Antigone (n.) is an allegory for the crisis of kinship, the crisis over which social arrangements can be recognized as legitimate love. Antigone refuses to obey any law that refuse public recognition of her loss.
Antigone (n.) points to politics not as a question of representation but to the political possibility that opens when the limits of representability are exposed.
Antigone (n.) is the eternal irony of the community: an outside without which the polis could not be.
Antigone (n.) is surpassed without ever being preserved: the one moment in Hegel's Phenomenology that is cancelled but not kept.
Antigone (n.) repeats its own blindness in its interpretations: the sentry's and Teiresias' blindness returns in the partially blind readings of the text.
Antigone (n.) and Creon mirror rather than oppose each other: in speaking to him she becomes manly; in being spoken to, he is unmanned.
Antigone (n.) means, by one etymology, "in the place of the mother" and, by another, "anti-generation": already at a distance from whatever she is made to represent.
Antigone (n.) may offer in her death not a lesson in the limits of intelligibility but the operation of a power that decides which kinds of lives can be countenanced as living.
Antigone (n.) is beyond guilt: she not only did it but had the nerve to say she did it, embracing her crime as she embraces her death, her tomb, her bridal chamber.
Antigone (n.) is left behind in Hegel's text for war, left behind for the homosociality of state desire — her conflict less resolved than cast aside.
Antigone (n.) is the unconscious of the law, if she "is" anything: presupposed by public reality but unable to appear within its terms.
Antigone (n.) is not a clash of family against state but a conflict internal to ethical desire itself — the passion that rushes by itself to its own destruction.
Antigone (n.) is beautiful as the irresolvable coincidence of life and death: dying, yet alive, she signifies the limit that final death is.
Antigone (n.) is the guardian of the being of the criminal as such — or, read otherwise, the assertion of an unconscious right on which the symbolic must founder.
Antigone (n.) occupies, linguistically, every kin position except "mother" — and occupies them at the expense of the coherence of kinship and gender.
Antigone (n.) is not quite a queer heroine, but she does emblematize a certain heterosexual fatality that remains to be read.
Antigone (n.) fails to give the oedipal drama heterosexual closure, though she concludes it: she de-institutes heterosexuality by refusing to stay alive for Haemon and calling her tomb a home.
Antigone (n.) makes 'bridal chamber' name the destruction of marriage by choosing the tomb over marriage: the word destroys its object.
Antigone (n.) is the unintelligible emerging within the intelligible: one with no place who claims one within speech, a position within kinship that is no position.
Antigone (n.) and Creon are both gripped and shattered by something intrinsic to their own being; each attacks what is immanent in themselves.