In particular, addresses the fact that Antigone on the surface empowers women, yet upon closer inspection, Antigone ultimately limits female liberation. In his examination of Antigone in his article, Antigone's Claim: Kinship Between Life and Death, Butler addresses the underlying issues that contribute to Anitigone's complicated character. Since Antigone is portrayed as a pre-political female figure who opposes politics, she cannot be seen as a heroine because in the historical context of the play, women were not allowed to participate in the political and public sphere to the extent that Antigone does. She adds that Antigone hardly represents a feminism that is “not implicated in the very power it opposes,” meaning that, unlike feminist theory, Antigone fuels misogyny because she does not even consciously challenge Creon (Butler 2). In the play she takes her own life because she feels guilty for not being able to bury her brother, so as not to beat Creon. Interpretations paint his actions as defiance and contempt towards Creon, however the raw text does not directly imply this. Antigone further loses her credibility because her actions are