Download Antigone: Sophocles' Art, Hölderlin's Insight by Kathrin H. Rosenfield, Charles B. Duff PDF

By Kathrin H. Rosenfield, Charles B. Duff

ISBN-10: 1934542229

ISBN-13: 9781934542224

Following Friedrich Hölderlin’s insights, the writer unearths an disregarded old element – the epiclerate – that makes Antigone the heiress to the throne of Thebes. Creon’s activities gather new that means, as does Antigone’s resistance, and a virtually Hitchcockian drama emerges from subtleties within the Greek textual content. Hölderlin brings us absolutely rounded characters, and we think the joys of actual tragedy. Rosenfield argues that Hölderlin can have come towards the spirit of Sophocles and the Athenian enlightenment than later, extra scholarly, translators and critics, a controversy that redeems a misunderstood translation of a tremendous Romantic writer and demonstrates comparative method of literature – figuring out a German poet’s method of a Greek tragedy –can raise inventive excitement and deepen our realizing of the customarily unusual Greek mentality. Rosenfield's Antigone is now to be had to an English talking viewers for the 1st time. It includes a particular preface for the English variation and some stylistic adjustments making the essay more straightforward to learn for a public now not favourite with the information of German Idealism.

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The paintings of Sophocles has parallels with sleek outlooks, even though fifth-century Athens used to be very varied from our global. Rosenfield's element of departure is an in depth interpreting of Friederich Hölderlin's translation that makes those parallels believable. She exhibits that poetic intelligence should be as worthwhile a severe device as ancient or philological wisdom. Following Hölderlin, she finds a ancient element to date left out, the epiclerate, some degree of Greek legislation that provides Antigone political significance and offers the play a fully-rounded tragic plot, ambiguous and paradoxical. Antigone isn't an blameless virgin sacrificed by way of a power-thirsty villain. She is a fierce and unsettling heroine in a nearly hitchcockian drama. construction on Hölderlin, Rosenfield brings out what's 'modern' in classical Greek drama: the sense of right and wrong of everlasting unsettling shifts in human activities, intentions and emotions, the gripping, unstated secrets and techniques hidden within the ironies of the Greek textual content. Her scholarly argument indicates that Hölderlin can have come in the direction of the spirit of Sophocles, Themistocles and Pericles than later, extra scholarly, translators and critics.

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Kathrin H. Rosenfield is a professor within the school of Literatura and Philosophy on the Federal collage of Rio Grande do Sul in Brazil. knowledgeable in Salzburg, Vienna, and Paris, she has lengthy mixed literary feedback with a convention in psychotherapy and an energetic occupation within the theatre. Her publication Desenveredando Rosa gained Brazil’s most excellent literary award in 2007. varied models of her e-book on Sophocles´ Antigone were released in Brazil (L&PM, Porto Alegre, 2000, Zahar, Rio de Janeiro, 2002, Topbooks, Rio de Janeiro, 2006) and France (Galilee, 2001).

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Additional resources for Antigone: Sophocles' Art, Hölderlin's Insight

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2, note 1. 10. P. ” 11.  15–18. 12. OCT, 13–14, 21, 55–57, 143–146, 264, 557–558, 561, 770, 989, 1345. —I believe in an “absolute rhythm,” a rhythm, that is, in poetry which corresponds exactly to the emotion or shade of emotion to be expressed. A man’s rhythm must be interpretative, it will be, therefore, in the end, his own, uncounterfeiting, uncounterfeitable. —Ezra Pound, Credo It is dawn. Although Antigone has heard of Creon’s decree forbidding burial, and discussed it in darkness with Ismene, the old men of Thebes do not yet know of it.

It was Hölderlin’s misfortune to work in a particularly conservative literary field—ancient Greek history and literature— at a time when the field was even more conservative than usual. The dominant figures were men who loved the pure white Greece of Winckelmann. Hölderlin’s Greece could not have been more different from theirs. And there was no diplomacy in his approach. He hit them with unheard of boldness in the very first verses of Antigone. At a time when everyone thought of Antigone as a tragic story of “the law of blood” versus “the law of the city,” and when almost all translations began in more or less the same way: “You are my blood, my sister, Ismene, my dear,” Hölderlin launched the play in a very different direction with a very awkward piece of language, at once baroque and modern.

Hölderlin begins his interpretation of the song very subtly, with the measurement of time. In his view, Danae offered Zeus more than a child; rather, she assured him, against her father’s will, that men and gods would continue to join in ritual exchanges—and people the world with heroes. Ephemeral heroes, of course, whose lives, generation after generation, form the chain of time. Second is the story of Lycurgus, a Theban king who broke up the revels of the Bacchantes and denied Dionysus his due.

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