Zizek, Misc

Sublime Žižek: Guarding Lenin’s Tomb (July 2002) - Žižek & Badiou: The Neo-Marxist Magicians (November 2003) - The Ruins of Thought: Five Scenarios Toward a Short Film (November 2005) - Slavoj Žižek at Jack Tilton Gallery, New York, New York, April 2009 (April 2009) - Questions for Žižek (April 2009).

Alongside the increasing popularity of digital, ‘social’ media platforms, has been the emergence of self-styled digital life-coaches, many of whom seek to propagate their knowledge of and interests in a variety of topics through online social networks (such as, Facebook, Youtube, Instagram, etc.). With many of these ‘social influencers’ garnering a large online following, their popularity, social significance and cultural impact offers important insights into the place and purpose of the subject in our digital media environment. Accordingly, this chapter will (...) examine the proliferation of digital media technologies, which, on the one hand, propose the dissolution of the subject (wearable technology, technological singularity, etc.), while on the other, provide new opportunities for discovering, ‘sharing’ and/or improving one’s ‘inner-Self’ (digital media gurus, online health and fitness regimes, etc.). It is in considering how the effects of this ‘digital subject’ redefines traditional (Cartesian) conceptions, that the relative significance of ‘Digital Guru Media’ (DGM) can be drawn. In particular, explicit attention is given to examining how our engagements with social media can be considered in relation to Lacan’s (2002) notion of the big Other and its relevance in introducing, examining and, possibly, subverting, the digital media guru. (shrink)

This article affords particular attention to the relationship between memory, the narrativization of news and its linear construction, conceived as journalism’s ‘memory- work’. In elaborating upon this ‘work’, it is proposed that the Hegelian notion of retroactive causation (as used by Slavoj Žižek) can examine how analyses of news journalists ‘retroactively’ employ the past in the temporal construction of news. In fact, such retroactive (re)ordering directs attention to the ways in which journalists contingently select ‘a past’ to confer meaning on (...) the present. With regard to current literature, it is noted that a retroactive analysis can highlight two important dialectics within the practice of news journalism: 1) the relation between contingency and necessity; and, 2) the relation between content and form. Indeed, it is argued that this theoretical account offers a novel approach to examining the significance of memory in news journalism as well as the inconsistencies which underscore journalism’s memory-work. It is in accordance with such inconsistency that broader reflections on time, temporality and our relations to the past can be made. (shrink)

In Spike Jonze’s Her (2013), we watch the film’s protagonist, Theodore, as he struggles with the end of his marriage and a growing attachment to his artificially intelligent operating system, Samantha. While the film remains unique in its ability to cinematically portray the Lacanian contention that “there is no sexual relationship,” this article explores how our digital non-relationships can be re-approached through the medium of comedy. Specifically, when looked at through a comic lens, notable scenes from Her are examined for (...) the potential they provide in affording a self-decentrement which allows us to traverse the fantasies that structure our non-relations. (shrink)

Fascinated by the recent scientific progress, even some philosophers today claim that philosophy is dead and that natural sciences (quantum cosmology, cognitive sciences) can answer questions which were once considered a domain of metaphysics: is our universe finite? Do we have free will? etc. The essay tries to problematize this claims by raising a series of questions. First, it is easy to show that modern science itself relies on a series of philosophical propositions. Second, what accounts for the role of (...) science in our world is its link with capitalism. Third, we should distinguish between knowledge and truth: not only philosophy, other discourses (like Marxism or psychoanalysis) also practice a notion of truth which cannot be reduced to knowledge. -/- . (shrink)

What the COVID-19 pandemic serves to reveal is the inherent limitations and contradictions of a symbolic order that must now be perceived via an “impossible subjectivity”: what this essay will refer to as the “in-human.” (Zizek, 2020). Indeed, this in-human perspective transpires not through our fetishization of the virus, as some form of justification for humanity’s impact on the world, but from a position of impossibility that renders “the whole situation into which we are included.” (Monbiot, 2020; Zizek, 2020). It (...) is on this basis that the virus confers a confrontation with the Real: an antagonism steered by the isolation of an “impossible phenomenon,” grounded in a certain level of “disengagement” that obliges us to “perceive reality as it were viewed from outside.” (Zizek, 2020). Importantly, this “view from outside” does not—and now, cannot—avoid our engagement with the impossible, but must instead be rendered via a form of approachment that conceives of the “virus” as an in-human phenomenon that is our universal condition. The following sections will serve to clarify this in-human approach. (shrink)

How can one make sense of our current political, ecological and technological dilemmas through the lens of Grant Sputore’s I Am Mother (2019)? Well-received, the film has been commended for its account of the increasing role and impact of artificial intelligence and its relation to our ongoing ecological dilemmas and potential catastrophe. While these issues are played-out through the on-screen relationship between robotic mother and human daughter, the film can also be used to help shed light on our current ideological (...) predicaments. With a narrative that steers towards our preference for cynical detachment, apathy and resignation, this review draws upon Lacan’s notion of the big Other, and its relation to the subject, in order to provide further discussion on the film’s ambiguous ending and the deeper sense of impotence that it accurately portrays with regards to our current political malaise. (shrink)

Dirt is evoked to signify many important facets of mountain bike culture, including its emergence, history, and everyday forms of practice and affect. These significations are also drawn on to frame the sport's (sub)cultural and counterideological affiliations. In this article we examine how both the practice of mountain biking and, specifically, mountain bike trail building, raises questions over the object and latent function of dirt, hinting at the way that abjection can, under certain circumstances, be a source of intrigue and (...) pleasure. In doing so, we suggest a resymbolization of our relationship with dirt via a consideration of the terrestrial. (shrink)

This article interrogates a certain philosophical scene – one which constitutes itself through the position of what Jacques Derrida calls “the ethical instance of violence.” This scene supposes a certain “style” of writing or doing philosophy, and perhaps even a certain philosophical “genre” or “subgenre”: the philosophical discourse on violence. In the course of the essay, I analyze this quasi-juridical scene through readings of Aristotle, Walter Benjamin, Giorgio Agamben, Judith Butler, Slavoj Žižek, Werner Hamacher, Rodolphe Gasché, and Martin Hägglund among (...) others. The scene, built on texts on texts on violence, demands a logic of purity; it is wary of contaminations and equivocations. And yet it thrives on them. In analyzing the implications of text, writing, and trace for the philosophical discourse on violence, I follow Derrida “just to see” what could make the scene tremble. (shrink)

Through examining the BBC television series, Black and British: A Forgotten History, written and presented by the historian David Olusoga, and in extending Paul Gilroy’s assertion that the everyday banality of living with difference is now an ordinary part of British life, this article considers how Olusoga’s historicization of the Black British experience reflects a convivial rendering of UK multiculture. In particular, when used alongside Žižek’s notion of parallax, it is argued that understandings of convivial culture can be supported by (...) a historical importance that deliberately ‘shocks’, and subsequently dislodges, popular interpretations of the UK’s ‘white past’. Notably, it is parallax which puts antagonism, strangeness and ambivalence at the heart of contemporary depictions of convivial Britain, with the UK’s cultural differences located in the ‘gaps’ and tensions which characterize both its past and present. These differences should not be feared but, as a characteristic part of our convivial culture, should be supplemented with historical analyses that highlight but, also, undermine, the significance of cultural differences in the present. Consequently, it is suggested that if the spontaneity of conviviality is to encourage openness, then understandings of multiculturalism need to go beyond reification in order to challenge our understandings of the past. Here, examples of ‘alterity’ are neither ‘new’ nor ‘contemporary’, but instead, constitute a fundamental part of the nation’s history: of the ‘gap’ made visible in transiting past and present. (shrink)

In this book, Sean Homer addresses Slavoj Žižek’s work in a specific political conjuncture, his political interventions in the Balkans. The charge of inconsistency and contradiction is frequently levelled at Žižek’s politics, a charge he openly embraces in the name of "pragmatism." Homer argues that his interventions in the Balkans exposes the dangers of this pragmatism for the renewal of Leftist politics that he calls for. The book asses Žižek’s political interventions inso far as they advance his self-proclaimed "ruthlessly radical" (...) aims about changing the world. Homer argues the Balkans can be seen as Žižek’s symptom, that element which does not fit into the system but speaks its truth and reveals what the system cannot acknowledge about itself. (shrink)

Slavoj Žižek Slavoj Žižek is a Slovenian-born political philosopher and cultural critic. He was described by British literary theorist, Terry Eagleton, as the “most formidably brilliant” recent theorist to have emerged from Continental Europe. Žižek’s work is infamously idiosyncratic. It features striking dialectical reversals of received common sense; a ubiquitous sense of humor; … Continue reading Žižek, Slavoj →.

“The Emperor’s Old—and Perennial—Clothes: Two Spanish Fine-Tunings to Andersen’s Received Wisdom” There are two Spanish versions of the famous story of the Emperor’s new clothes. They differ from Andersen’s version--the one that most people know about—in significant ways. Žižek has often used the story to illustrate the Lacanian, complex, and paradoxical nature of ideology. But nobody has used these two versions to speak of these isues. The Spanish versions maintain the core of the story but offer illuminating deviations, including one (...) in which the result of the supposed revelation of the truth results not in the unveiling, but in the further veiling of reality. The article focuses on two occasions in which Žižek has referred to the story, and its aim is simply to offer the readers of IJZS these two alternative accounts of how ideology works. (shrink)

This paper discusses an augmented reality installation presented at the 2014 International Žižek Studies Conference in Cincinnati, Ohio. The installation highlighted and expanded the conception of ‘headspace’ within the virtuality of contemporary subjectivity. By displacing our familiar view of reality onto a subjective engagement with cultural artefacts from many different symbolic spaces, remediated through an engagement with digital technology, the work frames the emergence of the contemporary subject as an ontological cyborg. The paper elucidates the theoretical underpinning of the project (...) and offering critical thoughts on its implications. This discussion of mediation expands on Žižek’s own position by applying the concept of parallax to the subjective shift between physical and digital spaces. There then follows documentation of the installation, including photos of the work in the physical exhibition space, the digital images from the augmented reality trackers, and the images and multimedia content depicting the digital objects themselves. (shrink)

What are the origins of consciousness and language? Why are so many driven to see them as epiphenomenal to a metaphysically more primordial phenomenon when we have good reasons to think they are irreducible to such? Drawing on the work of the Slovenian psychoanalyst Slavoj Žižek, and in particular his reading of the German philosopher F.W.J. Schelling, I suggest a provactive but nuanced thesis: that at the basis of human subjectivity there is no rhyme or reason for its emergence and (...) to protect ourselves from this insight we build various fantasy-constructions of its ground as defensive mechanisms. (shrink)

Critiques of Derrida from contemporary Marxist positions are nothing new, though the nature and force of their argumentation need to be further analyzed in order to conceive of what stake Derrida will continue to have in our understanding of any political inheritance within the coming decades. In this essay, I seek to advance the conversation between Derrida and his Hegelian-Marxist critics—with Slavoj Žižek’s unique reading of Derrida being here foremost among them—in order to ascertain more precisely the framework of debate (...) on dialectics and deconstruction that continues to define our realms of political representation. (shrink)

_Repeating Žižek_ offers a serious engagement with the ideas and propositions of philosopher Slavoj Žižek. Often subjecting Žižek's work to a Žižekian analysis, this volume's contributors consider the possibility of formalizing Žižek's ideas into an identifiable philosophical system. They examine his interpretations of Hegel, Plato, and Lacan, outline his debates with Badiou, and evaluate the implications of his analysis of politics and capitalism upon Marxist thought. Other essays focus on Žižek's approach to Christianity and Islam, his "sloppy" method of reading (...) texts, his relation to current developments in neurobiology, and his theorization of animals. The book ends with an afterword by Žižek in which he analyzes Shakespeare's and Beckett's plays in relation to the subject. The contributors do not reach a consensus on defining a Žižekian school of philosophy—perhaps his idiosyncratic and often heterogeneous ideas simply resist synthesis—but even in their repetition of Žižek, they create something new and vital. Contributors. Henrik Jøker Bjerre, Bruno Bosteels, Agon Hamza, Brian Benjamin Hansen, Adrian Johnston, Katja Kolšek, Adam Kotsko, Catherine Malabou, Benjamin Noys, Geoff Pfeifer, Frank Ruda, Oxana Timofeeva, Samo Tomšic, Gabriel Tupinambá, Fabio Vighi, Gavin Walker, Sead Zimeri, Slavoj Žižek. (shrink)

_Repeating Žižek_ offers a serious engagement with the ideas and propositions of philosopher Slavoj Žižek. Often subjecting Žižek's work to a Žižekian analysis, this volume's contributors consider the possibility of formalizing Žižek's ideas into an identifiable philosophical system. They examine his interpretations of Hegel, Plato, and Lacan, outline his debates with Badiou, and evaluate the implications of his analysis of politics and capitalism upon Marxist thought. Other essays focus on Žižek's approach to Christianity and Islam, his "sloppy" method of reading (...) texts, his relation to current developments in neurobiology, and his theorization of animals. The book ends with an afterword by Žižek in which he analyzes Shakespeare's and Beckett's plays in relation to the subject. The contributors do not reach a consensus on defining a Žižekian school of philosophy—perhaps his idiosyncratic and often heterogeneous ideas simply resist synthesis—but even in their repetition of Žižek, they create something new and vital. Contributors. Henrik Jøker Bjerre, Bruno Bosteels, Agon Hamza, Brian Benjamin Hansen, Adrian Johnston, Katja Kolšek, Adam Kotsko, Catherine Malabou, Benjamin Noys, Geoff Pfeifer, Frank Ruda, Oxana Timofeeva, Samo Tomšic, Gabriel Tupinambá, Fabio Vighi, Gavin Walker, Sead Zimeri, Slavoj Žižek. (shrink)

Alain Badiou writes that Slavoj Žižek’s work ‘is the first time that anyone has proposed to psychoanalyze our whole world.’ I want to take Žižek seriously as a reader, even as a reading machine who consumes everything. Of course, Žižek is constantly accused of being a bad reader: sloppy, inaccurate, too rapid, dependent on secondary sources, and otherwise unreliable. Without simply exonerating Žižek from these charges, I want to consider this ‘bad reading’, which violates the protocols of academia and philosophy, (...) as a method. Whereas Žižek seeks his own philosophical credentials as a ‘dialectical materialist philosopher’ in his ontology of incompletion – of the ‘non-all’ – I will argue that the true domain of his ‘philosophy’ is a practice of interpretation and reading. Contrary to the image of Žižek as constantly reterritorializing everything under his conceptual matrix, and more particularly the Lacanian ‘Real’, we find that, as in Žižek’s reading of the Oedipus complex, he deterritorializes philosophy. Reversing the valence of Geoffrey Harpham’s claim that Žižek is ‘the end of knowledge’, I will argue his method is the end of knowledge, but also the birth of truth. This truth is the displacement and reworking of philosophy coincident with the world. (shrink)

Slavoj Žižek is the most popular and discussed philosopher in the world today. His prolific writings – across philosophy, psychoanalysis, political and social theory, film, music and religion – always engage and provoke. The power of his ideas, the breadth of his references, his capacity for playfulness and confrontation, his willingness to change his mind and his refusal fundamentally to alter his argument – all have worked to build an extraordinary international readership as well as to elicit much critical reaction. (...) _The Žižek Dictionary _brings together leading Žižek commentators from across the world to present a companion and guide to Žižekian thought. Each of the 60 short essays examines a key term and, crucially, explores its development across Žižek’s work and how it fits in with other concepts and concerns. The dictionary will prove invaluable both to readers coming to Žižek for the first time and to those already embarked on the Žižekian journey. (shrink)

Slavoj Žižek is the most popular and discussed philosopher in the world today. His prolific writings – across philosophy, psychoanalysis, political and social theory, film, music and religion – always engage and provoke. The power of his ideas, the breadth of his references, his capacity for playfulness and confrontation, his willingness to change his mind and his refusal fundamentally to alter his argument – all have worked to build an extraordinary international readership as well as to elicit much critical reaction. (...) _The Žižek Dictionary _brings together leading Žižek commentators from across the world to present a companion and guide to Žižekian thought. Each of the 60 short essays examines a key term and, crucially, explores its development across Žižek’s work and how it fits in with other concepts and concerns. The dictionary will prove invaluable both to readers coming to Žižek for the first time and to those already embarked on the Žižekian journey. (shrink)

I argue that Žižek's Less Than Nothing: Hegel and the Shadow of Dialectical Materialism presents us with a radically original variety of metaphysics both in terms of Žižek's own intellectual development and the history of philosophy. Rather than being concerned with the study of being qua being, Less Than Nothing proclaims that we ought to investigate nothing qua nothing inasmuch as contemporary physics demonstrates that the more we analyze reality the more we find a void, this latter now in matter (...) of fact exhibiting the traits of ultimate reality rather than the order of the perceived universe. Before arriving at this, however, I demonstrate how Žižek is led to contemporary physics in order to overcome inherent limitations in his own previous metaphysics of Hegelian inspiration. If thinking substance as subject imposes upon us the recognition that substance as a self-articulating totality of necessity is an illusion, subject being nothing but a synonymous for its constitutive tension with itself, if we are to explain how this weakly structured nature does not collapse upon itself we must go further. In this manner, Less Than Nothing outlines one way in which we must step beyond Hegel to find new metaphysical solutions for impasses that have emerged out of thinking the obscure ground of the psychoanalytic subject. (shrink)

Slavoj Žižek often refers to an obscene excess-supplement that, depending on the subject’s pathological disposition, serves to either 1) sustain a conscious injunction by disavowing an unconscious “underside” or 2) instruct the subject to transgress the injunction. This supplemental excess is at work in neurotic and perverse belief but functions in significantly different modes depending on whether the supplement affects the ego or superego. This paper surveys and analyzes Žižek’s use of the obscene excess-supplement in his theological and political applications (...) of psychoanalytic theory. (shrink)

This article explores notions of death and subjectivity, through the zombie, in the first four seasons of the AMC show, The Walking Dead. The body of the zombie elicits intriguing speculations. In its death, zombie lingers in the overlapping wedge between the grotesque and the sublime. Stemming from this idea, and through a re-analysis of the zombie as a concept, we propose an update to the Lacan/Zizek psychoanalytical models for death and subjectivity, as well as offer an explanation, through the (...) Holocaust, for this ubiquitous post-apocalyptic fantasy. (shrink)

Slavoj Žižek’s methodological reliance on analogy, tautology, and examples - and particularly on crude, humorous, or popular ones - is an oft-discussed and controversial feature of his work. My aim throughout this paper is to examine certain philosophical concerns - and namely universality - in Žižek’s work. As I will propose, tautology and analogy - particularly when understood vis-a-vis desire - offer us a rhetorical means of exploring these concerns; insofar as we accept tautology and analogy as strategic/pedagogic devices, they (...) are therefore subject to investigations that exceed their immediately apparent use-value of clarifying an unknown concept. Through an examination of the strategic place of tautology and analogy in Žižek's work, this paper seeks to subject such methods to analysis in the context of broader philosophical concerns which appear across Žižek's oeuvre - namely universality, parallax, minimal difference, and the 'location' of the objet a in this comprehension of difference. (shrink)

Organised around the themes of economy and politics; critical theory; and culture in order to offer an impressive range of thematic perspectives and critical angles, the book delves into the most pressing of today’s quandaries by combining stringent critical analysis with creative foresight. A rigorous examination of the current crisis of late-capitalist society, States of Crisis and Post-Capitalist scenarios develops paradigms that promise to rekindle the desire to move beyond capitalism towards a different social order.

Since the early 1970s, film, media, and cultural theorists have appealed to Lacanian psychoanalytic theory in order to discern processes of subjectivization, representation, and ideological interpellation. However, beginning with the work of theorists such as Jacqueline Rose, Joan Copjec, and Slavoj Žižek, a new approach to Lacan has been advanced, one which pays closer attention to concepts such as sexual difference, the 'objet petit a', fantasy, the Real, enjoyment, and the drive. Žižek in particular has advanced a political-philosophical re-interpretation of (...) Lacan that has spawned a whole new wave of film, media, and cultural theory that shows a marked difference from an early Lacanian approach. The contributors in this book take up a specifically Žižekian approach to studies of cinema and media, both old and new, raising questions about power, ideology, sexual difference, and enjoyment. Including chapters written by key figures in Žižekian film, media, and cultural theory such as Jodi Dean, Todd McGowan, Paul A. Taylor, and Fabio Vighi, it concludes with a response from Žižek himself. (shrink)

La pretensión principal de este artículo estriba en establecer una conexión entre los acontecimientos sucedidos en la sociedad neoyorquina escenificada en Taxi Driver, la concepción hegeliana de héroe histórico y la noción lacaniana de gran Otro. Ante todo, se intentará resolver la que es, desde el criterio mantenido en este ensayo, la primordial paradoja que aparece en la película de Martín Scorsese: ¿Por qué Travis Bickle no recibe ningún tipo de castigo legal por parte de las instituciones de New York (...) tras asesinar sádicamente a tres chulos de un burdel y, en consecuencia, el homicidio se convierte de repente en una hazaña inmune a la imputación? Para ello, defenderemos que el protagonista de Taxi Driver asume la figura hegeliana del héroe histórico y, por consiguiente, adquiere la capacidad para modificar las directrices simbólicas contenidas en el gran Otro que se encuentra imbricado en la ciudadanía neoyorquina. Por último, a través de la peculiaridad del caso específico de Travis Bickle, se procurará poner a prueba la consistencia interna de la fórmula implícita en la "negación de la negación" hegeliana en relación con la sustancia social. (shrink)

By simply watching news channels, visiting the internet, even watching diverse films, my observations led me to conclude that in today’s globalized world, different forms of subjective violence – or a kind of violence that has a clear and identifiable agent – are what commonly occupies our attention. However, it is crucial to note that in every form subjective violence, there is an objective background that invisibly sustains and overdetermines it. This objective frame, often imperceptible, contains a systemic and more (...) perilous violence, for it is, in fact, a violence that prolongs and generates the very subjective violence that we are fighting and responding against. Accordingly, I would argue that a reinvention of how we view a truly ethical act should necessitate itself in today’s globalized world. My claim is that the challenge for a truly globalized ethics is that it is not enough to simply respond to these different forms of subjective violence. Instead, what is more gripping to consider is to shamelessly question the objective violence upon which these different forms of subjective violence are inherent, reacting against, and being sustained in the first place – i.e. the inherent violence produced by the predominance of global capitalism. (shrink)

Michael Haneke’s film Caché explores the psychological and social effects of the intrusion of the immigrant Other into privileged Western capitalist society. Caché allegorises the intrusion of the immigrant Other through a series of intrusive and threatening non-diegetic surveillance tapes delivered to a wealthy Parisian family’s home, the subject of the surveillance. Haneke’s film undertakes a significant critique of the increasing right-wing anti-immigrant sentiment driving neo-liberal politics and ideology in the capitalist West. Here, Caché confronts the viewer with their complicity (...) in the disavowal and subjugation of the immigrant Other within their own social edifice. The significance of Caché is the film’s potential to facilitate the viewers’ confrontation with the disavowed and repressed truth of the social edifice. This confrontation enables the viewer to assume an emancipatory subjectivity which extends beyond Caché’s cinematic frame into the viewers’ own social edifice. I argue that Haneke’s film has the potential to radically alter the way viewers relate to the diegetic reality and, through the figuration of cinema, to their own social edifice. Ultimately, Caché brings to the fore the disavowed truth of both capitalist society and of privileged subjectivities, demanding a new politics based on the excluded immigrant Other. (shrink)

Available in English for the first time, this publication from Slavoj Žižek represents a re-worked version of one of his earliest works. Hard to place amongst his recent works, perhaps the purpose of publishing this early work is to make us realise that the 1980s Žižek was already then the one we have come to recognise, just as the content of the book retroactively makes Hegel a Lacanian avant la lettre, writes Jodie Matthews.

Walt Disney’s animation film Bambi is transparently liberal, and in the post-1968 era could even be seen as post-modern and deep-ecological. The reading offered here, however, makes three counter-moves to this prevailing interpretation: First it follows in both broad technique and ultimate conclusion Žižek’s critique of The Sound of Music wherein he unmasks a fascist ideology encoded in this ostensibly liberal musical. Second, it introduces a gender lens via Silvia Plath’s autobiographical poem, “Daddy,” and third, it employs Lacan's Mirror Stage (...) as key to this construction of a gendered identity and hierarchy. These three moves combine to show that, far from a simple coming-of-age cartoon about a cute little deer, the perennial classic Bambi can be read decidedly other-wise. (shrink)