American Journal of Philology

This is an important book for three main reasons. First, it offers a substantial contribution to current debates in the arts and humanities about whether and how new constructs of “humanism” can be attuned to transhistorical and transcultural experience, replace the discredited formulations associated with Western-dominated “universalism,” and maintain and justify a role for human agency. Second, it addresses this aim by analysing the text of a Greek tragedy, Sophocles’ Antigone, both as a site for grounding the concepts and theories developed by intellectual historians and philosophers in the West and then as a laboratory for testing different approaches. The book will therefore be required reading for researchers and advanced students in a range of disciplines stretching from Classics to political science, as well as for those whose primary concern is the interdisciplinary “Big Picture” of the possibilities and limitations of human action and thought. Third, because inevitably there are significant problems involved with both aspects of Honig’s project, the ways in which she addresses these and the extent to which her arguments are convincing should make her book a launch-pad for further debate.

Honig’s aims in the book are multiple and ambitious. In a 2013 interview for Open Democracy, she described the intellectual influences that shaped the development of the book. These include: French theorists’ use of the conceptual apparatus of fragility, change and unpredictability; Arendt’s vision of politics as “tumultuous and inaugural—always forming and reforming communities and reestablishing the importance of public life”; and the notion developed particularly in Derrida that speech acts are ruptural and extraordinary and sometimes take place in the abyss. Brought to bear on Sophocles’ Antigone, these approaches [End Page 158] lead Honig to read the play as centered around the politicisation of mourning and burial, representing a moment of crisis not just within the play but also in the wider Athenian context as probed by Thucydides in his presentation of the Epitaphios attributed to Pericles (Thuc. 2.34–46). Classicists and ancient historians will hardly find that perspective astonishing, but it provides Honig with the basis for the extension of the argument to the larger canvas of the re-examination of humanist angst and the desire to imagine through the lens of a classical text a humanism that is neither reductive nor pessimist nor a synonym for an imposition of “universal” as its defining characteristic. Her enterprise has implications for Classics as well as for the new humanism that she constructs.¹ In some respects the book represents an intellectual journey for Honig herself, in which she moves from an initial sense that “in current contexts of inegalitarian, neo-liberal capitalisation and globalization, the reinterpretation of classical texts hardly seems the most pressing task” (9) to recognition of the play’s pivotal role in the notion of agonistic humanism (196).

Honig’s opening chapter sets out the models of humanism that she seeks to overturn. She starts from the supposition that humanism is once again a topic of aspiration: “not the rationalist universalist variety discredited by post-structuralism and the horrific events of the twentieth century, but a newer variant” (17). She claims that one version of “new” humanism asserts that what is common to humans is not rationality but mortality, “not the capacity to reason but vulnerability to suffering.” Furthermore, she asserts that this privileging of finitude as a defining characteristic disempowers humans and marginalises political struggle. Because Greek tragedy has been foundational to attempts to seek solace in “redemptive moments” or the “transformation of suffering and loss into a story of human endurance” (206, n. 7, quoting Euben), the task of envisioning an alternative has to be commenced on the site of the ancient texts. And since Honig perceives Antigone as the representative text of “mortalist humanists” (25), that text has to be her laboratory (Part 1 of the book sets out the shift from Oedipus to Antigone as central texts for different types of humanism).² Once Antigone is centre-stage, the concepts and practices of lament and...