2012/jun/08/antigonick-anne-carson-review (accessed 21.11.2014), paragraph 4.

Rachel Galvin, op. cit., 01.03.2013, paragraph 1.

Id., paragraph 13.

Id., paragraph 14.

All references to Tègònni: An African Antigone (refered to as T) are to Fémi Òsófisan, Tègònni: An African Antigone, Ibadan 2007.

All references to Antigonick (refered to as AN) are to Anne Carson and Bianca Stone, Antigonick, Highgreen (Northumberland) 2012. No pages are mentioned in the original.

Creon’s name is written as “Kreon” in Carson’s text. The author’s spelling will therefore be used when referring to Antigonick in this article. The same applies to the names of Haemon (“Haimon”), Polyneices (“Polyneikes”), Tiresias (“Teiresias”) and Eurydice (“Eurydike”).

For elaboration on the notion of the ‘Other’, see Emmanuel Levinas, Totality and Infinity: An Essay on Exteriority, Dordrecht/Norwell 1991.

Aristotle, Poetics, edd. S.H. Butcher and Richard Koss, Mineola 1997.

For an explanation of the notion of ‘intelligibility’, see Judith Butler, Gender Trouble. Feminism and the Subversion of Identity, New York 1990.

E.g. gender and queer studies, feminism, postcolonial studies, etc.

An impressive amount of publications dealing with the ethical component of (especially) postdramatic theatre can be cited here, such as Helena Greham, Performance, Ethics and Spectatorship in a Global Age, Basingstoke 2009; Dorothea von Hantelmann, How to do Things with Art, Dijon 2010; John Matthews and David Torevell (Edd.), A Life of Ethics and Performance, Newcastle upon Tyne 2011; Katharina Pewny, Das Drama des Prekären: Über die Wiederkehr der Ethik in Theater und Performance, Bielefeld 2011; Benjamin Wihstutz, Der Andere Raum: Politiken sozialer Grenzverhandlung im Gegenwartstheatere, Zürich 2012; Karen Jürs-Munby, Jerome Carroll and Steve Giles (Edd.), Postdramatic Theatre and the Political, London 2013; Guy Cools and Pascal Gielen (Edd.), The Ethics of Art: Ecological Turns in the Performing Arts, Amsterdam 2014; Nina Birkner, Andrea Geier and Urte Helduser (Edd.), Spielräume des Anderen: Geschlecht und Alterität im Postdramatischen Theater, Bielefeld 2014; with Performing Ethos, which released its first issue in 2010, there even exists An International Journal of Ethics in Theatre and Performance.

See Hans-Thies Lehmann, Postdramatic Theatre, New York 2006.

Jacques Derrida, “Letter to a Japanese Friend”, in: Robert Bernasconi and David Wood (Edd.), Derrida and Differance, Warwick 1985, p. 4.

Id., p. 2.

Peter Baker, Deconstruction and the Ethical Turn, Gainesville 1995, preface.

Antigone in/as Transition. A Study on the Performing Arts Status Quo in Europe (in its Transcontinental Contexts), supervised by Katharina Pewny and co-supervised by Kristoffel Demoen.

See also Kati Röttger in this volume and Sina Kramer, “Derrida’s ‘Antigonanette’. On the Quasi-Transcendental”, in: The Southern Journal of Philosophy 52, 4 (2014), pp. 521–551.

Martin McQuillan, Deconstruction without Derrida, London/New York 2012, p. 147.

Simon Critchley, The Ethics of Deconstruction: Derrida and Levinas, Edinburgh 1992, prefatory note.

Jacques Derrida, “Force of Law: The ‘Mystical Foundation of Authority’”, in: Law Review 11 (1989–1990), p. 955.

Simon Critchley, op. cit., 1992, p. 6.

For an extensive explanation of the term ‘constitutive excluded’ in relation to Derrida’s work, see Sina Kramer, op. cit., 2014, pp. 521–551.

Bonnie Honig, Antigone Interrupted, Cambridge/New York 2013.

Katharina Pewny has published an analysis of the Flemish production, see Katharina Pewny, “Das Theater der Anderen: Antigone”, in: Nina Birkner, Andrea Geier and Ute Helduse (Edd.), Spielräume des Anderen: Geschlecht und Alterität im postdramatischen Theater, Bielefeld 2014, pp. 211–222.

Richard Schechner, Performance Studies: An Introduction, New York 2002, p. 143.

Ibid.

In her analysis of the performance, Katharina Pewny contrasts the view of Ismene as Antigone’s Other with the traditional perception of Antigone as Polyneices’ Other (Katharina Pewny, op. cit., 2014).

Bonnie Honig, op. cit., 2013, p. 151.

Jack M. Balkin, “Deconstruction”, in: Dennis M. Patterson (Ed.), A Companion to Philosophy of Law and Legal Theory, Chichester 1996, p. 3.

For elaboration on the concept of différance, see Jacques Derrida, Margins of Philosophy, Chicago 1982.

David Sansone, Greek Drama and the Invention of Rhetoric, Chichester 2012.

Oliver Taplin, Greek Tragedy in Action, New York 1989.

For an explanation of the term ‘rhizomatic’, see Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, Minneapolis 1980.