Antigone, A Latin American Intertextual Vision

Antigone, a Latin American intertextual vision

Introduction.

This text aims to reflect on Antigona’s work and analyze this as an intertextual fact that thanks to its different theatrical and literary adaptations of the nineteenth and twentieth century, how for example denounces the socio-political problems in a specific space and time, andIn that same sense, combine with Latin American history and the different works that based on it, managed to put into light injustices by the State towards the population and stereotypes against the texts which of Latin American society.

Developing.

To start, it is necessary to know a little of the background and the story of this character. Antigone is a work by the Greek Sophocles, written approximately in the 442 AC, daughter of Oedipus and Yocasta, who is a mother and wife at the same time of this;She has two brothers called Eteocles and Polyinices and a sister named Ismena. After Oedipus is exiled by their children, they decide. 

Due to his refusal polynices he declares war with an enemy army, this ends with the simultaneous death of the two, leaving the crown of free Thebes, so that I think uncle of these, he takes power. The first action he takes as king, is to decree that he cannot be due to due polynices for his actions against the city. Antigone who does not support this idea, decides to inflict it;overcoming her obedience to the ruler and the sense of survival of her which leads her to her tragic destiny.

Creon the culpar of giving the same rites that defended the city with which I try to destroy it, thus showing Antigone its intentions, "in spite of everything, Hades wants equality before the law" its search for compliance with divine laws and its inabilityTo hate, "I have not been born to share hate, but love". What ends with his death sentence, but decides to commit suicide, this in turn makes Hemon his future promised and son of Creon,

This work raises several implicit problems that are the ones that make the text one of the most represented and adapted to situations of today. To begin with, he describes constants of the human conflict, “clashes between men and women, between senustud and youth, between society and the individual, between the living and the dead, and between men and God. In addition, if we see, they are still in force in our society, which means that this work will narrate a path already traveled and one to go. 

On the other hand, she is totally revolutionary for the time to put a woman as an individual with rights, because she declares in the work that I believe "has no attribution to prevent my duties" and with the ability to deal with the king, because in retrospectiveAntigone questions the power of Creon from the limits he has, but the most important thing is that he is not only speaking, Sophocles is giving him the ability to accuse power and challenge him because he is exercising abusively and sheis making you see that you are wrong.

In this sense, the objective of Antigona is "to fight for his right of expression and tell the story from his point of view" and he will recognize himself as a person with the ability to have a voice and vote in the face of a situation in thethat he does not have to lower his head before his ruler’s decisions and consequently the act of dying will become a way of denunciation and resistance to the imposition of power. 

In this order of ideas, in order to know if Antigone is an intertextual fact, it is necessary to contemplate its passage through history. This text has something very particular, which helps the intertext with the works in modernity become evident;This is that Antigone is considered a classic of literature, not only because he is able to cross time and space and remains in force today, but because it allows us to revive his words from our historical context;which generates that this myth becomes capital in the inheritance of modern literature and in the movements of the twentieth and twenty -first century. 

In this regard, Oliver Py theater director responded in an interview: "It is so popular because it is a fantastic work";What gives an idea of the great importance that it has, and not only was he, the only one who thinks about the Sophoclean work;George Steiner shows us how this was considered by intellectuality between 1790 and 1905, the work par excellence and the tragedy closer to perfection. This will generate that the dispute between Creonte and Antigone appears in different dramas and operas, but also in many philosophical discussions such as Hölderlin, Kierkegaard, Goethe and Hegel;In this way we can consider this myth as an intertextual fact taking into account that this is "the effective presence of one text in another" 

The work par excellence and the tragedy closest to perfection. This will generate that the dispute between Creonte and Antigone appears in different dramas and operas, but also in many philosophical discussions such as Hölderlin, Kierkegaard, Goethe and Hegel;In this way we can consider this myth as an intertextual fact taking into account that this is the effective presence of one text in another.

 This will generate that the dispute between Creonte and Antigone appears in different dramas and operas, but also in many philosophical discussions such as Hölderlin, Kierkegaard, Goethe and Hegel;In this way we can consider this myth as an intertextual fact taking into account that this is “the effective presence of one text in another”, in this way we can consider this myth as an intertextual fact taking into account that this is “the effective presence of a textin other.

It is evident that, much of the works are Argentine;This is because many authors have focused on capturing the injustices of the reactionary discourse of the power and dictatorship of this country. To do this, Doris M. Mendoza affirms that "these playwrights elaborate a transgressive discourse that demystify, that undress and degrade in a way the dictatorship and corruption of certain historical moments of their country" . While all these works offer a different literary proposal, it should be noted that requesting to share their ideological and political connotation,

“They also have a special link with socio -political conditions as far as dictatorships are concerned, the impositions of a State that collides with the ethics of the individual and that of women and their abilities of incidence in public life.

This indicates that the entire structure and composition of this work becomes one of the most commented, studied, read and represented in the world of literature. To deepen more in the presence of Antigone in these texts, the work of Franklin Domínguez, Antigone Humor will be taken as reference. In this work the author takes Antigone as an antecedent to introduce Latin American theatrical discourse, and with the carnivalization of this, he will criticize the western hegemonic canon, which is “elitist and ethnocentric theatrical/theatrical.

Understanding carnavival as a "textual sabotage" of the canonical model, and this will consist of a response to the marginalization of Latin American texts by authors representative of these hegemonies such as George Steiner or Diana Taylor, where the first does not take any workLatina for her literary analysis of Antigone and the second devaluation of these types of texts so that they were not taken into account in her work Theater of Crisis. In this way, being his work a dramatic representation, his response will consist of a theatrical goal that will be taken to the extreme so that he supports his thesis that is “the subversion of tragedy as a critical target response that the theatrical hegemonic canon questions.

As a second source of reference, this the text of Griselda Gámbaro, antigone furious, which is essential to understand the role that Antigone takes in front of the crimes in dictatorships. This work is confused, is to collect certain parliaments of the original text and create a new antigone out of its time so that it can “retrospectively dialogue with what happened in the current time experienced by Argentina of the time. 

With this gambao intention, it will leave only three actors that during the staging, will represent the voices of the different characters of the Sophocles text, as can be seen in the military uniform that is placed Corifeo symbolizing power and representing Creon or when Antigoneassumes the role of hemon in the discussion with himself;This will largely help a better understanding of the text and to reduce the entire work almost in a single act, but it is very important to emphasize that at no time loses the essence of the original text. 

Thus we can see how this work will make a criticism from Antigone to the Argentine regime involving symbologies in the characters as their representation, so that it can give implicit complaints of what was a time of violation of the rights of the population, where theindividual identity is oppressed and absorbed by the power of the leaders of that time. Additionally, it is pertinent to highlight that the story is always repeated and in each era of injustice and arbitrariness, heroicity will arise as well as its tragic declined, dying and resurfaceing again and again. 

Conclusions.

Finally, Antigone is one of the works with the greatest impact on Western culture, expressing in its leaves a large number of timeless problems of the human being, it is thanks this, that a large number of writers have used it for various purposes, for example, for example,Franklin Domínguez in Antigone Humor, reflects on the theatrical models that affect our perspective of the Latin American text, on the other hand, there are writers who have used this staple tragedy to denounce crimes and rapes by the State, much of these are fromArgentine nationality, being one of them Griselda Gambaro with Antigona Furiosa, where he criticizes the Argentine military regime. 

Bibliography.

• María r. Martin. (2012) Antigone continues to wear the pants. 
• Milena b. Climbing. (2016) Antigone: a Latin American tragedy. 
• Elena c. Turrion. (2011) Antígonas. An intertextual vision. 
• Dalia Ventura. (2019) Why Antigone is the most represented play in the world 2.500 years after its premiere. 
• María v. COOK. (2012) The character of Antigone in Sophocles and Gambao: the creation of a new tragicity. 
• Doris m. Mendoza. (2012) intertextuality and parody in antigone furious of Griselda Gámbaro: adaptation of the Sophzyan text.
• William Garcia. (1997) Textual/theatrical sabotage against the canonical model: Antigone Humor of Franklin Domínguez. 
• Writing time. (2005) A modern antigone.