616 KB39 KB197820252017Kocijančič, Maticštevilka:1letnik:40str. 135-149ISSN:0351-1189COBISSID_HOST:64429154URN:URN:NBN:SI:doc-QEGGW0KLslSlovensko društvo za primerjalno književnostPrimerjalna književnostAnouilh, JeanAntigonaAntigoneBrecht, Bertoltethics of violenceetika nasiljafilozofske interpretacijeGreek dramagrška dramatikaliterarne interpretacijeliterary interpretationsliteratura in etikaliteratureand ethicsphilosophical interpretationsSmole DominikSophocles, 496-406 pr.n.š.Žižek, SlavojKreontova nova oblačila| Žižkova interpretacija Sofoklove Antigone|The article critically evaluates The Three Lives of Antigone, Slavoj Žižek's first dramatic work. Žižek's polemical rewriting of Sophocles's tragedy is examined in the broader perspective of Žižek's philosophy and other Antigones: those of Sophocles, Anouilh and Brecht. Slavoj Žižek has interpreted Sophocles' Antigone in numerous philosophical works. In his earlier treatises, he mainly gave a cautious summary of Hegel's, Heidegger's and Lacan's theses on Antigone; lately, however, Žižek's attitude to Sophocles's Antigone has grown decidedly negative. The main point in Žižek's critique of Sophocles' tragedy is that his Antigone is not an appropriate symbol of genuine social revolt. Based on this conviction, Žižek contrived his own version of Antigone with an alternative ending in which the choir carries out a revolution and condemns Antigone to death. Žižek's dramatic project fails to convince; rather, it reveals both the author's dramaturgical awkwardness and his unfamiliarity with some prominent philological and literary interpretations of Greek tragedy. The central political message of Žižek's play and its conceptual background is also poor: It is essentially a superficial apology for political violence, which can ultimately only be understood as a veiled defense of the political status quoČlanek predstavi in ovrednoti Trojno življenje Antigone, prvo dramsko delo Slavoja Žižka. Umesti ga v širši kontekst Žižkovega filozofskega opusa in drugih dramskih predelav mita o Antigoni: Sofoklove, Anouilheve in Brechtove. Slavoj Žižek je Sofoklovo Antigono interpretiral v številnih filozofskih delih. V njegovih zgodnejših razpravah je šlo predvsem za previdno povzemanje Heglovih, Heideggerjevih in Lacanovih tez o Antigoni, pozneje pa je Žižkov odnos do Sofoklove Antigone postal odločno odklonilen. Glavna poanta Žižkove kritike Sofoklove tragedije je, da njegova Antigona ni ustrezen simbol pristnega družbenega upora. Na podlagi tega prepričanja je Žižek zasnoval svojo različico Antigone z alternativnim koncem, v katerem zbor izvede revolucijo in Antigono obsodi na smrt. Žižkov dramski projekt ni prepričljiv; izkazuje tako avtorjevo dramaturško okornost kot njegovo pomanjkljivo poznavanje nekaterih pomembnih filoloških in literarnih obravnav grške tragedije. Tudi osrednje politično sporočilo Žižkove drame in njenega konceptualnega ozadja je siromašno: v osnovi gre za površno apologijo političnega nasilja, ki ga v zadnji instanci lahko razumemo le kot prikrit zagovor političnega statusa quoTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovensko društvo za primerjalno književnost