document_title: Antigone (Sophocles play)

question_text: who does creon initially blame for the burial of polyneices

text: Antigone (Sophocles play)

text: Synopsis[edit]

text: Prior to the beginning of the play, brothers Eteocles and Polyneices, leading opposite sides in Thebes' civil war, died fighting each other for the throne. Creon, the new ruler of Thebes, brother of the former Queen Jocasta, has decided that Eteocles will be honored and Polyneices will be in public shame. The rebel brother's body will not be sanctified by holy rites and will lie unburied on the battlefield, prey for carrion animals like worms and vultures, the harshest punishment at the time. Antigone and Ismene are the sisters of the dead Polyneices and Eteocles. In the opening of the play, Antigone brings Ismene outside the palace gates late at night for a secret meeting: Antigone wants to bury Polyneices' body, in defiance of Creon's edict. Ismene refuses to help her, not believing that it will actually be possible to bury their brother, who is under guard, but she is unable to stop Antigone from going to bury her brother herself.

text: Creon enters, along with the Chorus of Theban Elders. He seeks their support in the days to come and in particular, wants them to back his edict regarding the disposal of Polyneices' body. The Leader of the Chorus pledges his support out of deference to Creon. A Sentry enters, fearfully reporting that the body has been given funeral rites and a symbolic burial with a thin covering of earth, though no one saw who had actually committed the crime. Creon, furious, orders the Sentry to find the culprit or face death himself. The Sentry leaves, and the Chorus sings about honouring the gods, but after a short absence, he returns, bringing Antigone with him. The Sentry explains that the watchmen uncovered Polyneices' body and then caught Antigone as she did the funeral rituals. Creon questions her after sending the Sentry away, and she does not deny what she has done. She argues unflinchingly with Creon about the immorality of the edict and the morality of her actions. Creon becomes furious, and, thinking Ismene must have known of Antigone's plan, seeing her upset, summons the girl. Ismene tries to confess falsely to the crime, wishing to die alongside her sister, but Antigone will not have it. Creon orders that the two women be temporarily imprisoned.

text: Haemon, Creon's son, enters to pledge allegiance to his father, even though he is engaged to Antigone. He initially seems willing to forsake Antigone, but when Haemon gently tries to persuade his father to spare Antigone, claiming that 'under cover of darkness the city mourns for the girl', the discussion deteriorates, and the two men are soon bitterly insulting each other. When Creon threatens to execute Antigone in front of his son, Haemon leaves, vowing never to see Creon again.

text: Creon decides to spare Ismene and to bury Antigone alive in a cave. By not killing her directly, he hopes to pay the minimal respects to the gods. She is brought out of the house, and this time, she is sorrowful instead of defiant. She expresses her regrets at not having married and dying for following the laws of the gods. She is taken away to her living tomb, with the Leader of the Chorus expressing great sorrow for what is going to happen to her.

text: Tiresias, the blind prophet, enters. Tiresias warns Creon that Polyneices should now be urgently buried because the gods are displeased, refusing to accept any sacrifices or prayers from Thebes. Creon accuses Tiresias of being corrupt. Tiresias responds that because of Creon's mistakes, he will lose "a son of [his] own loins"[2] for the crimes of leaving Polyneices unburied and putting Antigone into the earth (he does not say that Antigone should not be condemned to death, only that it is improper to keep a living body underneath the earth). All of Greece will despise Creon, and the sacrificial offerings of Thebes will not be accepted by the gods. The Leader of the Chorus, terrified, asks Creon to take Tiresias' advice to free Antigone and bury Polyneices. Creon assents, leaving with a retinue of men. The Chorus delivers a choral ode to the god Dionysus (god of wine and of the theater; this part is the offering to their patron god). A Messenger enters to tell the Leader of the Chorus that Antigone has killed herself. Eurydice, Creon's wife and Haemon's mother, enters and asks the Messenger to tell her everything. The Messenger reports that Creon saw to the burial of Polyneices. When Creon arrived at Antigone's cave, he found Haemon lamenting over Antigone, who had hanged herself. After unsuccessfully attempting to stab Creon, Haemon stabbed himself. Having listened to the Messenger's account, Eurydice disappears into the palace.

text: Creon enters, carrying Haemon's body. He understands that his own actions have caused these events and blames himself. A Second Messenger arrives to tell Creon and the Chorus that Eurydice has killed herself. With her last breath, she cursed her husband. Creon blames himself for everything that has happened, and, a broken man, he asks his servants to help him inside. The order he valued so much has been protected, and he is still the king, but he has acted against the gods and lost his children and his wife as a result. After Creon condemns himself, the Leader of the Chorus closes by saying that although the gods punish the proud, punishment brings wisdom.

text: Characters[edit]

text:
Antigone, compared to her beautiful and docile sister, is portrayed as a heroine who recognizes her familial duty. Her dialogues with Ismene reveal her to be as stubborn as her uncle.[3] In her, the ideal of the female character is boldly outlined.[4] She defies Creon’s decree despite the consequences she may face, in order to honor her deceased brother.
Ismene serves as a foil for Antigone, presenting the contrast in their respective responses to the royal decree.[3] Considered the beautiful one, she is more lawful and obedient to authority. She hesitates to bury Polyneices because she fears Creon.
Creon is the current King of Thebes, who views law as the guarantor of personal happiness. He can also be seen as a tragic hero, losing everything for upholding what he believed was right. Even when he is forced to amend his decree to please the gods, he first tends to the dead Polyneices before releasing Antigone.[3]
Eurydice of Thebes is the Queen of Thebes and Creon’s wife. She appears towards the end and only to hear confirmation of her son Haemon’s death. In her grief, she commits suicide, cursing Creon whom she blames for her son’s death.
Haemon is the son of Creon and Eurydice, betrothed to Antigone. Proved to be more reasonable than Creon, he attempts to reason with his father for the sake of Antigone. However, when Creon refuses to listen to him, Haemon leaves angrily and shouts he will never see him again. He commits suicide after finding Antigone dead.
Koryphaios is the assistant to the King (Creon) and the leader of the Chorus. He is often interpreted as a close advisor to the King, and therefore a close family friend. This role is highlighted in the end when Creon chooses to listen to Koryphaios' advice.
Tiresias is the blind prophet whose prediction brings about the eventual proper burial of Polyneices. Portrayed as wise and full of reason, Tiresias attempts to warn Creon of his foolishness and tells him the gods are angry. He manages to convince Creon, but is too late to save the impetuous Antigone.
The Chorus, a group of elderly Theban men, is at first deferential to the king.[4] Their purpose is to comment on the action in the play and add to the suspense and emotions, as well as connecting the story to myths. As the play progresses they counsel Creon to be more moderate. Their pleading persuades Creon to spare Ismene. They also advise Creon to take Tiresias's advice.

text: Historical context[edit]

text: Antigone was written at a time of national fervor. In 441 BC, shortly after the play was performed, Sophocles was appointed as one of the ten generals to lead a military expedition against Samos. It is striking that a prominent play in a time of such imperialism contains little political propaganda, no impassioned apostrophe, and, with the exception of the epiklerate (the right of the daughter to continue her dead father's lineage),[5] and arguments against anarchy, makes no contemporary allusion or passing reference to Athens.[6] Rather than become sidetracked with the issues of the time, Antigone remains focused on the characters and themes within the play. It does, however, expose the dangers of the absolute ruler, or tyrant, in the person of Creon, a king to whom few will speak freely and openly their true opinions, and who therefore makes the grievous error of condemning Antigone, an act which he pitifully regrets in the play's final lines. Athenians, proud of their democratic tradition, would have identified his error in the many lines of dialogue which emphasize that the people of Thebes believe he is wrong, but have no voice to tell him so. Athenians would identify the folly of tyranny.

text: Notable features[edit]

text: The Chorus in Antigone departs significantly from the chorus in Aeschylus' Seven Against Thebes, the play of which Antigone is a continuation. The chorus in Seven Against Thebes is largely supportive of Antigone's decision to bury her brother. Here, the chorus is composed of old men who are largely unwilling to see civil disobedience in a positive light. The chorus also represents a typical difference in Sophocles' plays from those of both Aeschylus and Euripides. A chorus of Aeschylus' almost always continues or intensifies the moral nature of the play, while one of Euripides' frequently strays far from the main moral theme. The chorus in Antigone lies somewhere in between; it remains within the general moral and the immediate scene, but allows itself to be carried away from the occasion or the initial reason for speaking.[7]

text: Significance and interpretation[edit]

text: Antigone deals with three main questions:

text:
whether Polyneices ought to be given burial rituals
whether someone who buried him in defiance of state ought to be punished
whether Creon's actions are just or thoughtless

tag: ol

text: Creon was perfectly justified in issuing the edict which deprived funeral rites to Polyneices, who led a foreign army to lay siege to his own city. Creon, as head of the state, viewed exemplary punishment as appropriate. Antigone had a right to assert that in defying Creon's edict she was loyal to an unwritten law which had a higher sanction.[8] Once the initial premises behind the characters in Antigone have been established, the action of the play moves steadily and inevitably towards the outcome.[9] Once Creon has discovered that Antigone buried her brother against his orders, the ensuing discussion of her fate is devoid of arguments for mercy because of youth or sisterly love from the Chorus, Haemon or Antigone herself. Most of the arguments to save her center on a debate over which course adheres best to strict justice.[10]

text: Both Antigone and Creon claim divine sanction for their actions; but Tiresias the prophet supports Antigone's claim that the gods demand Polyneices' burial. It is not until the interview with Tiresias that Creon transgresses in act and is guilty of sin. He had had no divine intimation before that his edict was displeasing to the Gods and against their will. He is here warned that it is, but he defends it and insults the prophet of the Gods. This is his sin, and it is this which leads to his punishment. The terrible calamities, then, which overtake Creon are not the result of his exalting the law of the state over the unwritten and divine law which Antigone vindicates, but his intemperance which led him to disregard the warnings of Tiresias until it was too late. This is emphasized by the Chorus in the lines which conclude the play.[8]

text: This section needs expansion with: a summary of Heidegger's reading of Antigone and its importance. You can help by adding to it. (May 2017)

text: The German poet Friedrich Hölderlin, whose translation of the play would have strong impact on the reading of the play by the philosopher Martin Heidegger, brings out a more subtle reading of the play: he focuses on Antigone's legal and political status within the palace, her privilege to be the hearth (according to the legal instrument of the epiklerate) and thus protected by Zeus. According to the legal practice of classical Athens, Creon is obliged to marry his closest relative (Haemon) to the late king's daughter in an inverted marriage rite, which would oblige Haemon to produce a son and heir for his dead father in law. Creon would be deprived of grandchildren and heirs to his lineage – a fact which provides a strong realistic motif for his hatred against Antigone. This modern perspective has remained submerged for a long time.[11]

text: The problem of the second burial[edit]

text: An important issue still debated regarding Sophocles' Antigone is the problem of the second burial. When she poured dust over her brother's body, Antigone completed the burial rituals and thus fulfilled her duty to him. Having been properly buried, Polyneices' soul could proceed to the underworld whether or not the dust was removed from his body. However, Antigone went back after his body was uncovered and performed the ritual again, an act that seems to be completely unmotivated by anything other than a plot necessity so that she could be caught in the act of disobedience, leaving no doubt of her guilt. More than one commentator has suggested that it was the gods, not Antigone, who performed the first burial, citing both the guard's description of the scene and the chorus's observation.[12]

text: Richard Jebb suggests that the only reason for Antigone's return to the burial site is that the first time she forgot the Choaí (libations), and "perhaps the rite was considered completed only if the Choaí were poured while the dust still covered the corpse."[13]

text: Gilbert Norwood explains Antigone's performance of the second burial in terms of her stubbornness. His argument says that had Antigone not been so obsessed with the idea of keeping her brother covered, none of the deaths of the play would have happened. This argument states that if nothing had happened, nothing would have happened, and doesn't take much of a stand in explaining why Antigone returned for the second burial when the first would have fulfilled her religious obligation, regardless of how stubborn she was. This leaves that she acted only in passionate defiance of Creon and respect to her brother's earthly vessel.[14]

text: Tycho von Wilamowitz-Moellendorff justifies the need for the second burial by comparing Sophocles' Antigone to a theoretical version where Antigone is apprehended during the first burial. In this situation, news of the illegal burial and Antigone's arrest would arrive at the same time and there would be no period of time in which Antigone's defiance and victory could be appreciated.

text: J. L. Rose maintains that the solution to the problem of the second burial is solved by close examination of Antigone as a tragic character. Being a tragic character, she is completely obsessed by one idea, and for her this is giving her brother his due respect in death and demonstrating her love for him and for what is right. When she sees her brother's body uncovered, therefore, she is overcome by emotion and acts impulsively to cover him again, with no regards to the necessity of the action or its consequences for her safety.[14]

text: Bonnie Honig uses the problem of the second burial as the basis for her claim that Ismene performs the first burial, and that her pseudo-confession before Creon is actually an honest admission of guilt.[15]

text: Themes[edit]

text: Civil disobedience[edit]

text: A well established theme in Antigone is the right of the individual to reject society's infringement on her freedom to perform a personal obligation.[16] Antigone comments to Ismene, regarding Creon's edict, that "He has no right to keep me from my own."[17] Related to this theme is the question of whether Antigone's will to bury her brother is based on rational thought or instinct, a debate whose contributors include Goethe.[16]

text: The contrasting views of Creon and Antigone with regard to laws higher than those of state inform their different conclusions about civil disobedience. Creon demands obedience to the law above all else, right or wrong. He says that "there is nothing worse than disobedience to authority" (An. 671). Antigone responds with the idea that state law is not absolute, and that it can be broken in civil disobedience in extreme cases, such as honoring the gods, whose rule and authority outweigh Creon's.

text: Natural law and contemporary legal institutions[edit]

text: In Antigone, Sophocles asks the question, which law is greater: the gods' or man's. Sophocles votes for the law of the gods. He does this in order to save Athens from the moral destruction which seems imminent. Sophocles wants to warn his countrymen about hubris, or arrogance, because he believes this will be their downfall. In Antigone, the hubris of Creon is revealed.

text: Creon's decree to leave Polyneices unburied in itself makes a bold statement about what it means to be a citizen, and what constitutes abdication of citizenship. It was the firmly kept custom of the Greeks that each city was responsible for the burial of its citizens. Herodotus discussed how members of each city would collect their own dead after a large battle to bury them.[18] In Antigone, it is therefore natural that the people of Thebes did not bury the Argives, but very striking that Creon prohibited the burial of Polyneices. Since he is a citizen of Thebes, it would have been natural for the Thebans to bury him. Creon is telling his people that Polyneices has distanced himself from them, and that they are prohibited from treating him as a fellow-citizen and burying him as is the custom for citizens.

text: In prohibiting the people of Thebes from burying Polyneices, Creon is essentially placing him on the level of the other attackers—the foreign Argives. For Creon, the fact that Polyneices has attacked the city effectively revokes his citizenship and makes him a foreigner. As defined by this decree, citizenship is based on loyalty. It is revoked when Polyneices commits what in Creon's eyes amounts to treason. When pitted against Antigone's view, this understanding of citizenship creates a new axis of conflict. Antigone does not deny that Polyneices has betrayed the state, she simply acts as if this betrayal does not rob him of the connection that he would have otherwise had with the city. Creon, on the other hand, believes that citizenship is a contract; it is not absolute or inalienable, and can be lost in certain circumstances. These two opposing views – that citizenship is absolute and undeniable and alternatively that citizenship is based on certain behavior – are known respectively as citizenship 'by nature' and citizenship 'by law.'[18]

text: Fidelity[edit]

text: Antigone's determination to bury Polyneices arises from a desire to bring honor to her family, and to honor the higher law of the gods. She repeatedly declares that she must act to please "those that are dead" (An. 77), because they hold more weight than any ruler, that is the weight of divine law. In the opening scene, she makes an emotional appeal to her sister Ismene saying that they must protect their brother out of sisterly love, even if he did betray their state. Antigone believes that there are rights that are inalienable because they come from the highest authority, or authority itself, that is the divine law.

text: While he rejects Antigone's actions based on family honor, Creon appears to value family himself. When talking to Haemon, Creon demands of him not only obedience as a citizen, but also as a son. Creon says "everything else shall be second to your father's decision" ("An." 640–641). His emphasis on being Haemon's father rather than his king may seem odd, especially in light of the fact that Creon elsewhere advocates obedience to the state above all else. It is not clear how he would personally handle these two values in conflict, but it is a moot point in the play, for, as absolute ruler of Thebes, Creon is the state, and the state is Creon. It is clear how he feels about these two values in conflict when encountered in another person, Antigone: loyalty to the state comes before family fealty, and he sentences her to death.

text: Portrayal of the gods[edit]

text: In Antigone as well as the other Theban Plays, there are very few references to the gods. Hades is the god who is most commonly referred to, but he is referred to more as a personification of Death. Zeus is referenced a total of 13 times by name in the entire play, and Apollo is referenced only as a personification of prophecy. This lack of mention portrays the tragic events that occur as the result of human error, and not divine intervention. The gods are portrayed as chthonic, as near the beginning there is a reference to "Justice who dwells with the gods beneath the earth." Sophocles references Olympus twice in Antigone. This contrasts with the other Athenian tragedians, who reference Olympus often.

text: Love for family[edit]

text: Antigone's love for family is shown when she buries her brother, Polyneices. Haemon was deeply in love with his cousin and fiancée Antigone, and he killed himself in grief when he found out that his beloved Antigone had hanged herself.

text: Modern adaptations[edit]

text: Drama[edit]

text:
Felix Mendelssohn composed a suite of incidental music for Ludwig Tieck's staging of the play in 1841. It includes an overture and seven choruses.
French playwright Jean Anouilh's tragedy Antigone was inspired by both Sophocles' play and the myth itself. Anouilh's play premièred in Paris at the Théâtre de l'Atelier in February 1944, during the Nazi occupation of France.
Right after World War II, Bertolt Brecht composed an adaptation, Antigone, which was based on a translation by Friedrich Hölderlin and was published under the title Antigonemodell 1948.
The Haitian writer and playwright Félix Morisseau-Leroy translated and adapted Antigone into Haitian Creole under the title, Antigòn (1953). Antigòn is noteworthy in its attempts to insert the lived religious experience of many Haitians into the content of the play through the introduction of several Loa from the pantheon of Haitian Vodou as voiced entities throughout the performance.
Antigone inspired the 1967 Spanish-language novel La tumba de Antígona (English title: Antigone's Tomb) by María Zambrano.
Puerto Rican playwright Luis Rafael Sánchez's 1968 play La Pasión según Antígona Pérez sets Sophocles' play in a contemporary world where Creon is the dictator of a fictional Latin American nation, and Antígona and her 'brothers' are dissident freedom fighters.
In 1977, Antigone was translated into Papiamento for an Aruban production by director Burny Every together with Pedro Velásquez and Ramon Todd Dandaré. This translation retains the original iambic verse by Sophocles.
In 2004, theatre companies Crossing Jamaica Avenue and The Women's Project in New York City co-produced the Antigone Project written by Tanya Barfield, Karen Hartman, Chiori Miyagawa, Pulitzer Prize winner Lynn Nottage and Caridad Svich, a five-part response to Sophocles' text and to the US Patriot Act. The text was published by NoPassport Press as a single edition in 2009 with introductions by classics scholar Marianne McDonald and playwright Lisa Schlesinger.
There are four operas: Antigone (1977) by Dinos Constantinides, on an English libretto by Fitts and Fitzgerald, Antigone (1986) by Marjorie S. Merryman, Antigone (1988) with music by Vassily Lobanov and libretto (in Russian) by Alexey Parin and the fourth – The Burial at Thebes (2007–2008) by Dominique Le Gendre and libretto by Seamus Heaney, based on his translation for the normal spoken theatre. The production features conductor William Lumpkin, stage director Jim Petosa, and six singers and ten instrumentalists.[19]
Bangladeshi director Tanvir Mokammel in his 2008 film Rabeya (The Sister) also draws inspiration from Antigone to parallel the story to the martyrs of the 1971 Bangladeshi Liberation War who were denied a proper burial.[20]
In 2000, Peruvian theatre group Yuyachkani and poet José Watanabe adapted the play into a one-actor piece which remains as part of the group's repertoire.[21]
An Iranian absurdist adaptation of Antigone was written and directed by Homayoun Ghanizadeh and staged at the City Theatre in Tehran in 2011.[22]
Roy Williams’s 2014 adaptation of Antigone for the Pilot Theatre relocates the setting to contemporary street culture.[23]
Syrian playwright Mohammad Al-Attar adapted Antigone for a 2014 production at Beirut, performed by Syrian refugee women.[24]
"Antigona," a 90-minute flamenco version, performed by Soledad Barrio and Noche Flamenca, with Barrio as Antigona. Martín Santangelo, Artistic Director and Producer, with Choreography by Soledad Barrio and additional choreography by Isabel Bayon; Consulting Director, Lee Breuer; Mask Design based on the work of Mary Frank; Music by Eugenio Iglesias, Salva de Maria and Martín Santangelo. Presented at the West Park Presbyterian Church, 165 West 86th Street, New York, NY 10024, July 13 to August 15, 2015.
In 2012, the Royal National Theatre adapted Antigone to modern times. Directed by Polly Findlay,[25] the production transformed the dead Polyneices into a terrorist threat and Antigone into a "dangerous subversive."[26]

text: Cinema[edit]

text: Yorgos Tzavellas adapted the play into a 1961 film which he also directed. It featured Irene Papas as Antigone.

text: Liliana Cavani's 1970 I Cannibali is a contemporary political fantasy based upon the Sophocles play, with Britt Ekland as Antigone and Pierre Clémenti as Tiresias.

text: A 2011 Hungarian film version starred Kamilla Fátyol as Antigone, Zoltán Mucsi as Creon and Emil Keres as Tiresias.

text: Television[edit]

text: In 1986, Juliet Stevenson starred as Antigone with John Shrapnel as Creon and Sir John Gielgud as Tiresias in the BBC's The Theban Plays.

text: Antigone at the Barbican was a 2015 filmed-for-TV version of a production at the Barbican directed by Ivo van Hove; the translation was by Anne Carson and the film starred Juliette Binoche as Antigone and Patrick O'Kane as Kreon.

text: Other TV adaptations of Antigone have starred Irene Worth (1949) and Dorothy Tutin (1959), both broadcast by the BBC.

text: Translations and adaptations[edit]

text:
1839 – Johann Jakob Christian Donner, German verse
1865 – Edward H. Plumptre, verse (Harvard Classics Vol. VIII, Part 6. New York: P.F. Collier & Son, 1909–14); full text
1888 – Sir George Young, verse (Dover, 2006; ISBN 978-0-486-45049-0)
1899 – G. H. Palmer, verse (Boston: Houghton and Mifflin, 1899)
1904 – Richard C. Jebb, prose: full text
1911 – Joseph Edward Harry, verse (Cincinnati: Robert Clarke, 1911)
1912 – F. Storr, verse: full text
1931 – Shaemas O'Sheel, prose
1938 – Dudley Fitts and Robert Fitzgerald, verse: full text
1946 – Jean Anouilh, (modern French translation)
1947 – E.F. Watling, verse (Penguin classics)
1949 – Robert Whitelaw, verse (Rinehart Editions)
1950 – Theodore Howard Banks, verse
1950 – W. J. Gruffydd (translation into Welsh)
1953 – Félix Morisseau-Leroy (translated and adapted into Haitian Creole)
1954 – Elizabeth Wyckoff, verse
1954 – F. L. Lucas, verse translation
1956 – Shahrokh Meskoob (into Persian)
1958 – Paul Roche, verse
1962 – H. D. F. Kitto, verse
1962 – Michael Townsend, (Longman, 1997; ISBN 978-0-8102-0214-6)
1973 – Richard Emil Braun, verse
1982 – Robert Fagles, verse with introduction and notes by Bernard Knox
1986 – Don Taylor, prose (The Theban Plays, Methuen Drama; ISBN 978-0-413-42460-0)
1991 – David Grene, verse
1994 – Hugh Lloyd-Jones, verse (Sophocles, Volume II: Antigone, The Women of Trachis, Philoctetes, Oedipus at Colonus, Loeb Classical Library No. 21, 1994; ISBN 978-0-674-99558-1)
1997 – George Judy, adaptation for children (Pioneer Drama, 1997)
1998 – Ruby Blondell, prose with introduction and interpretive essay (Focus Classical Library, Focus Publishing/R Pullins Company; ISBN 0-941051-25-0)
2000 – Marianne MacDonald, (Nick Hern Books, 2000; ISBN 978-1-85459-200-2)
2001 – Paul Woodruff, verse (Hackett, 2001; ISBN 978-0-87220-571-0)
2003 – Reginald Gibbons and Charles Segal, verse (Oxford UP, 2007; ISBN 978-0-19-514310-2)
2004 – Seamus Heaney, The Burial at Thebes – verse adaptation (Farrar, Straus and Giroux, 2005; ISBN 978-0-374-53007-5), also adapted as an opera in 2008
2005 – Ian Johnston, verse (modern English): full text
2006 – George Theodoridis, prose: full text
2006 – A. F. Th. van der Heijden, 'Drijfzand koloniseren' ("Colonizing quicksand"), prose, adapting Antigone's story using characters from the author's 'Homo Duplex' saga.
2009 – Tanya Barfield, Karen Hartman, Lynn Nottage, Chiori Miyagawa, Caridad Svich, play adaptation (NoPassport Press, 2009; ISBN 978-0-578-03150-7)
2011 - Diane Rayor, Sophocles’ Antigone: A New Translation. Cambridge University Press.
2012 – Anne Carson, play adaptation (Antigonick, New Directions Press, 2012; ISBN 978-0-811-21957-0)
2013 – George Porter, verse ("Black Antigone: Sophocles' tragedy meets the heartbeat of Africa", ISBN 978-1-909-18323-0)
2014 – Marie Slaight and Terrence Tasker, verse and art ('"The Antigone Poems, Altaire Productions, 2014, ISBN 978-0-9806447-0-8)
2016 - Translation by Slavoj Zizek, with introduction by Hanif Kureishi, Pub. by Bloomsbury, New York
2017 - Kamila Shamsie 'Home Fire' - novel. An adaptation in a contemporary context, Pub by Bloomsbury Circus, Great Britain. ISBN 978-1-4088-8677-9
2017 - Brad Poer 'Antigone: Closure', play adaptation (contemporary American prose adaptation set post-fall of United States government)
2017 - Griff Bludworth ‘ANTIGONE (born against).’ A contemporary play adaptation that addresses the theme of racial discrimination

text: Notes[edit]

text:
Jump up ^ Sophocles (1986). The Three Theban Plays: Antigone, Oedipus the King, Oedipus at Colonus. Translated by Robert Fagles. New York: Penguin. p. 35.
Jump up ^ Sophocles (1947). Sophocles: The Theban Plays (Penguin Classics). Translated by E.F. Watling. The Penguin Group.
^ Jump up to: a b c McDonald, Marianne (2002), Sophocles' Antigone (PDF), Nick Hern Books
^ Jump up to: a b Bates, Alfred, ed. (1906). The Drama: Its History, Literature and Influence on Civilization, Vol. 1. London: Historical Publishing Company. pp. 112–123.
Jump up ^ Rosenfield, Kathrin H. (2010). Antigone: Sophocles' Art, Hölderlin's Insight. Translated by Charles B. Duff. Aurora, Colorado: The Davies Group, Publishers. pp. 1–22. ISBN 978-1934542224.
Jump up ^ Letters, F. J. H. (1953). The Life and Work of Sophocles. London: Sheed and Ward. pp. 147–148.
Jump up ^ Letters, p. 156.
^ Jump up to: a b Collins, J. Churtin (1906). "The Ethics of Antigone". Sophocles' Antigone. Translated by Robert Whitelaw. Oxford: Clarendon Press.
Jump up ^ Else, Gerald F. (1976). The Madness of Antigone. Heidelberg: Carl Winter Universitätsverlag. p. 43.
Jump up ^ Letters, p. 147.
Jump up ^ Rosenfield, p. 99–121.
Jump up ^ Ferguson, John (2013). A Companion to Greek Tragedy. University of Texas Press. p. 173. ISBN 9780292759701.
Jump up ^ Jebb, Sir Richard C. (1900). "Verse 429". Sophocles: The Plays and Fragments, with critical notes, commentary, and translation in English prose. Part III: The Antigone. Cambridge: Cambridge University Press.
^ Jump up to: a b Rose, J.L. (March 1952). "The Problem of the Second Burial in Sophocles' Antigone". The Classical Journal. 47 (6): 220-221. JSTOR 3293220.
Jump up ^ Honig, Bonnie (2011). "ISMENE'S FORCED CHOICE: SACRIFICE AND SORORITY IN SOPHOCLES' ANTIGONE" (PDF). Arethusa. The Johns Hopkins University Press. 44: 29–68.
^ Jump up to: a b Levy, Charles S. (1963). "Antigone's Motives: A Suggested Interpretation". Transactions of the American Philological Association. 94: 137–44. doi:10.2307/283641. JSTOR 283641.
Jump up ^ Sophocles (1991). Sophocles: Oedipus the King, Oedipus at Colonus, Antigone. Translated by David Grene. University of Chicago Publishers. p. Line 48. ISBN 978-0-226-30792-3.
^ Jump up to: a b MacKay, L. (1962). "Antigone, Coriolanus, and Hegel". Transactions and Proceedings of the American Philological Association. 93: 178–179. JSTOR 283759.
Jump up ^ Medrek, T.J. (November 6, 1999). "BU Opera fest's 'Antigone' is a lesson in excellence". Boston Herald. p. 22. Retrieved March 8, 2010.
Jump up ^ Press Trust of India (March 11, 2010). "Bangla director dedicates new film to 1971 war martyrs". NDTV Movies. New Delhi: NDTV Convergence Limited. Archived from the original on July 14, 2011.
Jump up ^ Grupo Cultural Yuyachkani: Antígona [Yuyachkani Cultural Group: Antigone]. Scalar (in Spanish). 11 March 2011. Retrieved 24 March 2018.
Jump up ^ "نگاهی به نمایش "آنتیگونه" نوشته و کار "همایون غنی‌زاده"" [Take a look at the "Antigone" display of Homayoun Ghanizadeh]. Irani Art (in Persian). February 1389. Retrieved 24 March 2018.
Jump up ^ Hickling, Alfred (September 23, 2014). "Antigone Review – engaging Gangland Sophocles". The Guardian.
Jump up ^ Fordham, Alice (December 13, 2014). "Syrian Women Displaced By War Make Tragedy Of 'Antigone' Their Own". National Public Radio.
Jump up ^ "Antigone: Cast & creative". National Theatre. The Royal National Theatre. Archived from the original on 31 August 2012.
Jump up ^ Billington, Michael (31 May 2012). "Antigone – review". The Guardian. Retrieved 5 December 2015.

text: Further reading[edit]

text:
Butler, Judith (2000). Antigone's Claim: Kinship Between Life and Death. New York: Columbia University Press. ISBN 0-231-11895-3.
Heaney, Seamus (December 2004). "The Jayne Lecture: Title Deeds: Translating a Classic" (PDF). Proceedings of the American Philosophical Society. 148 (4): 411–426. Archived from the original (PDF) on 2011-10-18.
Heidegger, Martin; Gregory Fried; Richard Polt (2000). An Introduction to Metaphysics. New Haven: Yale University Press. pp. 156–176. ISBN 978-0-300-08328-6.
Heidegger, Martin; McNeill, William; Davis, Julia (1996). Hölderlin's Hymn "The Ister". Bloomington: Indiana University Press.
Lacan, Jacques (1992). The Seminar of Jacques Lacan, Book VII: The Ethics of Psychoanalysis. Dennis Porter, translator. New York: W.W. Norton. pp. 240–286. ISBN 0-393-31613-0.
Miller, Peter (2014). "Helios , vol. 41 no. 2, 2014 © Texas Tech University Press 163 Destabilizing Haemon: Radically Reading Gender and Authority in Sophocles' Antigone". Helios. 41 (2): 163–185. Retrieved 25 January 2017.
Segal, Charles (1999). Tragedy and Civilization: An Interpretation of Sophocles. Norman, OK: University of Oklahoma Press. p. 266. ISBN 978-0-8061-3136-8.
Steiner, George (1996). Antigones: How the Antigone Legend Has Endured in Western Literature, Art, and Thought. New Haven: Yale University Press. ISBN 0-300-06915-4.


document_title: Implantation (human embryo)

question_text: where does implantation of the blastocyst take place

root

text: Implantation (human embryo)

text: Implantation window[edit]

text: The reception-ready phase of the endometrium of the uterus is usually termed the "implantation window" and lasts about 4 days. The implantation window follows around 6 days after the peak in luteinizing hormone levels. With some disparity between sources, it has been stated to occur from 7 days after ovulation until 9 days after ovulation,[2] or days 6-10 postovulation.[3] On average, it occurs during the 20th to the 23rd day after the last menstrual period.[4]

tag: p

text: The implantation window is characterized by changes to the endometrium cells, which aid in the absorption of the uterine fluid. These changes are collectively known as the plasma membrane transformation and bring the blastocyst nearer to the endometrium and immobilize it. During this stage the blastocyst can still be eliminated by being flushed out of the uterus. Scientists have hypothesized that the hormones cause a swelling that fills the flattened out uterine cavity just prior to this stage, which may also help press the blastocyst against the endometrium.[5] The implantation window may also be initiated by other preparations in the endometrium of the uterus, both structurally and in the composition of its secretions.

text: Adaptation of uterus[edit]

text: To enable implantation, the uterus goes through changes in order to be able to receive the conceptus.

text: Predecidualization[edit]

text: The endometrium increases thickness, becomes vascularized and its glands grow to be tortuous and boosted in their secretions. These changes reach their maximum about 7 days after ovulation.

text: Furthermore, the surface of the endometrium produces a kind of rounded cells, which cover the whole area toward the uterine cavity. This happens about 9 to 10 days after ovulation.[6] These cells are called decidual cells, which emphasises that the whole layer of them is shed off in every menstruation if no pregnancy occurs, just as leaves of deciduous trees. The uterine glands, on the other hand, decrease in activity and degenerate already 8 to 9 days[6] after ovulation in absence of pregnancy.

text: The decidual cells originate from the stromal cells that are always present in the endometrium. However, the decidual cells make up a new layer, the decidua. The rest of the endometrium, in addition, expresses differences between the luminal and the basal sides. The luminal cells form the zona compacta of the endometrium, in contrast to the basalolateral zona spongiosa, which consists of the rather spongy stromal cells.[6]

text: Decidualization[edit]

text: Decidualization succeeds predecidualization if pregnancy occurs. This is an expansion of it, further developing the uterine glands, the zona compacta and the epithelium of decidual cells lining it. The decidual cells become filled with lipids and glycogen and take the polyhedral shape characteristic for decidual cells.

text: Trigger[edit]

text: It is likely that the blastocyst itself makes the main contribution to this additional growing and sustaining of the decidua. An indication of this is that decidualization occurs at a higher degree in conception cycles than in nonconception cycles.[6] Furthermore, similar changes are observed when giving stimuli mimicking the natural invasion of the embryo.[6]

text: Parts of decidua[edit]

text: The decidua can be organized into separate sections, although they have the same composition.

text:
Decidua basalis - This is the part of the decidua which is located basalolateral to the embryo after implantation.
Decidua capsularis - Decidua capsularis grows over the embryo on the luminal side, enclosing it into the endometrium. It surrounds the embryo together with decidua basalis.
Decidua parietalis - All other decidua on the uterine surface belongs to decidua parietalis.

tag: ul

text: Decidua throughout pregnancy[edit]

text: After implantation the decidua remains, at least through the first trimester.[6] However, its most prominent time is during the early stages of pregnancy, during implantation. Its function as a surrounding tissue is replaced by the definitive placenta. However, some elements of the decidualization remain throughout pregnancy.[6]

text: The compacta and spongiosa layers are still observable beneath the decidua in pregnancy. The glands of the spongiosa layer continue to secrete during the first trimester, when they degenerate. However, before that disappearance, some glands secrete unequally much. This phenomenon of hypersecretion is called the Arias-Stella phenomenon,[6] after the pathologist Javier Arias-Stella.

text: Pinopodes[edit]

text: Pinopodes are small, finger-like protrusions from the endometrium. They appear between day 19 and day 21[6] of gestational age. This corresponds to a fertilization age of approximately 5 to 7 days, which corresponds well with the time of implantation. They only persist for 2 to 3 days.[6] The development of them is enhanced by progesterone but inhibited by estrogens.

text: Function in implantation[edit]

text: Pinopodes endocytose uterine fluid and macromolecules in it. By doing so, the volume of the uterus decreases, taking the walls closer to the embryoblast floating in it. Thus, the period of active pinocytes might also limit the implantation window.[6]

text: Function during implantation[edit]

text: Pinopodes continue to absorb fluid, and removes most of it during the early stages of implantation.

text: Adaptation of secretions[edit]

text:
proteins, glycoproteins and peptides
secreted by the endometrial glands[6]

Matrix-associated:

Fibronectin

Laminin

Entactin

Type-IV collagen

heparan sulfate

Proteoglycan

Integrins

-

Others:

Mucins

Prolactin

IGFBP-1

Placental protein 14 (PP14) or glycodelin

Pregnancy-associated endometrial
alpha-2-globulin (alpha-2-PEG)

endometrial protein 15

Albumin

Beta-Lipoprotein

Relaxin

Fibroblast growth factor 1

Fibroblast growth factor 2

Pregnancy-associated plasma protein A
(PAPP-A)

Stress response protein 27 (SRP-27)

CA-125

Beta-endorphin

Leu-enkephalin

Diamine oxidase

Tissue plasminogen activator

Renin

Progesterone-dependent carbonic anhydrase

Lactoferrin

tag: table

text: Not only the lining of the uterus transforms, but in addition, the secretion from its epithelial glands changes. This change is induced by increased levels of progesterone from the corpus luteum. The target of the secretions is the embryoblast, and has several functions on it.

text: Nourishment[edit]

text: The embryoblast spends approximately 72 hours[6] in the uterine cavity before implanting. In that time, it cannot receive nourishment directly from the blood of the mother, and must rely on secreted nutrients into the uterine cavity, e.g. iron[6] and fat-soluble vitamins.[6]

text: Growth and implantation[edit]

text: In addition to nourishment, the endometrium secretes several steroid-dependent proteins,[6] important for growth and implantation. Cholesterol[6] and steroids[6] are also secreted. Implantation is further facilitated by synthesis of matrix substances, adhesion molecules and surface receptors for the matrix substances. When the sperm nucleus and the egg nucleus have fused together, they form a zygote

text: Mechanism[edit]

text: Implantation is initiated when the blastocyst comes into contact with the uterine wall.

text: Zona hatching[edit]

text: To be able to perform implantation, the blastocyst first needs to get rid of its zona pellucida. This process can be called "hatching".

text: Factors[edit]

text: Lytic factors in the uterine cavity, as well as factors from the blastocyst itself are essential for this process. Mechanisms in the latter are indicated by that the zona pellucida remains intact if an unfertilized egg is placed in the uterus under the same conditions.[6] A substance probably involved is plasmin. Plasminogen, the plasmin precursor, is found in the uterine cavity, and blastocyst factors contribute to its conversion to active plasmin. This hypothesis is supported by lytic effects in vitro by plasmin.[6] Furthermore, plasmin inhibitors also inhibit the entire zona hatching in rat experiments.[6]

text: Apposition[edit]

text: The very first, albeit loose, connection between the blastocyst and the endometrium is called the apposition.[6]

text: Location[edit]

text: On the endometrium, the apposition is usually made where there is a small crypt in it, perhaps because it increases the area of contact with the rather spherical blastocyst.

text: On the blastocyst, on the other hand, it occurs at a location where there has been enough lysis of the zona pellucida to have created a rupture to enable direct contact between the underlying trophoblast and the decidua of the endometrium.[6] However, ultimately, the inner cell mass, inside the trophoblast layer, is aligned closest to the decidua. Nevertheless, the apposition on the blastocyst is not dependent on if it is on the same side of the blastocyst as the inner cell mass. Rather, the inner cell mass rotates inside the trophoblast to align to the apposition.[6] In short, the entire surface of the blastocyst has a potential to form the apposition to the decidua.

text: Molecular Mechanism[edit]

text: The identity of the molecules on the trophoblast and the endometrial epithelia that mediate the initial interaction between the two remain unidentified. However, a number of research groups have proposed that MUC1, a member of the Mucin family of glycosylated proteins, is involved.[7] MUC1 is a transmembrane glycoprotein expressed at the apical surface of endometrial epithelial cells during the window of implantation in humans and has been shown to be differentially expressed between fertile and infertile subjects during this time.[7] MUC1 displays carbohydrate moieties on its extracellular domain that are ligands of L-selectin, a protein expressed on the surface of trophoblast cells.[8] An in vitro model of implantation developed by Genbacev et al., gave evidence to support the hypothesis that L-selectin mediates apposition of the blastocyst to the uterine epithelium by interacting with its ligands.[9]

text: Adhesion[edit]

text: Adhesion is a much stronger attachment to the endometrium than the loose apposition.

text: The trophoblasts adhere by penetrating the endometrium, with protrusions of trophoblast cells.

text: Communication[edit]

text: There is massive communication between the blastocyst and the endometrium at this stage. The blastocyst signals to the endometrium to adapt further to its presence, e.g. by changes in the cytoskeleton of decidual cells. This, in turn, dislodges the decidual cells from their connection to the underlying basal lamina, which enables the blastocyst to perform the succeeding invasion.[6]

text: This communication is conveyed by receptor-ligand-interactions, both integrin-matrix and proteoglycan ones.

text: Proteoglycan Receptors[edit]

text: Another ligand-receptor system involved in adhesion is proteoglycan receptors, found on the surface of the decidua of the uterus. Their counterparts, the proteoglycans, are found around the trophoblast cells of the blastocyst. This ligand-receptor system also is present just at the implantation window.[6]

text: Invasion[edit]

text: Invasion is an even further establishment of the blastocyst in the endometrium.

text: Syncytiotrophoblasts[edit]

text: The protrusions of trophoblast cells that adhere into the endometrium continue to proliferate and penetrate into the endometrium. As these trophoblast cells penetrate, they differentiate to become a new type of cells, syncytiotrophoblast. The prefix syn- refers to the transformation that occurs as the boundaries between these cells disappear to form a single mass of many cell nuclei (a syncytium). The rest of the trophoblasts, surrounding the inner cell mass, are hereafter called cytotrophoblasts.

text: Invasion continues with the syncytiotrophoblasts reaching the basal membrane beneath the decidual cells, penetrating it and further invading into the uterine stroma. Finally, the whole embryo is embedded in the endometrium. Eventually, the syncytiotrophoblasts come into contact with maternal blood and form chorionic villi. This is the initiation of forming the placenta.

text: Secretions[edit]

text: The blastocyst secretes factors for a multitude of purposes during invasion. It secretes several autocrine factors, targeting itself and stimulating it to further invade the endometrium.[6] Furthermore, secretions loosen decidual cells from each other, prevent the embryo from being rejected by the mother, trigger the final decidualization and prevent menstruation.

text: Autocrine[edit]

text: Human chorionic gonadotropin is an autocrine growth factor for the blastocyst.[6] Insulin-like growth factor 2,[6] on the other hand, stimulates the invasiveness of it.

text: Dislodging[edit]

text: The syncytiotrophoblasts dislodges decidual cells in their way, both by degradation of cell adhesion molecules linking the decidual cells together as well as degradation of the extracellular matrix between them.

text: Cell adhesion molecules are degraded by syncytiotrophoblast secretion of Tumor necrosis factor-alpha. This inhibits the expression of cadherins and beta-catenin.[6] Cadherins are cell adhesion molecules, and beta-catenin helps to anchor them to the cell membrane. Inhibited expression of these molecules thus loosens the connection between decidual cells, permitting the syncytotrophoblasts and the whole embryo with them to invade into the endometrium.

text: The extracellular matrix is degraded by serine endopeptidases and metalloproteinases. Examples of such metalloproteinases are collagenases, gelatinases and stromelysins.[6] These collagenases digest Type-I collagen, Type-II collagen, Type-III collagen, Type-VII collagen and Type-X collagen.[6] The gelatinases exist in two forms; one digesting Type-IV collagen and one digesting gelatin.[6]

text: Immunosuppressive[edit]

text: The embryo differs from the cells of the mother, and would be rejected as a parasite by the immune system of the mother if it didn't secrete immunosuppressive agents. Such agents are Platelet-activating factor, human chorionic gonadotropin, early pregnancy factor, immunosuppressive factor, Prostaglandin E2, Interleukin 1-alpha, Interleukin 6, interferon-alpha, leukemia inhibitory factor and Colony-Stimulating Factor.

text: Decidualization[edit]

text: Factors from the blastocyst also trigger the final formation of decidual cells into their proper form. In contrast, some decidual cells in the proximity of the blastocyst degenerate, providing nutrients for it.[6]

text: Prevention of menstruation[edit]

text: Human chorionic gonadotropin (hCG) not only acts as an immunosuppressive,[6] but also "notifies" the mother's body that she is pregnant, preventing menstruation by sustaining the function of the corpus luteum.

text: Other factors[edit]

text: Other factors secreted by the blastocyst are;

text:
Embryo-derived histamine-releasing factor
Tissue plasminogen activator as well as its inhibitors
Estradiol
β1-integrins
Fibroblast growth factor
CYTL1[10]
Transforming growth factor alpha
inhibin

text: Failure[edit]

text: Implantation failure is considered to be caused by inadequate uterine receptivity in two-thirds of cases, and by problems with the embryo itself in the other third.[11]

text: Inadequate uterine receptivity may be caused by abnormal cytokine and hormonal signaling as well as epigenetic alterations.[12] Recurrent implantation failure is a cause of female infertility. Therefore, pregnancy rates can be improved by optimizing endometrial receptivity for implantation.[12] Evaluation of implantation markers may help to predict pregnancy outcome and detect occult implantation deficiency.[12]

text: Luteal support is the administration of medication, generally progestins, for the purpose of increasing the success rate of implantation and early embryogenesis, thereby complementing the function of the corpus luteum.

text: In women with more than 3 implantation failures in assisted reproduction, a review of several small randomized controlled studies estimated that the use of adjunct low molecular weight heparin (LMWH) improves live birth rate by approximately 80%.[13]


document_title: List of Formula One World Championship points scoring systems

question_text: how many points do you need to win the f1 championship

text: Points scoring systems[edit]

text:
Seasons

1st

2nd

3rd

4th

5th

6th

7th

8th

9th

10th

Fastest lap

Best results counted towards Drivers' Championship

Best results counted towards Constructors' Championship

Notes

1950–1953

8

6

4

3

2

1

4

N/A

[3][4]

1954

8

6

4

3

2

1

5

N/A

[3][4][5]

1955

8

6

4

3

2

1

5

N/A

[3][5][6]

1956–1957

8

6

4

3

2

1

5

N/A

[3][5][6][7][8]

1958

8

6

4

3

2

1

6

[5][8][9][10][11][12]

1959

8

6

4

3

2

1

5

[5][10][11][12]

1960

8

6

4

3

2

1

6

[10][12]

1961

9 (D)8 (C)

6

4

3

2

1

5

[10][13]

1962

9

6

4

3

2

1

5

[10]

1963–1965

9

6

4

3

2

1

6

[10]

1966

9

6

4

3

2

1

5

[8][10][14]

1967

9

6

4

3

2

1

9 (5 from first 6, 4 from last 5)

[8][10][14]

1968

9

6

4

3

2

1

10 (5 from first 6, 5 from last 6)

[10]

1969

9

6

4

3

2

1

9 (5 from first 6, 4 from last 5)

[8][10]

1970

9

6

4

3

2

1

11 (6 from first 7, 5 from last 6)

[10]

1971

9

6

4

3

2

1

9 (5 from first 6, 4 from last 5)

[10]

1972

9

6

4

3

2

1

10 (5 from first 6, 5 from last 6)

[10]

1973–1974

9

6

4

3

2

1

13 (7 from first 8, 6 from last 7)

[10]

1975

9

6

4

3

2

1

12 (6 from first 7, 6 from last 7)

[10][15]

1976

9

6

4

3

2

1

14 (7 from first 8, 7 from last 8)

[10]

1977

9

6

4

3

2

1

15 (8 from first 9, 7 from last 8)

[10]

1978

9

6

4

3

2

1

14 (7 from first 8, 7 from last 8)

[10]

1979

9

6

4

3

2

1

8 (4 from first 7, 4 from last 8)

All

[15]

1980

9

6

4

3

2

1

10 (5 from first 7, 5 from last 7)

All

[15]

1981–1990

9

6

4

3

2

1

11

All

[15][16]

1991–2002

10

6

4

3

2

1

All

[15]

2003–2009

10

8

6

5

4

3

2

1

All

[15]

2010–present

25

18

15

12

10

8

6

4

2

1

All

[15][17]


document_title: Barossa Reservoir

question_text: where is the whispering wall in south australia

text: Barossa Reservoir

text:
Barossa Reservoir

The reservoir from its arch dam

Location of Barossa Reservoir in Australia South Australia

Country
Australia

Location
Williamstown, South Australia[1]

Coordinates
34°39′00″S 138°50′56″E / 34.650°S 138.849°E / -34.650; 138.849Coordinates: 34°39′00″S 138°50′56″E / 34.650°S 138.849°E / -34.650; 138.849

Purpose
water supply

Construction began
1899

Opening date
1902

Built by
Engineering and Water Supply Department

Owner(s)
SA Water

Dam and spillways

Type of dam
Arch dam

Impounds
Yettie Creek

Height
36 metres (118 ft)

Length
144 metres (472 ft)

Reservoir

Total capacity
4,515 megalitres (159.4×10^6 cu ft)

Surface area
0.62 km2 (0.24 sq mi)

Website
http://www.sawater.com.au/community-and-environment/our-water-and-sewerage-systems/water-sources/reservoir-data/barossa-reservoir

text: Barossa Reservoir is a reservoir in the Australian state of South Australia, built between 1899 and 1902 to supply water to Gawler and other northern country areas. Built at a cost of almost £170,000 the reservoir was hailed on completion as an engineering marvel, and at a total of 36 metres, was the highest in Australia.[2] The thin arch of the dam retaining wall, curved against the pressure of the water, was an innovation considered radical, and attracted the Reservoir international attention.[3] It was featured in the Scientific American and caused the American Engineers News to remark that its "boldness of design deserves to rank with the most famous dams in the world".[3] Nowadays, the dam is notable for its parabola effect, where a voice can be heard clearly from one side to the other — over 140 metres, end to end. This unusual acoustic phenomenon is a popular tourist attraction, and has earned the dam the title "Whispering Wall" (see Whispering gallery).[4]

text: During construction large stones were used in the wall to save concrete and tram rails were used to reinforce the upper section.[5] The Barossa Reservoir was formed by damming the Yettie Creek gorge in the northern Mount Lofty Ranges, a feat that took over 400 men.[2] Its water comes through a two-kilometre tunnel, carved by horse power, from the South Para River and Reservoir, and is supplemented by the Warren Reservoir and the River Murray. In addition to Gawler and country, a filtration plant constructed in 1982[6] allows the Reservoir to supply the suburbs of Munno Para and Elizabeth.[citation needed]

text: The dam's vegetated surrounds are also protected. Aside from its acoustic attraction, the Whispering Wall offers great views of both the Barossa Reservoir and the surrounding, well-preserved natural bounty. The area abounds in thick scrub, tall red gums, and pines, and a flourishing bird and animal life. It is a popular destination for picnics and bird-watching.[citation needed]

text: In 2008, its engineering heritage was recognized by the installation of a marker provided by the Engineers Australia's Engineering Heritage Recognition Program.[7]

text:
Capacity: 4,515 megalitres
Length of wall: 144 m
Height of wall: 36 m
depth at wall: 28.6 m
Type of wall: Concrete arch