By Judith Butler
The distinguished writer of Gender hassle right here redefines Antigone's legacy, getting better her progressive value and releasing it for a revolutionary feminism and sexual politics. Antigone has lengthy been a feminist icon of defiance. yet what has remained uncertain is whether or not she escapes from the sorts of strength that she opposes, because the type of defiance she exemplifies additionally results in her loss of life. Butler argues that Antigone represents a sort of feminist and sexual business enterprise that's fraught with probability. in addition, Antigone indicates how a tradition of normative heterosexuality obstructs our capability to work out what sexual freedom and political organization may be.
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Extra info for Antigone's Claim: Kinship Between Life and Death (The Wellek Library Lectures)
Her marriage was in trouble, and although she had married Henry for love, she would not divorce him out of duty. Divorce was difficult not only because of the negative social stigmas at the time, but from economic perspectives as well, and Suzanne was still in school. 36 But Suzanne needed a place of her own and, for a time, she and Jacqueline were happy at their apartment on Eugène Carrière. Suzanne’s new apartment, centered in Montmartre, was only steps away from the flourishing art scene that included the avant-garde of Paris.
4 Nonetheless, Henry continued to serve in the military and insisted on remaining as close to the front lines as possible for as long as he physically could. At the beginning of the war, Suzanne had given up her apartment in Montmartre and was back at the Pertat family’s old apartment on avenue Villiers. She lived with her small daughter and her mother, Madam Gros, who had been able to leave Laon when the Germans arrived and took over not only her large home, but the few small apartments she owned and had previously rented out for income.
The Sex of Things: Gender and Consumption in Historical Perspective (Berkeley, 1996), pp. 79–112. Also, for a detailed examination into the consumer demands of bourgeois women in France, see Rosalind H. Williams, Dream Worlds: Mass Consumption in Late Nineteenth-Century France (Berkeley: University of California Press, 1991). 6 Higonnet, “Women, Images, and Representation,” 353–5. 7 Examples of beautiful women in early twentieth-century France could easily be found in a number of new and increasingly popular magazines such as La Mode pour Tous, Vogue, Votre Beauté, Le Petit Écho de la Mode, and Les Modes (which first made its appearance in 1904).