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Krisztina Lajosi

with their own time and recognize the political allegory. This poverty was in stark contrast with the lavish life of the royal court. The Queen gives a party in honor of her scoundrel brother, Ottó, but the people in the countryside are living in abominable conditions. “T iborc : She has fancy marble

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Krisztina Lajosi

representative of his country, but only because of the Tsar’s benevolence. Ivanov is not yet the representative of the people . His acts are motivated only by his personal desire to marry the girl he loves. In contrast, Ivan Susanin in Glinka’s opera A Life for the Tsar (1836) already acts in the name of his

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Maria de Fátima Silva

comments on the events, far from the site of the action”; 5 also “a courtyard in the palace of Thebes and then the throneroom” which is where “the dialogues between the living unfold”; and finally “a field of asphodels in the twilight [which] the dead cross/…/as the light and relationship between them

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Maria de Fátima Silva

step away from the living. The sacrifice that she has just made in losing a lover, which is also effectively an abdication from the future and from life, leave her even more alone and less alive, but still determined to love, not the “lost lover” but that brother that she covers with resolute gestures

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Heather Ingman

significant feature of her early life. There was silence over her father’s nervous breakdown and incarceration in a mental hospital, experienced by the seven-year-old Bowen as “the tensions and mystery of my father’s illness, the apprehensive silences or chaotic shoutings” (“Pictures and Conversations:” 270

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Rosa Andújar and Konstantinos Nikoloutsos

Isolation In Antigone , the dead populate the stage. In a genre that only used three actors to play all speaking roles, the tragedy unusually features three deaths by suicide. If we add these to the corpses of Polyneices and Eteocles, the dead easily outnumber the living by the end of the drama, when only

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Maria do Céu Fialho

that is totally new. That is how I have wished to translate Antigone. From a bird’s eye view, great beauties vanish and others emerge; connections are formed, blocks, angles, unexpected reliefs. Maybe my experience is a means of keeping the old masterpieces alive. As a result of living there we look at

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Stéphanie Urdician

– “Anarchy is our worst evil” (Sophocles, Antigone 765), declared Creon who excludes the ‘anarchist’ calling her a madwoman: “Creon – Of these two maidens here, The one, I say, hath lost her mind but now, The other ever since her life began” (Sophocles, Antigone 636–638). “Il existe une autre loi

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Maria de Fátima Silva

maintenant qu’il s’agit” 17 (Yesterday, I too would have wished to live, but now the question is not one of living or dying anymore). A resolute “moi” (cf. 28) is what is left from a whole life project; having lost her motherland and her family, with the relationship that had brought her to Corinth now over

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Maria de Fátima Silva

than they think. And men, when they steal, don’t rob the dead, they rob the living”). Creon participates in this discussion with a strange attitude, anticipating the certainty brought by the head guard; he had realised during the night that his niece was gone from the palace (39). Oenopides produces an