More information about this seller Contact this seller. Book Description Oxford University Press, Brand New!. Seller Inventory VIB Never used!. Seller Inventory P Seller Inventory M Ships with Tracking Number! Buy with confidence, excellent customer service!. Seller Inventory n. Antigone Greek Tragedy in New Translations. This specific ISBN edition is currently not available. View all copies of this ISBN edition:. Synopsis About this title Oedipus, the former ruler of Thebes, has died. Review : Segal's introduction and notes by themselves make this book worth buying: they are a product of a lifetime of scholarship and will spread enlightenment, generate enthusiasm and endlessly provoke and fascinate readers as they examine Segal's theories, as well as absorbing the wealth of information on offer.
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Antigone (Greek Tragedy in New Translations) - Sophocles
About AbeBooks. Customers who bought this item also bought. Stock Image. Antigone Hardback Sophocles. New Hardcover Quantity Available: 1. Reader will feel the same discomfort with "Athenai" as the chief city of Greece as they would with "Platon" as the author of the Republic. The earlier volumes in this series adopted as a rule a "mixed" orthography in accordance with the considerations outlined above.
The most familiar names retain their Latinate forms, the rest are transliterated; -os rather than Latin -us is adopted for the termination of masculine names, and Greek diphthongs such as Iphigenem for Latin Iphigenia are retained. Some of the later volumes continue this practice, but where translators have preferred to use a more consistent practice of transliteration of Latinization, we have honored their wishes. Stage directions The ancient manuscripts of the Greek plays do not supply stage directions though the ancient commentators often provide information relevant to staging, delivery, "blocking," etc.
Hence stage directions must be inferred from words and situations and our knowledge of Greek theatrical conventions. At best this is a ticklish and uncertain procedure. But it is surely preferable that good stage directions should be provided by the translator than that readers should be left to their own devices in visualizing action, gesture, and spectacle. Ancient tragedy was austere and "distanced" by means of masks, which means that the reader must not expect the detailed intimacy "He shrugs and turns wearily away," "She speaks with deliberate slowness, as though to emphasize the point," etc.
Numbering of lines For the convenience of the reader who may wish to check the translation against the original, or vice versa, the lines have been numbered according to both the Greek and English texts. The lines of the translation have been numbered in multiples of ten, and those numbers have been set in the right-hand margin.
The inclusive Greek numeration will be found bracketed at the top of the page. The Notes that follow the text have been keyed to both numerations, the line numbers of the translation in bold, followed by the Greek lines in regular type, and the same convention is used for all references to specific passages of the translated plays only in both the Notes and the Introduction. Readers will doubtless note that in many plays the English lines outnumber the Greek, but they should not therefore conclude that the translator has been unduly prolix.
In some cases the reason is simply that the translator has adopted the free-flowing norms of modern AngloAmerican prosody, with its brief-breath-and emphasis-determined lines, and its habit of indicating cadence and caesuras by line length and setting rather than by conventional punctuation. Even where translators have preferred to cast dialogue in more regular five-beat or six-beat lines, the greater compactness of Greek diction is likely to result in a substantial disparity in Greek and English numerations.
Antigone (Greek Tragedy in New Translations)
Durham, N. Chapel Hill, N. I am deeply grateful to the Endowment for their support. I completed work on this volume at a time when Antigone's lament about being between upper and lower worlds took on an intensely personal meaning as I faced a life-threatening illness. I cannot list all the friends, colleagues, and students, past and present, who offered their help, encouragement, and prayers, but they are all gratefully remembered. I would like particularly to thank my Harvard colleagues for their many kindnesses, especially Kathleen Coleman, Albert Henrichs, and Richard Thomas, chair of the department.
I am deeply grateful to the medical professionals whose expertise and concern enabled me to finish my share in the volume and indeed to continue looking on the light of the sun: Drs. Rosenthal and Ms. Judith Podymatis, RN. My collaborator, Reg Gibbons, not only made several long trips so that we could work together in the best possible way, by face-to-face discussions, but remained a steadfast and involved friend on whom I could also count for support.
I am grateful to George Steiner for taking the time to read the manuscript at a time when he was busy delivering the Norton Lectures at Harvard. To my wife, Nancy Jones, my gratitude for her ever-present love and devotion at a period of particular adversity goes beyond what words can express. The Date of Antigone, 2. Not a detail in this tragedy but is of consequence. The individual bearer of such consciousness is essentially tragic because he or she enters into the division between the divine law, embodied in the polis or state, and the human law, embodied in the family, and in entering into that division is destroyed.
And yet "it is precisely this destruction," as George Steiner explains Hegel's view, "which constitutes man's eminent worth and which allows his progression towards the unification of consciousness and of Spirit on 'the other side of history. See George Steiner, Antigones Oxford, , The weaknesses of Hegel's reading have long been clear. Even Antigone's devotion to family love, or philia, is problematical, given the incestuous bonds within this family and her harsh treatment of her sister, Ismene.
Antigone, to be sure, may be identified with the emergence of an individual ethical consciousness that resists the domination of certain laws that have been imposed by Thebes' present ruler, but the play calls into question whether these laws may be associated with an abstract, impersonal Law of the State. It is questionable to identify a small fifthcentury city-state or polls with the modern abstract notion of State. The polis of Antigone is rather the total civic space in which the religious and the political, the private and the public are closely intertwined, and the fact that they are so intertwined creates the tragedy.
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Each protagonist sees only half of the whole, and each acts as if the two realms are independent of the other. Nevertheless, Hegel's influence should not be taken lightly, and his articulation of his position in his earlier work offers a more nuanced and profound reading.
In Hegel's dialectical thinking of this period, the position of human and divine changes places. The family, in its honoring of the dead, can also embody the divine law, while the citystate's law, as the creation of human beings and as the visible regulator of day-to-day affairs, can embody the human. In the fact that the two sides share in both human and divine law lies the irreconcilably tragic nature of the conflict.
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And this conflict is also gendered between the "feminine-ontological" and the "masculine-political," between the woman's domestic world of hearth and home and the man's public world of civic assemblies and legislative bodies. Antigone is opposing not the city's Law nomos as a totality, but rather Kreon's specific "decree" forbidding the burial of her brother's body. She is primarily the champion not of the individual against the State but of the ties of blood and birth that rest on the solidarity of the family.
Among the earliest criticism is Goethe's, in J. John Oxenford ; reprint New York, , March 28, For further discussion see, e. Oudemans and A.
tax-marusa.com/order/mihyfyroq/comment-pirater-un-wifi-avec-iphone-8.php H Lardinois, Tragic Ambiguity Leiden, , Steiner, The care for the dead was especially the prerogative of women, and it was increasingly restricted in Athens in the sixth and fifth centuries as the democracy sought to limit the power of the aristocratic clans, but it was nevertheless widely respected. Viewed more broadly, Antigone brings down to earth and to purely human characters some of the conflicts of Aiskhylos' Oresteia. Antigone's position has some affinities with that of the Furies in Aiskhylos' conflict between Olympian and chthonic, upper and lower worlds, in the last play of the Oresteia, the Eumenides.
Here the newer and younger Olympians, Apollo and Athena, who belong to the reign of Zeus, are identified with the male-dominated political institutions of the city, whereas the ancient gods, the Erinyes or Furies, daughters of primordial Night, defend the bonds of blood and birth and the rights of the mother and of Earth in their vengeful pursuit of the matricide, Orestes.
To be sure, the issue of Antigone is burial, not vengeance; the cosmic order is in the background, not the foreground; and the focus is on the family as a whole and not on the rights of the father as against those of the mother. Antigone also presents the conflict in terms of the more impersonal "eternal laws of the gods" rather than through the 7.
Nevertheless, the framing of this conflict between male and female and between civic order and primordial religious tradition bears comparison with the Oresteia.
Comparison with the Oresteia, however, also reveals how poorly the Hegelian scheme of thesis-antithesis-synthesis fits the play. Antigone has none of the resolution that ends the Eumenides, where the Furies finally accept the Olympian persuasion of Athena and consequently are reconciled with the polis of Athens and transform themselves into the more benign and acceptable Eumenides, the "Kindly Ones. The gods appear only as the remote agents of retributive justice; and the mortal representatives of family ties and civic duty respectively both suffer a terrible doom, Antigone by the despairing suicide of her death in her cave-prison, Kreon by the blows that leave him disoriented, isolated, and totally crushed at the end.
The Hegelian notion, however, that both sides have some degree of right on their side —or, as A.
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Bradley will later rephrase it, that there is a division in the ethical substance with a resultant "violent selfrestitution of the divided spiritual unity"10 —has the merit of getting us into the fundamental issues of the play. Conflict is the heart of this work, which is so structured that each protagonist can act only by attacking and destroying the central values of the other.
The play offers conflicting definitions, explicit or implicit, of the basic terms of the human condition: friend and enemy, citizen and ruler, father and son, male and female, justice and injustice, reverence and irreverence, purity and pollution, honor and dishonor, and even in the Ode on Man conflicting judgments of what is anthropos, a human being—powerful or helpless, something "wonderful" or "terrible" both of these, meanings of the same word, deinon. Not only are the definitions in conflict, but the terms themselves become ambiguous or as in the case of Antigone's "holy wrongdoing" paradoxical.
Bradley, "Hegel's Theory of Tragedy" , in Paolucci above, n.