Antigone embodies the concept of the sublime by aligning with the death drive and enacting a symbolic suicide, which challenges the existing symbolic order. She is willing to forgo her status as a subject within this order, highlighting a profound liberation and a connection to what is typically unnameable and unacceptable to that order. This act reveals a sublime aspect of her character that is politically liberating, as it confronts the constraints of ideology. Furthermore, the notion of sublime objects emerges, signifying entities that inspire desire and possess an authoritative presence in the ideological landscape. These objects evoke awe and reverence, reinforcing their role as essential components of ideological functioning. Both Antigone and sublime objects generate a sense of admiration and respect, showcasing the dual nature of the sublime in liberating engagement and ideological attachment, while also reflecting the aesthetic experience of reverence associated with the sublime.

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