{"text_format":"2","workbook":"xls","n_sheets":1,"sheets":["report2"],"not_rendered":{"charts":0,"images":0,"macros":0,"external_links":1,"defined_names":1,"comments":0,"pivot_tables":0},"unopened":[],"bounds":{"document_bytes":16777216,"sheet_cells":100000,"run_cost":"one","rows_first":2000,"rows_last":500,"rows_between":2000,"halvings":0,"cell_chars":16384,"cell_head_chars":4096},"cells_cut":0,"cells_raw":0,"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":20,"n_cols":5,"rows_kept":20,"cut":false,"hidden":false,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[2,4,2,5],[3,2,3,3],[5,2,5,3],[7,2,7,3],[8,2,8,3],[9,2,9,3],[10,2,10,3],[15,2,15,3],[16,2,16,3],[18,2,18,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNINA9910798629203321"]
[null,null,"Autore",null,"Žižek Slavoj"]
[null,null,"Titolo",null,"Antigone / / Slavoj Žižek ; with an introduction by Hanif Kureishi"]
[null,null,"Pubbl/distr/stampa",null,"London, England : , : Bloomsbury Academic, , [2016]"]
[{"$nulls":4},"©2016"]
[null,null,"ISBN",null,"1-4742-6939-7"]
[{"$nulls":4},"1-4742-6938-9"]
[null,null,"Descrizione fisica",null,"1 online resource (66 pages)"]
[null,null,"Classificazione",null,"PHI000000PER011030DRA006000LIT013000"]
[null,null,"Disciplina",null,"882.01"]
[null,null,"Soggetti",null,"Philosophy"]
[{"$nulls":4},"Theater"]
[{"$nulls":4},"Playwriting"]
[{"$nulls":4},"Drama"]
[{"$nulls":4},"Criticism"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Machine generated contents note: Introduction -- Play -- Postscript -- Index."]
[null,null,null,"Sommario/riassunto","\"While it is common practice in contemporary theatre to re-contextualize a piece of work, the riskier--and Slavoj Zizek would argue more faithful--approach might be to change the actual story itself. Zizek's Antigone not only re-positions Antigone as a revolutionary political figure, it alters the narrative of the play itself. As Zizek puts it himself in the introduction to the play, 'Only one thing is sure: sticking to the traditional letter is the safest way to betray the spirit of the classic'. Philosophers have long been preoccupied with Antigone--Kierkegaard, Hegel, Plato and Judith Butler to name but a few--but never before has a philosopher had the audacity to throw fidelity to the wind and re-write one of the most classic plays in the history of theatre. This lack of fidelity is, of course, precisely the point: not only is this a fascinating new play in its own right, it is a political work calling into question our ideas of reverence to the canon, fidelity to the text and the notion of what 'faithfulness' might really mean. A brilliantly funny, moving and political play for those who are interested in reading and watching Antigone in a new way. \"--"]