This paper attempts to compare Sophocles’ Antigone to the Egyptian adaptation Antigone’s law (2022), to highlight the significance of intertextuality. The study entails contributions to intertextuality that will be integrated in analyzing the adapted discourses. It will also capitalize on the political and social dimensions illustrated in the adapted play. The study aims to explore the oppressed female voices in the concerned texts and how the adapted work is appropriating to any oppressed culture that suffers from the same sense of oppression throughout the ages. In this respect, the paper reflects the oppressed female character who defies her uncle who embodies the tyrannical figure that does not want her to bury her brother. In this respect, the paper rests on Julia Kristeva’s and Mikhail Bakhtin’s development of intertextuality. It will also rely on Lorna Hardwick’s and Robert Fraser’s reference to the use of verbal and semiotic techniques which give the audiences a new comprehensive meaning that could be linked to their real life. This paper will also explain Susan Bassnett’s concept of polyphony or plurivocality that is set in contrast to the earlier model imposed by the colonial power of univocality. In other words, the other voices can be heard rather than the dominant single or monolithic voice. Plurivocality is capitalized on as it is at the heart of post-colonial thinking. Therefore, the study aims at proving that the experience was not only limited to the individual, but also to a whole community and humanity as well, and that reflects and highlights the power and the wisdom of women through the ages with different manifestations in the examined discourse. The study therefore, attempts to prove how the notion of intertextuality is found deeply in the Egyptian adapted work.
| Published in | English Language, Literature & Culture (Volume 9, Issue 2) |
| DOI | 10.11648/j.ellc.20240902.12 |
| Page(s) | 42-49 |
| Creative Commons |
This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited. |
| Copyright |
Copyright © The Author(s), 2024. Published by Science Publishing Group |
Adaptation, Appropriation, Intertextuality, Feminism, Tyrannical Figure, Oppressed Voices
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Altaf, M. “Brechtian Techniques”, Oct 08, 2015
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| [2] | Amin, D. Camera ET, “Antigone’s law”, 2022. |
| [3] | Bassnett, S. “Reflections on Comparative Literature in the Twenty-First Century.” Comparative Literature: East & West, vol. 12, no. 1, 2010, pp. 4–11, |
| [4] | Erin B. Mee and Helene P. Foley. Antigone on the Contemporary World Stage, Oxford Academic, 2011. |
| [5] | Fabrizio, D. “Performance Studies Floating Free of Theatre. Richard Schechner and the Rise of an Open Interdisciplinary Field”, Article in Revista Alicantina de Estudios Ingleses · January 2014. pp13-25. |
| [6] | Ihab, H. “The Problem of Influence in Literary History: Notes towards a Definition.” The Journal of Aesthetics and Art Criticism, vol. 14, no. 1, 1955, pp. 66–76. JSTOR, |
| [7] | Hutcheon, L. A Theory of Adaptation, Routledge. 2006. |
| [8] | Heaney, S. The Burial at Thebes a version of Sophocles’ Antigone, pp. 11, 12, 2004. |
| [9] | Clayton, J, and Rothstein, E. Figures in the Corpus: Theories of Influence and Intertextuality, University of Wisconsin Press, Madison, Wis., 1991. |
| [10] | Kristeva, J. Desire in Language: A Semiotic Approach to Literature and Art. Ed. Leon S. Poetics Today, vol. 3, no. 4, 1982, pp. 193–194. JSTOR, |
| [11] | Lorna, H and Robert, F. Reading Guide for Block 1: Antigone across worlds, The Open University, Walton Hall, Milton Keynes MK7 6AA, 2009. |
| [12] | Mahmoud, N. “Antigone’s Law”, The Journal of All Playwrights 793, November 2022. |
| [13] |
Mansour, D. “Antigone’s law: A Contemporary Dramatic Egyptian Version”, British Journal of Translation, Linguistics and Literature (BJTLL), vol. 3, pp. 50-51, 2023.
https://journals.ukbrighthorizons.co.uk/index.php/bjtll/about |
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Sanders, J. Adaptation and Appropriation. 2006, Routledge.
https://engl149summer2020.web.unc.edu/wp-content/uploads/sites/22760/2020/06/9781317572213.pdf |
APA Style
El-Assal, M. (2024). Re-visiting Sophocles’ Antigone: Dr. Dina Amin’s 2022 Egyptian Version Antigone’s Law. English Language, Literature & Culture, 9(2), 42-49. https://doi.org/10.11648/j.ellc.20240902.12
ACS Style
El-Assal, M. Re-visiting Sophocles’ Antigone: Dr. Dina Amin’s 2022 Egyptian Version Antigone’s Law. Engl. Lang. Lit. Cult. 2024, 9(2), 42-49. doi: 10.11648/j.ellc.20240902.12
AMA Style
El-Assal M. Re-visiting Sophocles’ Antigone: Dr. Dina Amin’s 2022 Egyptian Version Antigone’s Law. Engl Lang Lit Cult. 2024;9(2):42-49. doi: 10.11648/j.ellc.20240902.12
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Download@article{10.11648/j.ellc.20240902.12,
author = {Mariham El-Assal},
title = {Re-visiting Sophocles’ Antigone: Dr. Dina Amin’s 2022 Egyptian Version Antigone’s Law
},
journal = {English Language, Literature & Culture},
volume = {9},
number = {2},
pages = {42-49},
doi = {10.11648/j.ellc.20240902.12},
url = {https://doi.org/10.11648/j.ellc.20240902.12},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ellc.20240902.12},
abstract = {This paper attempts to compare Sophocles’ Antigone to the Egyptian adaptation Antigone’s law (2022), to highlight the significance of intertextuality. The study entails contributions to intertextuality that will be integrated in analyzing the adapted discourses. It will also capitalize on the political and social dimensions illustrated in the adapted play. The study aims to explore the oppressed female voices in the concerned texts and how the adapted work is appropriating to any oppressed culture that suffers from the same sense of oppression throughout the ages. In this respect, the paper reflects the oppressed female character who defies her uncle who embodies the tyrannical figure that does not want her to bury her brother. In this respect, the paper rests on Julia Kristeva’s and Mikhail Bakhtin’s development of intertextuality. It will also rely on Lorna Hardwick’s and Robert Fraser’s reference to the use of verbal and semiotic techniques which give the audiences a new comprehensive meaning that could be linked to their real life. This paper will also explain Susan Bassnett’s concept of polyphony or plurivocality that is set in contrast to the earlier model imposed by the colonial power of univocality. In other words, the other voices can be heard rather than the dominant single or monolithic voice. Plurivocality is capitalized on as it is at the heart of post-colonial thinking. Therefore, the study aims at proving that the experience was not only limited to the individual, but also to a whole community and humanity as well, and that reflects and highlights the power and the wisdom of women through the ages with different manifestations in the examined discourse. The study therefore, attempts to prove how the notion of intertextuality is found deeply in the Egyptian adapted work.
},
year = {2024}
}
TY - JOUR T1 - Re-visiting Sophocles’ Antigone: Dr. Dina Amin’s 2022 Egyptian Version Antigone’s Law AU - Mariham El-Assal Y1 - 2024/07/15 PY - 2024 N1 - https://doi.org/10.11648/j.ellc.20240902.12 DO - 10.11648/j.ellc.20240902.12 T2 - English Language, Literature & Culture JF - English Language, Literature & Culture JO - English Language, Literature & Culture SP - 42 EP - 49 PB - Science Publishing Group SN - 2575-2413 UR - https://doi.org/10.11648/j.ellc.20240902.12 AB - This paper attempts to compare Sophocles’ Antigone to the Egyptian adaptation Antigone’s law (2022), to highlight the significance of intertextuality. The study entails contributions to intertextuality that will be integrated in analyzing the adapted discourses. It will also capitalize on the political and social dimensions illustrated in the adapted play. The study aims to explore the oppressed female voices in the concerned texts and how the adapted work is appropriating to any oppressed culture that suffers from the same sense of oppression throughout the ages. In this respect, the paper reflects the oppressed female character who defies her uncle who embodies the tyrannical figure that does not want her to bury her brother. In this respect, the paper rests on Julia Kristeva’s and Mikhail Bakhtin’s development of intertextuality. It will also rely on Lorna Hardwick’s and Robert Fraser’s reference to the use of verbal and semiotic techniques which give the audiences a new comprehensive meaning that could be linked to their real life. This paper will also explain Susan Bassnett’s concept of polyphony or plurivocality that is set in contrast to the earlier model imposed by the colonial power of univocality. In other words, the other voices can be heard rather than the dominant single or monolithic voice. Plurivocality is capitalized on as it is at the heart of post-colonial thinking. Therefore, the study aims at proving that the experience was not only limited to the individual, but also to a whole community and humanity as well, and that reflects and highlights the power and the wisdom of women through the ages with different manifestations in the examined discourse. The study therefore, attempts to prove how the notion of intertextuality is found deeply in the Egyptian adapted work. VL - 9 IS - 2 ER -
Faculty of Language Studies, Arab Open University, Cairo, Egypt
