138 KB23 KB200720252015Farinelli, Patriziaštevilka:1letnik:9str. 129-137ISSN:1854-9632ISSN:2350-4218URN:URN:NBN:SI:doc-EZ3U1WUBfrZnanstvena založba Filozofske fakulteteArs et humanitasAntigonaepistemologijaepistemologyitalijanska književnostmitimythologymythsodgovornostParrellaParrella, Valeriaresponsibilitysemioticssemiotics of sightsemiotikaRegard critique sur une période sans but| Antigone de Valeria Parrella|The density of motifs in the myth of Antigone could itself explain the reason for such a large number of interpretations and modernized versions of the myth. In these the conflict between the inner voice of the individual and the law of the state is placed at the very centre, thus primarily indicating a political interpretation; however, the ways in which the conflict are shown also allow for other interpretations: anthropological, ethical, psychological ones. Without circumventing the possibility of timeless meanings, Valeria Parella's re-working of the Sophocles tragedy (Antigone, 2012) represents a direct confrontation with the present. The updated elements are to be found not only in the replacing of a forbidden burial with the motif of illegal euthanasia; rather, they manifest themselves especially in the rather critical view of contemporary history. The author's attention is directed at an aimless period and the public's inactive awareness. Her Antigone - which is formed also by means of the semiotics of sight and movement - is a call to seek out a sense of responsibility and a call to action, to seeking a way out of a period of stagnation, and it possesses a clearly-expressed ethical and social political importance. Dubious is the very powerfully expressed concept of truth which permeates the discourse, and even the overly explicit means with which this call is realised: the heroes have a tendency to simplification, and the function of words is limited merely to a means of communication, even though one would expect something else from a literary text, that it might prompt special reflection on complexityGostota motivov, ki jih predstavlja mit o Antigoni, bi lahko že sama po sebi pojasnila razlog za tolikšno število interpretacij in aktualizacij. V njih je konflikt med notranjim glasom posameznika in zakonom Države postavljen v sámo središče in v prvi vrsti namiguje na politične interpretacije, vendar načini, ki konflikt prikazujejo, odpirajo tudi druge interpretacije: antropološke, etične, psihološke. Ne da bi zaobšli možnost nadčasovnih pomenov, vzpostavlja predelava Sofoklejeve tragedije, ki jo ponuja Valeria Parella (Antigone, 2012), neposredno soočenje s sedanjostjo. Aktualizacijske komponente ne najdemo zgolj v zamenjavi motiva prepovedanega pokopa z motivom zakonske prepovedi evtanazije, temveč se kaže zlasti v dokaj kritičnem nazoru o sodobni zgodovini. Avtoričina pozornost se ustavi na brezciljnem obdobju in na neaktivnem zavedanju javnosti. Poziv njene Antigone - ki ga oblikuje tudi s pomočjo semiotike pogleda in gibanja - k iskanju občutka odgovornosti in k delovanju, k iskanju poti iz obdobja stagnacije, ima jasno izraženo etično ter družbeno politično pomembnost. Dvomljivi pa so zlasti izrazit koncept resnice, ki prežema diskurz, in celo preveč eksplicitni načini, s katerimi se ta poziv uresničuje: junaki težijo k poenostavitvi, funkcija besed pa je omejena na sredstvo komunikacije, medtem ko bi od literarnega besedila pričakovali tudi kaj drugega, posebno pa to, da bi spodbudil refleksijo o kompleksnostiTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZnanstvena založba Filozofske fakultete