Relevant bibliographies by topics / Antigone (Anouilh, Jean)

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Academic literature on the topic 'Antigone (Anouilh, Jean)'

Author: Grafiati
Published: 13 December 2022
Last updated: 27 January 2023

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Journal articles on the topic "Antigone (Anouilh, Jean)"

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Walsh, Keri. "Allied Antigone: Jean Anouilh in America and England." Modernism/modernity 23, no. 2 (2016): 277–95. http://dx.doi.org/10.1353/mod.2016.0043.

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Kocijančič, Matic. "First as Creon, then as Chorus: Slavoj Žižek’s Antigone." Interlitteraria 25, no. 1 (2020): 231–45. http://dx.doi.org/10.12697/il.2020.25.1.19.

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The article critically evaluates The Three Lives of Antigone, Slavoj Žižek’s first dramatic work. Žižek’s polemical rewriting of Sophocles’ tragedy is examined in the broader perspective of Žižek’s philosophy and other Antigones: those of Sophocles, Jean Anouilh, Bertolt Brecht and Dominik Smole. 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’ 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. It is argued in the article that Žižek’s dramatic project fails to convince. It is essentially a superficial apology for political violence, which can ultimately only be understood as a veiled defence of the political status quo.
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Lotman, Maria-Kristiina, Līva Bodniece, and Jovita Dikmonienė. "Reception of Sophocles’ Antigone in the Baltic States." Literatūra 64, no. 4 (2022): 20–42. http://dx.doi.org/10.15388/litera.2022.64.4.13.

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This paper analyzes the translations of Antigone by Sophocles and later authors and the performances based on them in the theaters of Estonia, Latvia and Lithuania. It investigates the necessity to translate the Antigone dramas by Sophocles, Jean Anouilh and Janusz Głowacki into national languages and stage them in theaters. The article analyzes how these works are related to the history of the Baltic countries. This paper is divided into three subparts that match the historical periods from the end of the nineteenth century to the beginning of the twenty-first century. The most important performances of Antigone in the Baltic countries are analyzed, highlighting the individual style of each director and their attention to the form and expression of the performances. The main themes revealed by the artists of the Baltic countries are conscious self-sacrifice for one’s neighbor and individual resistance to conformity and tyranny.
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Le Corre, Élisabeth. "« Et nous voilà comme le choeur antique » : les avatars du choeur dans le théâtre de Jean Anouilh." Études littéraires 41, no. 1 (2010): 115–27. http://dx.doi.org/10.7202/044574ar.

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Le théâtre de Jean Anouilh accorde une place essentielle au choeur antique en même temps qu’il le transforme et le remet en question. Le choeur est parfois méconnaissable : s’il apparaît sous son nom d’origine dans les réécritures de tragédies grecques (Antigone, Tu étais si gentil quand tu étais petit et Oedipe ou le roi boiteux), il est remplacé par un personnage familier de l’univers d’Anouilh dans les pièces ancrées dans un cadre plus contemporain : Lucien (Roméo et Jeannette), Tonton (Ne réveillez pas Madame) et l’orchestre (Tu étais si gentil quand tu étais petit) sont ses lointains héritiers. Le dramaturge prend également ses distances par rapport à son modèle antique par le moyen de la parodie : certains de ses personnages singent grotesquement le choeur plus qu’ils ne le remplacent. Enfin, Anouilh fait évoluer la fonction du choeur : spectateur et commentateur privilégié de l’affrontement entre les héros et les dieux, celui-ci devient aussi le porte-parole de l’auteur et de ses idées sur la tragédie. Il occupe ainsi un rôle déterminant dans le fonctionnement de la pièce.
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KIM, Hansik, and Sumin JANG. "La rhétorique de l idéologie et la poétique de l utopie : Antigone de Bertolt Brecht et Antigone de Jean Anouilh." Societe d'Etudes Franco-Coreennes 82 (November 15, 2017): 259–300. http://dx.doi.org/10.18812/refc.2017.82.259.

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Gonçalves, Rodrigo Tadeu, and Julia Nascimento. "A tradutora e o diálogo intermidiático em Antigonick de Anne Carson." Classica - Revista Brasileira de Estudos Clássicos 32, no. 1 (2019): 79–91. http://dx.doi.org/10.24277/classica.v32i1.737.

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Antigonick (2012) é a tradução da dramaturga, escritora e tradutora canadense Anne Carson para a tragédia Antígona de Sófocles. No prefácio “the task of the translator of antigone”, em forma de carta/poema direcionada à personagem Antígona, aparecem comentários sobre encenações anteriores, mais especificamente sobre as montagens de Bertolt Brecht e Jean Anouilh, além da composição 4’33”, de John Cage. Este artigo pretende discutir como essas referências intertextuais e intermidiáticas contribuem para uma leitura que englobe a vasta tradição de recepção dos clássicos sem deixar de considerar as particularidades do trabalho da tradutora e do seu comprometimento com a “mulher de palavra”, Antígona. A fim de pensar o diálogo intermidiático no prefácio, utilizam-se especialmente as discussões propostas por Anne Ubersfeld no texto A representação dos clássicos: reescritura ou museu (1978) e o conceito de tradução intersemiótica presente em “Estudos interartes: conceitos, termos, objetivos” (1997) de Claus Clüver. Acredita-se que uma análise atenta do prefácio possa oferecer pistas importantes sobre o processo criativo e sobre a proposta/projeto de tradução empreendido por Carson.
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Čudić, Mirna. "Antigona od antike do postmodernizma – poimanje Sofoklova predloška u Kreontovoj Antigoni Mira Gavrana." Croatica et Slavica Iadertina 13, no. 1 (2018): 103. http://dx.doi.org/10.15291/csi.1429.

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Članak je usredotočen na sagledavanje odjeka starogrčkoga mita o Antigoni iz pera tragičara Sofokla (5. st. pr. Kr.), kao genoteksta u njegovoj fenotekstualnoj preobrazbi unutar književno-povijesnoga konteksta modernističke i postmodernističke dramatike. Kao temeljni fenotekst izdvojena je Kreontova Antigona Mira Gavrana (1983.) uz mjestimična pozivanja na druga metatekstualna ostvarenja i reinterpretacije starogrčke tragedije, kako hrvatska tako i europska, kao što je Antigona Jeana Anouillha (1944.) te Antigona, kraljica u Tebi Tončija Petrasova Marovića (1981.). U vremenskome rasponu od antike do modernizma i postmodernizma, a na temelju izabranih dramskih komada, uočene su brojne varijacije u poimanju antigonijanskoga motiva. Dok se neke metatekstualne preradbe, poput Marovićeve Antigone, kraljice u Tebi, poigravaju krajem tragedije zamišljajući nastavak u kojemu se protagonistica promeće u beskrupuloznu vladaricu, neke se pak, poput Annouillheve Antigone, poigravaju stvarnom povijesnom ulogom Antigonine braće kao i (be)smislom tragedije kao dramske vrste. Ona, najkasnije nastala od sviju, Gavranova, poigrava se, naprotiv, samim autorstvom suprotstavljajući uzvišenomu antičkom svijetu umjetnosti, iznesenom u Sofoklovu predtekstu, apsurdni svijet distopije očitovan u Kreontovoj inačici događaja. Pozivajući se na tipologiju Slobodana Selenića temeljenu na koordinatnome sustavu s četiri pola i dvjema antitezama, red-pobuna i razum-strast, protagonistice Sofoklova genoteksta i triju metatekstova (u Marovića ulogu antičke Antigone preuzima tzv. mlada Antigona, Izmenina kći), stigmatizirane kao strastvene pobunjenice protiv poretka, paradoksalno zastupaju jedan viši red i razum, čime biva raskrinkan antagonist Kreont kao bezumnik i nesmotren vladar. Tri izdvojena sekundarna dramska teksta, u svojoj redefiniciji antičkog arhetipa, moglo bi se zaključno ustvrditi, osciliraju između afirmacije antičkih ideala te njihova ukalupljivanja u moderni kontekst potvrđujući tako svevremenost općeljudskih moralnih dvojbi između krhkosti i nepostojanosti ljudske pravde i pravosuđa te postojanosti ideala.
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Küzeci, Deniz. "The theme of death, in Jean Anouilh’s Antigone." Pamukkale University Journal of Social Sciences Institute 2017, no. 50 (2017): 33–38. http://dx.doi.org/10.5505/pausbed.2017.82474.

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Sager, Susana. "Lo inédito viable en las versiones Antígona de Sófocles y de Jean Anouilh." Cuadernos de Literatura, no. 11 (August 13, 2004): 93. http://dx.doi.org/10.30972/clt.0113139.

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<p>Trascendiendo los siglos, desde el 442-1 a. C., año de la representación de la tragedia sofoclea basta el siglo XX, Antígona sigue ensefiándonos que es posible el ejercicio de la libertad, que somos personas con la capacidad de libre albedrío. El Seminario de Investigación en Letras en su versión del año 1999 nos ha presentado la invitación a leer, introducimos, comentar, estudiar, sistemáticamente, a las " Antigonas ". El objetivo del presente trabajo es reflexionar, analizar las manifestaciones de lo "inédito viable" en las versiones Antígona de Sófocles y de Jean Anouilh.<br /><br /></p>
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Kocijančič, Matic. "Truly Bewept, Full of Strife: The Myth of Antigone, the Burial of Enemies, and the Ideal of Reconciliation in Ancient Greek Literature." Clotho 3, no. 2 (2021): 55–72. http://dx.doi.org/10.4312/clotho.3.2.55-72.

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In postwar Western culture, the myth of Antigone has been the subject of noted literary, literary-critical, dramatic, philosophical, and philological treatments, not least due to the strong influence of one of the key plays of the twentieth century, Jean Anouilh’s Antigone. The rich discussion of the myth has often dealt with its most famous formulation, Sophocles’ Antigone, but has paid less attention to the broader ancient context; the epic sources (the Iliad, Odyssey, Thebaid, and Oedipodea); the other tragic versions (Aeschylus’s Seven Against Thebes and his lost Eleusinians; Euripides’s Suppliants, Phoenician Women, and Antigone, of which only a few short fragments have been preserved); and the responses of late antiquity. This paper analyses the basic features of this nearly thousand-year-long ancient tradition and shows how they connect in surprising ways – sometimes even more directly than Sophoclean tragedy does – with the main issues in some unique contemporary traditions of its reception (especially the Slovenian, Polish and Argentine ones): the question of burying the wartime (or postwar) dead and the ideal of reconciliation.
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Dissertations / Theses on the topic "Antigone (Anouilh, Jean)"

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Buis, Katelyn J. "Surviving Antigone: Anouilh, Adaptation and the Archive." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1392378901.

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Djiriguian, Karine. "La souffrance dans le mythe des Labdacides : comparaison entre les tragédies de Sophocle, Antigone et Oedipe roi, et les drames d'Anouilh, Antigone et Oedipe ou le roi boiteux." Paris 4, 1991. http://www.theses.fr/1991PA040052.

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L'étude comparative des tragédies de Sophocle et des drames d’Anouilh montre l'évolution des mentalités sur le problème obsédant du mal. Ces deux pensées antinomiques que sont la foi et l'athéisme révèlent l'angoisse de l'homme qui s'interroge sur la douleur. Les héros de Sophocle et d’Anouilh sont remarquables car ils échappent à la paralysie de l'être souffrant. Leurs itinéraires nous éclairent sur l'âme héroïque et son altruisme. Loin de se laisser dominer par le mal, ils composent avec lui pour en chercher le sens, voire le remède dans leur essence même. Malgré la souffrance inscrite dans ces pièces, la fascination du public pour leurs représentations théâtrales est restée la même depuis l'antiquité. Le spectateur y expérimente tous les possibles face au mal, et peut également y mesurer sa propre capacité à dominer ses angoisses en assumant sa profondeur grâce à l'expérience esthétique<br>The comparative study of the tragedies of Sophocles and the dramas of Anouilh points out the evolution in the mentalities concerning the obsessive problem of evil. These two antinomic thoughts that are faith and atheism reveal the distress of man questioning himself about pain. The heroes of Sophocles and Anouilh are remarkable because they escape the paralysis of the suffering being. Their routes bring a new light on the heroical spirit and its altruism. Far from letting themselves dominate by evil, they compose with it in order to look for its meaning or even how to help it in their own essential being. In spite of the pain included in these plays, the fascination of the public for their theatrical performances has remained the same since antiquity. The spectator experiments there all the possible in front of evil and can also evaluate his own capability to dominate his anguishes its depth thanks to the aesthetic experience
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Katounta, Sylvia. "Les femmes, la loi et la justice dans la tragédie et le drame moderne : la transposition du mythe d'Antigone et de Médée dans le théâtre d'Anouilh." Paris 3, 2004. http://www.theses.fr/2004PA030053.

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Ce travail est une lecture comparatiste d'Antigone de Sophocle et de Médée d'Euripide et leur transposition dans le théâtre d'Anouilh, au croisement de l'herméneutique littéraire et de la pensée politique. La thématique de la justice et de la loi commune dans ces quatre pièces fournit le point de départ d'une démonstration qui s'attache à mettre au jour un questionnement sur les problèmes politiques, sociales, philosophiques et existentiels. En entreprenant cette étude, notre objectif principal est de mettre au jour les enjeux et la dimension sociale et politique dont les situations fictionnelles inventées par les trois auteurs étaient porteuses. La reprise des mythes par Anouilh constitue une nouveauté et notre parcours de lecture s'efforcera de mettre en valeur l'originalité dramatique d'Anouilh. Notre objectif sera d'examiner comment Anouilh, après les grands poètes tragiques, a articulé les différentes étapes de ses drames. Le mythe d'Antigone et de Médée se cristallise autours de donnés particuliers qui vont permettre à l'auteur contemporain de développer certains aspects, liés de manière, plus ou moins évidente, à l'expérience douloureuse de la Seconde Guerre mondiale. Le mythe devient ainsi le prétexte pour la création d'un univers qui se trouve en rupture quasi totale avec ses origines. Si Antigone et Médée, chez Sophocle et Euripide, en transgressant les lois, étaient en quête d'une légitimité et de la justice, au drame moderne ces questions deviennent des prétextes pour nouer avec le pathétique. Les pièces modernes prennent une autre ampleur et acquièrent un autre sens. Médée et Antigone projetés au XXe siècle, à peine peuvent-elles nous rappeler les personnages antiques<br>The aim of this study is to compare Sophocle's Antigone and Euripide's Medea and their transposition in the theater of Anouilh, at the crossroads of literary hermeneutics and political thinking. The theme of justice and law in these four texts provides a point of departure for a demonstration which aims to revitalize an inquiry around political, social, philosophical and existential problems. In taking on this topic, our primary objective is to revitalize the social and political dimensions represented in the fictional situations intended by the tree authors. The appropriation of myth by Anouilh constitutes a new approach, and our method of critical analysis will attempt to underline Anouilh's dramatic innovation. Our objective will be to examine how Anouilh, in the tradition of the great tragic poets, articulated the different levels of his own drama. The myths of Antigone and Medea drama crystallize around particular dramatic action which permit the contemporary author to develop certain key aspects, linked more or less explicitly to the painful experience of world war II. The myth becomes a pretext for the creation of universe which finds itself in a situation of rupture with its origins. Medea and Antigone, projected in the 20 th century, can hardly evoke the classical characters who are so familiar to us
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Waters, Harry. "The discovery and implementation of a process while directing Antigone by Jean Anouilh adapation by Lewis Galantiere." 2003. http://catalog.hathitrust.org/api/volumes/oclc/52499660.html.

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Thesis (M.F.A.)--University of Wisconsin--Madison, 2003.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaf 50).
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Books on the topic "Antigone (Anouilh, Jean)"

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Jean Anouilh, Antigone. Bréal, 1998.

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Bénédicte, Lanot, ed. "Antigone", Jean Anouilh. Bordas, 2003.

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Antigone by Jean Anouilh. BrightSummaries.com, 2015.

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Etude sur Jean Anouilh, Antigone. Ellipses, 2007.

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Birmingham Public Libraries. Language and Literature Department. Jean Anouilh: 'Antigone' and 'Pauvre Bitos'. B.P.L., 1985.

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Antigone, Jean Anouilh: [résumé analytique, commentaire critique, documents complémentaires]. Nathan, 1990.

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Jean, Anouilh. Antigone: Analyse critique par Étienne Frois. Hatier, 1987.

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Flügge, Manfred. Jean Anouilhs 'Antigone': Symbolgestalt des französischen Dilemmas, 1940-1944. 2nd ed. Schäuble, 1994.

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Jean, Anouilh. Antigone: Antigone by Jean Anouilh. Independently Published, 2020.

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Taquin, V. Antigone, de Jean Anouilh. Hachette, 1998.

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Book chapters on the topic "Antigone (Anouilh, Jean)"

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Botond, Anneliese. "Anouilh, Jean: Antigone." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2394-1.

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Fleming, Katie. "Fascism on Stage: Jean Anouilh’s Antigone." In Laughing with Medusa. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780199237944.003.0007.

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"Jean Anouilh’s Antigone: A Free “translation” of Sophocles." In Portrayals of Antigone in Portugal. BRILL, 2017. http://dx.doi.org/10.1163/9789004340060_007.

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"« On ne sait jamais pourquoi on meurt» – Jean Anouilhs Antigone und die Desakralisierung des Mythos." In Die griechische Tragödie und ihre Aktualisierung in der Moderne. B. G. Teubner, 2006. http://dx.doi.org/10.1515/9783110915402.123.

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