By S. Roseneil
Past Citizenship? Feminism and the Transformation of Belonging pushes debates approximately citizenship and feminist politics in new instructions, difficult us to imagine 'beyond citizenship', and to have interaction in feminist re-theorizations of the adventure and politics of belonging.
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Additional info for Beyond Citizenship?: Feminism and the Transformation of Belonging
While her loyalties are not recognized within the realm of the play, Irigaray also argues that Antigone is misread by the dominant philosophical tradition of Hegel and Lacan. In opposition to Hegel and Lacan’s readings, Irigaray argues for Antigone’s position as presenting an alternative, but an alternative that is not recognized by dominant readings. Her deﬁance and particular standpoint are erased in the play as being without warrant, despite their essential place in preserving the community, and Irigaray argues that Antigone’s standpoint continues to be erased long after by philosophers who describe her actions as rash and anarchic.
However, for Irigaray, Lacan, like Hegel, keeps Antigone outside the political (Leonard 2006:138). Neither Hegel nor Lacan satisfy Irigaray in their readings of Antigone precisely because neither one of them can read her actions as being political. For Irigaray, they are already blind to what can count as political action, and Antigone’s true rebellion is hidden in their political blindnesses. For Hegel sees her as acting only from the private realm and Lacan sees her acting alone out of pure desire, without recourse to any political motivation.
De Oliveira, R. D. (1998) In Praise of Difference: The Emergence of a Global Feminism (Piscataway, NJ: Rutgers University Press). Phelan, P. (1997) Mourning Sex: Performing Public Memories (London: Routledge). Pollock, G. (2006) ‘Beyond Oedipus: Feminist Thought, Psychoanalysis, and Mythical Figurations of the Feminine’ in V. Zajko and M. ) Laughing with Medusa: Classical Myth and Feminist Thought (Oxford: Oxford University Press), pp. 67–119. Roof, J. (2002) ‘Antagone: A Play in Three Acts,’ [Review], The New Centennial Review 2 (1), 259–266.