The Žižek Site

Articles On The Web [2007 - ]

2007-01-04T04:29:00.000Z

2007

International Journal of Zizek Studies, Volume One, Number Two -2007: Žižek &Badiou pp 28 -43

Films And Documentaries

2007-01-03T07:23:00.000Z

Still from The Reality of the Virtual

[1] Slavoj Zizek: The Reality of the Virtual (2004, a filmed lecture, dirs: Ben Wright and Daniel Berchenko, UK, 70 mins).

Interview 1 and interview 2 with director Ben Wright

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Poster for Zizek!

[2] Zizek! (2005, USA/Canada, 71mins, feature length documentary, directed by Astra Taylor).

Review 1 and Review 2

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Still from Pervert's Guide

[3] The Pervert's Guide To Cinema (2006, 250-min doc, dir: Sophie Fiennes)

Edited Transcription: That We Are Basically Watching Shit, As It Were

Interview with director Sophie Fiennes

Video interview with Sophie Fiennes

Official Site

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BoLaGrams: BOundary LAnguage diaGRAMS

2007-01-03T05:56:00.000Z

[1]

BoLaGrams: BOundary LAnguage diaGRAMS

for a list of bolagrams on file, see this index

A bolagram ("BOundary LAnguage diaGRAM") is a diagram-aide for parsing the complex, "Möbius strip-like" relationships that characterize spatial, psychological, architectural, cultural, narrative, and artistic relationships. The key to making a bolagram is, first, finding Möbius-like structures and "anamorphic" elements within the site to be diagrammed.

Why do we need a "boundary language"? Boundaries themselves constitute a means of communication, so why is a notation system that can only approximate this communication helpful? People move around well without the help of geographers, think without the help of philosophers and psychologists, eat without the assistance of nutritionists. The "professionals" who study the details and causes behind the various aspects of human life are not there so much to help us as they are to understand, in terms as comprehensive and inclusive as possible, what being human means and how being human works. In particular, they want to know why humans are different from other animals, and a large part of the answer to this question involves humans' ability to use systems of substitutions. Words, ideas, tokens, and marks continually operate as if they were real things, but their value is their portability, their "currency," that frees us from having to have literal things in front of us constantly. Boundary language looks in particular at these symbolic exchanges and studies them in terms that often seem literary or psychologistic.

To construct a bolagram . . .

The bolagram is useful only inasmuch as it clarifies ambiguities where existing conventional terms "almost" meet the demands of knowledge. The bolagram provides a means of deciphering the "twist" or "flip" function that structures events, places, and objects in ways that cannot be represented by Euclidean relationships. This, bolagramming stays very close to existing theory, dealing mainly with issues of inconsistency, self-reference, and recursion. It is a model of the "fractal logic" that, in almost all of the human sciences, pervades every situation and theory.

Consider what relationships are structured by symbolic relationships between a source of authenticity or authority (A) and the participating subject (C). These are mediated by signifiers that may be objects, laws, customs, intentions, expectations, representations, spaces, or events. This "line" of influence works primarily to limit the free movement ("motility") of the subject, to restrict or place the subject within the network of signifiers and significations. The logic that pervades these relationships is "transitive" in the sense that the rule of "ordinary logic" prevail. The law of the excluded middle - something can be EITHER true or false but not both; the law of self-identity (A=A), and the spaces and times that guarantee the operation of a stable, rational world.

The elements C' and a ("petit a" or "little other /autre") are "surplus" to the main symbolic network. Thus, whatever operates as a surplus in a given situation may be a part of this region. The subject exploits this surplus by creating a special counterpart, a fictive subject that corresponds to the main subject's "victimization" by symbolic authority (thus, a "fictim"). The fictim, C', takes up a special viewpoint and is able to view the element B "anamorphically," awry, anamorphically.

The intended view and the anamorphic view structure B as an oscillating square wave phenomenon (ij), which has the curious effect of BOTH undermining and reinforcing the symbolic authority of the Big Other (A). The anamorphic view is the gateway to the "objet petit a" (Lacan's "object-cause of desire," the "little other") which has the power to re-frame a scene "from the inside." Little 'a' is also known as "the inside frame."

Little 'a' is the inside which becomes the outside, inverting the spatial, temporal, and other "scale" relationships stabilized by representations of reality. Thus, we say that the object-cause of desire provides access to "The Real." This is manifest most clearly in the little-a's ability to re-address the identity of Big-A through a function of semblance or recognition. This re-connection of the surplus to the origin is always, as Lacan puts it, a "return of the repressed." Reverse order, metonymy, and inversion are all characteristics of this return.

bolamaps and bolagrams

There are two main outcomes of boundary language: (1) the ability to identify elements of the landscape, works of art, architecture, etc. in their roles of mediating the use of structured space and time - the "bolamap" - and (2) the ability to model these same phenomena as a sequence of hypothetical "events" that relate the subject to the world in various ways - the "bolagram."

The bolamap applies graphic notation to the external world, the bolagram is like the atomic structure of things reduced to a set sequence of relationships. Every bolamap has its bolagram, and vice versa.

The conventions of boundary language have been borrowed from sources that are more comprensive and widely accepted than the new and relatively unknown boundary language. This is not to appeal to the authority of the sources used, but to provide the boundary language user with connections that can be documented and tested in a more public way. The primary source of terms for the bolagram is the French psychologist Jacques Lacan, whose interpretation of Freud enabled his interpreters - in particular the Slovenian sociologist Slavoj Zizek - to apply relatively complex ideas to examples from everyday life and popular culture. This may seem to over-psychologize boundary behavior, but Lacan's psychology is already "given over" to taking psychology out of the clinic and classroom and into the real world. A psychological perspective is appropriate because boundaries would not be boundaries if "subjects" (human beings) were not subjects. The particular way the human being is a "subject" in the world has a lot to do with the way humans create and use boundaries in ways starkly different from animals.

In addition to the psychology of Lacan, examples from antiquity are helpful because, as artifacts that have been around for a long time, they suggest patterns of thought and behavior that are able to transcend time and culture.

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[2]

Bolagrams and Lynch's Lost Highway

2007-01-03T05:52:00.000Z

[2]

Bolagrams, Zizek, and Lynch's Lost Highway

Critics either hold Lynch's Lost Highway to be a New Age mishmash of initiatory themes wheeling around an absurd critique of post-modern life, or they abandon critical hope in seeing the film as an exercise in noir excess -as James Naremore put it, "no other purpose than regression. . . another movie about movies." Slavoj Zizek has exhumed the serious and elegant stylistics behind the film to demonstrate that it is neither just an exercise nor a coded New Age manifesto but, rather, a coherent and consistent artistic account of our cultural condition. Not so coincidentally, Zizek's Lacanian insights correspond to bolagrammarian motions about an anamorphic center.This Möbius-band design constellates characters who are,without the underlying template, simply enigmatic.

House and shed

The house occupied by the couple we first meet (Fred and Renee Madison) is the best starting point. Fred hears a voice on the intercom, "Dick Laurent is dead,"but there is no one at the door, just a videotape that happens to show their house from the outside. The next morning, another videotape is left that shows the house's interior with the sleeping couple inside. The police are called in but can find no explanation.We learn that Fred is semi-impotent, and when he accompanies Renee to a party, we suspect that she and the host, Andy, are having an affair. A man at the party, the macabre Mystery Man, tells Fred that he has not only met Fred at his house, but that he's actually at his house at that moment. He has Fred call home to verify this.

The third videotape shows Fred with the corpse of the murdered Renee, and in quick order we understand that Fred is convicted for murder and is serving out his sentence in jail. Inexplicably, he is transformed into another person,Pete Dayton. Dayton has no connection to the crime and, thus,is released. Dayton returns to his life as an auto mechanic. A gangster-client at the garage, Mr. Eddy (also known as Fred Laurent),asks Pete to accompany him on a drive to diagnose a problem with his car. A passing motorist offends Mr. Eddy and the subsequent chase and beating of the motorist alarm Pete. Eddy's mistress,who looks exactly like the murdered wife Renee, seduces Pete and persuades him to rob Andy, an associate of Mr. Eddy's and the person who got her involved in prostitution and pornographic films.During the robbery, Andy is killed. Pete and Alice drive to a desert motel and make love. She disappears in the darkness with the words, "You'll never have me!" and enters a wooden shed that bursts into flame.

Pete now transforms back into Fred and gets into a fight with Mr. Eddy, who is executed by the suddenly appearing Mystery Man. Fred returns to his house, leaves a message on the intercom, "Dick Laurent is dead" and rushes off into the desert, pursued by the police.

The key structuring elements are the parallels,doubles, and flips that constitute a comprehensive anamorphic program. Had this story existed in Roman times, Ovid would have had to include it in his Metamorphosis. The house/shed,Renee/Alice, and Fred/Pete play out doubles that do not match.Fred and Pete look different but are the same person. Renee and Alice look alike but are "different." Pete's affair with Alice is a hopeful projection that compensates for Fred's failed relationship with Renee. Mystery Man presides over the flips, and mediates the disbelief when we learn that one person can, following the rules of phantasmagoria, be in two places at once. Mr. Eddy/Laurent is the evil Other, but the Mystery Man is the Other of the Other, playing the drama out like an impresario of hell.

While the bolagram does not explain "why"Lynch uses this flipped script, it does show how, despite the in congruencies the audience experiences, it "plays by the rules." This is Mr. Eddy's admonition to the roughed-up driver who had harmlessly passed him on the road - one must "play by the rules." The film has a plausible psychological "explanation"as the fantasy projection of Fred beginning with his imprisonment,but this doesn't cover the circularity of time created when he leaves the message on his own intercom about the death of Dick Laurent. Zizek argues that the film is in fact a document about the "end of psychology" ? the ultimate failure of attempts to explain this or any other event from the viewpoint of the outlooks of the participants/characters.

Along these lines, the bolagram of Lost Highway shows that any psychology is "collective"and not deducible from motives of the players, who are lost within the matrix of relationships. However, the overall pattern is discernible,consistent, and (eventually) symmetrical within the rules of atemporalized topology that repeats a dynamic that can be found in the earliest myths.

Slavoj zizek, The Art of the Ridiculous Sublime: On David Lynch's Lost highway, Walter Chapin Simpson Center for the Humanities Occasional Papers 1 (Seattle: University of Washington, 2000).

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[3]

Digression 2 - How To Make A Mobius Strip

2007-01-03T05:27:00.000Z

[3]

DIGRESSION 2: HOW TO MAKE A MOEBIUS STRIP

Take a strip of paper

Make sure that it has two sides

Take one end of the strip, make a 180 degree twist, and put it to the other end.

Tape - or, better, with respect to suture, which is important, as we will see - stitch the two ends together.

As a result, you now have a one-sided figure instead of a two- sided figure.

Ill 1: The Moebius Strip

The Moebius Strip subverts the normal, i.e. Euclidean way of spatial (and, ultimately: temporal) representation, seemingly having two sides, but in fact having only one. At one point the two sides can be clearly distinguished, but when you traverse the strip as a whole, the two sides are experienced as being continuous. This figure is one of the topological figures studied and put to use by Lacan. (19) On the one hand, Lacan employs the Moebius Strip as a model to conceptualize the "return of the repressed," an issue important in Lost Highway as well. On the other hand, it can illustrate the way psychoanalysis conceptualizes certain binary oppositions, such as inside/outside, before/after, signifier/signified etc. - and can, with respect to Lost Highway, characterize Fred/Pete. These oppositions are normally seen as completely distinct; the Moebius Strip, however, enables us to see them as continuous with each other: the one, as it is, is the "truth" of the other, and vice versa. Reni Celeste invokes a similar topology, when she comments on Lynch's rewriting of American metaphysics, a rewriting that emphasizes the position where "violence meets tenderness, waking meets dream, blond meets brunette, lipstick meets blood, where something very sweet and innocuous becomes something very sick and degrading, at the very border where opposites becomes both discrete and indistinguishable" (Celeste).

Escher's Moebius Ring - Ants:

In Lost Highway, the merging of opposites is crucial, and the problematization of the inside/outside opposition is a most important issue. In fact, it is an important issue in Lynch's oeuvre as such - it suffices to refer to the scene in Blue Velvet, when the camera intrudes the severed ear that Jeffrey finds, and at the end of the movie, the camera virtually seems to come out of Jeffrey's ear again. In Lost Highway, the question of inside and outside and their conflation is repeatedly posed. On a general level, the diegetic reality of the movie - that what we actually see on the screen, as it were, INSIDE the movie - is composed out of bits and pieces from other movies: Lynch uses the different genres of Hollywood as a kind of quarry. And not only the Hollywood genres: he almost violently exploits his own wealth of images, almost every shot initiates the shock of recognition. One might call this repetitiveness, but, after all, language in general - and especially a distinct film-language such as Lynch's - relies on repetition in order to function.

Another specific example of the merging of inside and outside apart from the frame-tale (Dick Laurent is dead) already mentioned, is, most important, the scene in which Fred meets the Mystery Man for the first time. In fact, the Mystery Man - simultaneously being inside and outside - can be read at the place where these (and in fact: all) opposites meet, he is - so to speak - the twist in the Moebius strip. In Lacan's use of the Moebius Strip, the place denoting the suture of the imaginary and symbolic in a way "hides" the primordial cut that instigated this topological figure in the first place, the cut that is the unconscious (or, in Lacanian terminology: the real). It is by suturing off the real that reality for the subject remains a coherent illusion, that prevents the subject from falling prey to the real, that is, falling into psychosis. It is no wonder, then, that the Mystery Man always appears when a change in personality is close.

Reni Celeste is correct when she observes that in Lost Highway, there are three important fissures: "that which exists between one discrete individual and another, that which exists between the individual and itself, and that which exists between the thing and its representation ... Th[e] Nameless Man [Celeste's name for the Mystery Man] ... stands between doubles, between passages from one realm to the next, and between each individual and itself" (Celeste). However, it is important to note that the structure of the Moebius Strip re-conceptualizes these fissures, allowing them to be seen not so much as fissures, or ruptures, but as places of transition. Lost Highway's moebial structure disallows the suture of the subject into the narrative. In contrast to the traditional Hollywood diegesis, in which the narrative unfolds in a straightforwardly telelogical manner - even in spite of displacing strategies such as flashbacks, or the "film within the film"-motif - Lost Highway in fact presents a multiple diegesis. The more so, since both stories - the story of Fred and the story of Pete - are not simply related to each other as prequel, and/or the solution of the other. Although there are definite anchoring points that clearly connect the two stories: the one does not subsume the other without remainder. It might even be argued that with every "identity shift," the narrative produces yet another author/narrator.

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Books [1989 - 1993]

2007-01-03T04:49:00.000Z

1993

Tarrying With The Negative: Kant, Hegel And The Critique Of Ideology

Durham: Duke University Press.

1992

Everything You Always Wanted Yo Know About Lacan (But Were Afraid To Ask Hitchcock)

SZ editor. London; New York: Verso..

1991

Looking Awry: an Introduction to Jacques Lacan through Popular Culture

Cambridge, Mass.: MIT Press.

For They Know Not What They Do: Enjoyment As A Political Factor

London; New York: Verso.

1989

The Sublime Object of Ideology

London; New York: Verso.

Books [1994 - 1998]

2007-01-03T04:45:00.000Z

1998

Cogito and The Unconscious

SZ editor. Durham: Duke University Press.

The Spectre Is Still Roaming Around!

Zagreb: Arkzin.

1997

The Abyss Of Freedom - Ages Of The World

with F.W.J. von Schelling, Ann Arbor: University of Michigan Press.

The Plague Of Fantasies (Wo Es War)

London; New York: Verso.

1996

Gaze And Voice As Love Objects

Renata Salecl and SZ editors. Durham: Duke University Press.

The Indivisible Remainder: An Essay On Schelling And Related Matters

London; New York: Verso.

1994

The Metastases Of Enjoyment: Six Essays On Woman And Causality (Wo Es War)

London; New York: Verso.

Mapping Ideology

SZ editor. London; New York: Verso.

Books [1999 - 2000]

2007-01-03T04:42:00.000Z

2000

The Fragile Absolute, Or Why the Christian Legacy is Worth Fighting For

London; New York: Verso.

The Art of the Ridiculous Sublime, On David Lynch's Lost Highway

Walter Chapin Center for the Humanities: University of Washington.

At Amazon

Contingency, Hegemony, Universality: Contemporary Dialogues on the Left

Judith Butler, Ernesto Laclau and SZ. London; New York: Verso.

Enjoy Your Symptom! Jacques Lacan In Hollywood and Out

second expanded edition, New York: Routledge.

1999

NATO As The Left Hand Of God

Zagreb: Arkzin.

The Ticklish Subject: The Absent Centre Of Political Ontology

London; New York: Verso.

Books [2001 - 2003]

2007-01-03T04:11:00.000Z

2003

Organs Without Bodies: On Deleuze and Consequences

New York, London: Routledge.

Badiou: A Subject to Truth
by Peter Hallward, Slavoj Zizek

Perversion and the Social Relation (Sic (Durham, N.C.), 4.)
by Molly Anne Rothenberg, Slavoj Zizek, Dennis A. Foster

2002

Jacques Lacan: Critical Evaluations in Cultural Theory

SZ editor. London: Routledge.

Revolution at the Gates: Selected Writings of Lenin from 1917

New York: Verso.

The Puppet and the Dwarf: The Perverse Core of Christianity

Cambridge: MIT Press.

2001

Repeating Lenin

Zagreb: Arkzin.

Did Somebody Say Totalitarianism? Five Essays in the (Mis)Use of a Notion

London; New York: Verso.

The Fright of Real Tears, Kzysztof Kieślowski Between Theory and Post-Theory

Bloomington: Indiana University Press.

On Belief

London: Routledge.

Opera's Second Death

with Mladen Dolar, London: Routledge.

Welcome to the Desert of the Real

New York: The Wooster Press.

Books [2004 - 2007]

2007-01-03T04:04:00.000Z

2007

How to Read Lacan (How to Read)

W. W. Norton; 1st American Ed edition (January 29, 2007)

2006

The Parallax View

Cambridge: MIT Press, forthcoming.

2005

The Universal Exception

New York: Continuum.

Slavoj Zizek's Third Way

- intro by Rex Butler and Scott Stephens (read the introduction here)

Interrogating the Real: Selected Writings

New York: Continuum.

2004

Iraq: The Borrowed Kettle

New York: Verso.

Conversations with Zizek

Slavoj Zizek and Glyn Daly, London: Polity Press.

Articles On The Web - (1989 - 2003)

2007-01-03T00:47:00.000Z

2003

Gerhard Schroeder's Minority Report and Its Consequences.

Frankfurter Rundschau 1/03.

The State of Emergency Called Love

lacanian ink 21, Spring, pp 72-83.

The Iraq War. Love Without Mercy: A Fragment

lacan.com

The Act and its Vicissitudes

in Rosemarie Trockel, Institut f?landsbeziehungen,

Verlag der Buchhandlung Walther König, Köln

Today Iraq, Tomorrow... Democracy

In These Times, March 26.

Paranoids Reflections

LRB, 3 April.

Liberation Hurts

interview with Eric Dean Rasmussen,

University of Illinois at Chicago, September 29.

Ideology Reloaded

In These Times, 6 June.

Too Much Democracy

Columbia University, 04/14.

The Marx Brother.

How a philosopher from Slovenia became an international star

Rebecca Mead, The New Yorker, May 5.

Bring Me My Philips Mental Jacket

LRB, May 22.

Homo Sacer as the Object of the University Discourse

lacan.com

Heiner Mueller Out of Joint

lacan.com

The Iraqi MacGuffin

lacan.com

Hitchcock's Organs Without Bodies

lacanian ink 22, Fall, pp 124-139.

Not a desire to have him, but to be like him

LRB, 21 August.

Parallax

LRB, 20 November.

2002

The Actuality of Ayn Rand

Journal Of Ayn Rand Studies

A cyberspace Lenin: why not?

Issue 95, INTERNATIONAL SOCIALISM JOURNAL,Summer

Homo Sacer in Afghanistan

lacanian ink 20, Spring, pp 100-113.

A Plea for Leninist Intolerance

Critical Inquiry, Winter.

Welcome to the Desert of the Real

The Symptom 2, Spring.

The Real of Sexual Difference

in Barnard, S. Fink, B., Reading Seminar XX, New York: SUNY>

Revolution Must Strike Twice

LRB, 25 July.

Seize the Day: Lenin's Legacy

LRB, July 25.

Are We in a War? Do We Have an Enemy?

LRB, May 23.

2001

WHEN STRAIGHT MEANS WEIRD AND PSYCHOSIS IS NORMAL

lacan.com

The Rhetorics of Power

Diacritics 31.1 (2001) 91-104

Il n'y a pas de rapport religieux

lacanian ink 18, Spring, pp 80-107.

The Leninist Freedom by Karl Marx

On Belief (2001).

Can Lenin Tell Us about Freedom Today?

lacan.com

Have Michael Hardt and Antonio Negri Rewritten the Communist Manifesto for the XXI Century?

Rethinking Marxism, vol. 13, no. 3/4.

The Only Good Neighbour is a Dead Neighbour!

lacanian ink 19, Fall, pp 82-103.

The Desert and the Real

lacan.com, September 17.

Self-Deceptions. On Being Tolerant and Smug

Die Gazette, Israel, 08/27.

The One Measure of True Love is "You Can Insult the Other"

Interview, Spiked, November 17.

2000

From Proto-Reality to the Act

The Cyberspace Real

European Graduate School

Desert of the Real

lacanian ink 16, Spring, pp 64-81.

Why We All Love to Hate Heider

New Left Review 2, March-April, pp 37-45

Kant and Sade: The Ideal Couple

lacan.com

Postface: Georg Lukács as the philosopher of Leninism

in Lukács G., A Defence of History and Class Consciousness,

London: Verso.

Lacan between Cultural Studies and Cognitivism

Umbr(a), pp 9-32.

Run, Isolde, Run

lacanian ink 17, Fall, pp 78-99.

Ideological Fraud

The National Interest, Washington, Winter.

1999

The Thing from Inner Space: Titanic and Deep Impact

The Superego and the Act

lecture transcript, EGS, August 1999

Femininity Between Goodness And Act

lacanian ink 14, Spring, pp 26-40.

Laugh Yourself to Death: the new wave of Holocaust comedies!

Lunds Universitet, December 15.

The Thing from Inner Space

Mainview, September.

You May

LRB, March 18.

Against The Double Blackmail

lacan.com.

@ r k z ! n

Slavoj Zizek's: "The Spectre Is Still Roaming Around"

CTheory: Civil Society, Fanaticism, and Digital Reality

A Conversation with Slavoj Zizek.

NATO, the Left Hand of God

Nettime, June 29.

Surplus-Enjoyment

lacanian ink 15, Fall, pp 98-107.

The Matrix, or, the Two Sides of Perversion

Inside the Matrix: International Symposium,

Center for Art and Media, Karlsruhe, October 28

IS THERE A PROPER WAY TO REMAKE A HITCHCOCK FILM?

lacan.com

Attempt to Escape the Logic of Capitalism

LRB, October 28.

When the Party Commits Suicide

New Left Review 238, Nov.-Dec., pp 26-47

Human Rights and its Discontents

Olin Auditorium, Bard College, November 16.

1998

The Lesbian Session

lacanian ink 12, Spring, pp 58-69

The Spectre Is Still Roaming Around!

Arkzin: Zagreb 1998

Psychoanalysis in post-marxism: The case of Alain Badiou

The South Atlantic Quarterly; Durham; Spring 1998..

For a Leftist Appropriation of the European Legacy

Journal of Political Ideologies, February

The Interpassive Subject

Centre Georges Pompidou, Paris, Traverses

French version

Risk society and its discontents

Historical Materialism 2, pp 143-64.

A Leftist Plea for Eurocentrism

Critical Inquiry, Summer

Psychoanalysis and Post-Marxism: the case of Alain Badiou

The South Atlantic Quaterly, Spring

From "Passionate Attachments" to Dis-identification

Umbr(a), 1998

Kant And Sade: The Ideal Couple

lacanian ink 13, Fall, pp 12-25.

Hysteria And Cyberspace

Interview with Slavoj Zizek.

1997

The Supposed Subject Of Ideology

Critical Quarterly, Summer, pp 39-59.

From Joyce-the-Symptom to the Symptom of Power

lacanian ink 11, Fall, pp 12-25.

The Big Other Doesn't Exist

Journal of European psychoanalysis, Spring-Fall.

Multiculturalism, or The Cultural Logic of Multinational Capitalism

New Left Review 225, Sept.-Oct., pp 28-51.

Desire: Drive = Truth: Knowledge

Umbr(a), pp 147-152.

1996

From Joyce-the-Symptom to the Symptom of Power

Independent Media Center, Israel.

Love beyond Law

Re-visioning "Lacanian" social criticism: The Law its obscene double

Journal for the Psychoanalysis of Culture Society 1.

There Is No Sexual Relationship, Wagner As A Lacanian

New German Critique, Fall, pp 7-35.

1995

"Woman is One of the Names-of-the-Father"

lacanian ink 10, Fall, pp 24-39.

Reflections of Media, Politics and Cinema

interview by Geert Lovink, Inter Communication no. 14

The Audiovisual Contract - Noise Surrounding Reality

Deutsche Zeitschrift fur Philosophie, pp 521-533.

1994

It Doesn't Have to Be a Jew

interview by Josefina Ayerza, Lusitania vol.II no.4

Kant As A Theoretician Of Vampirism

lacanian ink 8, Spring, pp 19-34.

1993

The Sublime Theorist Of Slovenia

P. Canning in Artforum, March, pp 84-89.

The Inner Civilization Of Human Rights (Slovenia) And The Other Barbarism (The Rest Of The Balkans)

Du-Die Zeitschrift der Kultur, pp 26-28.

Hegels Logic As A Theory Of Ideology

lacanian ink 7, Spring, pp 29-48.

From Courtly Love to The Crying Game

New Left Review 202, Nov.-Dec., pp 95-108.

Es Gibt Keinen Staat In Europa

Ljubljana, 1993.

1992

Hidden Prohibitions And The Pleasure Principle

Josefina Ayerza in Flash Art, March-April, pp 68-70.

Eastern European Liberalism And Its Borderlines

Oxford Literary Review, pp 25-44.

The Ideological-Practical Core Of The Fundamental Operation In Hegel's Logic Of Reflection

Filosofski Vestnik-Acta Philosophica, pp 9-25.

Cogito And The Sexual Difference

American Journal of Semiotics, pp 5-32.

Ethnic Dance Macabre

The Guardian, Manchester, August 28

In His Bold Gaze My Ruin Is Writ Large

lacanian ink 6, Fall, pp 25-42.

Kant - The Subject Out Of Joint

Filozofski Vestnik-Acta Philosophica, pp 233-248.

1991

Why Does A Letter Always Arrive At Its Destination?

lacanian ink 2, Winter, pp 9-28.

Formal Democracy And Its Discontents

American Imago, pp 181-198.

Grimaces of the Real, or When the Phallus Appears

October 58, Fall, pp 44-68.

1990

Eastern Europe Republics Of Gilead

New Left Review 183, Sept - Oct, pp 50-62.

Rossellini: Woman As Symptom Of Man

October, Fall, pp 18-44.

Death And Sublimation: The Final Scene Of City Lights

American Journal of Semiotics, pp 63-72.

The Logic Of The Detective-Novel

Pamietnik Literacki, pp 253-283.

The Detective And The Analyst - The Shift From Detective-Story To Detective-Novel In The 1920s

Literature and Psychology, pp 27-46.

1989

Cynicism as a Form of Ideology

Excerpt from The Sublime Object of Ideology

(London; New York: Verso, 1989), pp. 28-30.

Looking Awry - Pornography

October, Fall, pp 31-55.

Articles On The Web - (2003-2006)

2007-01-03T00:43:00.000Z

2006

The Parallax View
........The Stellar Parallax: The Traps of Ontological Difference
........ The Subject, this "inwardly circumcized Jew" - the von Paulus version

Part I:  The Tickling Subject .. The Kantian Parallax

Part II: The Birth of (Hegelian) Concrete Universality out of the Spirit of (Kantian) Antinomies
..The Master Signifier and its Vicissitudes
..Soave sia el vento...

Part III: The Parallax of the Critique of Political Economy
.....ce seul objet dont le Néant s'honore

On 9/11, New Yorkers faced the fire in the minds of men
Hollywood's attempts to mark the 2001 attacks ignore their political context and the return to history they symbolise
Monday September 11, 2006, The Guardian

Freud Lives!

May 25, 2006, London Review of Books

Mel Gibson at the Serbsky Institute

The Symptom, Lacan.com

The Fundamental Perversion:
Lacan, Dostoyevsky, Bouyeri
Lacanian Ink 27

The Cunning of Reason:
Lacan as Reader of Hegel
Lacanian Ink 27

A Glance into the Archives of Islam

Lacan.com

The Antinomies of Tolerant Reason: A Blood-Dimmed Tide is Loosed 

Lacan.com

Nobody has to be vile
Against Liberal Communists
April 6, London Review of Books

Hegel - Chesterton: German Idealism and Christianity
Lacan.com

Lets be Realists, Let's Demand the Impossible!
Why pragmatic politics are doomed to fail in the Middle East
August 30, In These Times

The Liberal Communists of Porto Davos
April 11, 2006, In These Times

Defenders of the Faith

March 12, 2006, New York Times Editorial

Jack Bauer and the Ethics of Urgency

January 27, 2006, In These Times

The depraved heroes of 24 are the Himmlers of Hollywood

Tuesday January 10, 2006The Guardian

Woman is one of the Names-of-the-Father

from lacanian ink 10 - Fall 1995

or how Not to misread Lacan's formulas of sexuation

Smashing the Neighbor's Face

Lacan.com

Reloaded Revolutions

lacan.com

2005

The De-Sublimated Object of Post-Ideology

lacanian ink 26, Fall, pp 118-125.

Anxiety: Kierkegaard with Lacan

lacanian ink 26, Fall, pp 102-117.

Objet a as Inherent Limit to Capitalism: on Michael Hardt and Antonio Negri

Lacan dot com, Fall

The Obscenity of Human Rights: Violence as Symptom

Lacan dot com, Fall

With or Without Passion - What's Wrong with Fundamentalism? I

Lacan dot com, Fall

Move the Underground! - What's Wrong with Fundamentalism? II

Lacan dot com, Fall

The Subject Supposed to Loot and Rape

In These Times, October 20.

Some Politically Incorrect Reflections on Violence in France & Related Matters :

Lacan dot com, Fall

1. Violence, Irrational and Rational

http://www.lacan.com/zizfrance.htm

2. The Terrorist Resentment

http://www.lacan.com/zizfrance1.htm

3. Escape from New Orleans

http://www.lacan.com/zizfrance2.htm

4. The Subject Supposed to Loot and Rape Revisited

http://www.lacan.com/zizfrance3.htm

5. C'est mon choix... to Burn Cars

http://www.lacan.com/zizfrance4.htm

6. Class Struggles in France, Again

http://www.lacan.com/zizfrance5.htm

Against Human Rights

New Left Review 34, pp 115-131.

Lenin Shot at Finland Station

LRB, August 18

Give Iranian Nukes a Chance

In These Times, August 11.

Over the Rainbow Coalition!

Lacan dot com, Spring

Against Enlightened Administration

In These Times, June 19.

The Constitution is Dead

The Guardian, June 4

The Act and its Vicissitudes

The Symptom 6, Spring

Revenge of Global Finance

In These Times, May 21.

The Pope's Failures

In These Times, April 8.

Where to Look for a Revolutionary Potential?

Adbusters. March-April

The Politics of Jouissance

lacanian ink 24/25, Spring, pp 126-135.

Odradek as a Political Category

lacanian ink 24/25, Spring, pp 136-153.

The Two Totalitarianisms

LRB, March 17

The Not-So-Quiet-American

In These Times, February 14.

Biopolitics: Between Terri Schiavo and Guantanamo
Artforum - December 2005

The Empty Wheelbarrow

The Guardian, February 19

2004

Are We Allowed to Enjoy Daphne Du Maurier?

Leni Riefenstahl - will she ever die?

Christians, Jews and Other Criminals: A Critique of Jean-Claude Milner

lacan.com.

Burned by the Thing

Psychomedia, JEP, No 18

What Does Europe Want?

In These Times, Nov., lacan.com

The Iraqi Borrowed Kettle

lacan.com

Henning Mankell, the Artist of the Parallax View

lacan.com.

Entretien avec SZ, le nouvel philosophe

Le Nouvel Observateur, jeudi 11 novembre.

Hooray for Bush!

LRB, December 2.

The Liberal Waterloo

(Or, finally some good news from Washington)

In These Times, November 5

Will You Laugh for Me, Please

lacan.com.

Will She Ever Die

lacan.com.

On Divine Self-Limitation and Revolutionary Love:

an interview with Joshua Delpech-Ramey

Journal of Philosophy Scripture, Spring.

A Cup of Decaf Reality

lacan.com.

Jews, Christians and other Monsters

lacanian ink 23, Spring, pp 82-99.

Death's Merciless Love

lacan.com

On Opera: Walhalla's Frigid Joys

lacan.com

On Opera: La Clemenza di Tito, or the Ridiculously-Obscene Excess of Mercy

lacan.com

On Opera: The Sex of Orpheus

lacan.com

Over the Rainbow

LRB, November 4.

The Free World... of Slums

In These Times, September 23.

Somewhere over the Rainbow

Melbourne School of Continental Philosophy, September 17.

A Plea for Ethical Violence

Umbr(a), 2004

Knee-Deep

LRB, September 9.

Passion in the Era of Decaffeinated Belief

The Symptom, 5, Winter

The Parallax View

New Left Review 25, pp 121-134.

Between Two Deaths

LRB, June 3.

What Rumsfeld Doesn't Know that He Knows about Abu Ghraib

In These Times 05/21.

Passion: Regular or Decaf?

In These Times 02/27.

What Is To Be Done (with Lenin)?

In These Times 01/21.

Iraq's False Promises

Foreign policy January/February.

International Journal of Zizek Studies - Contents

2007-01-02T19:45:00.000Z

Editorial Introduction

Why iek? Why Now? - IJS Editor, Paul A. Taylor, University of Leeds.
A statement of iek's value to cultural theory and a rationale for the whole IJS venture + Portuguese translation.

Interviews on the theme of iek and Cinema
Previously unpublished in English - a series of interviews and a review article of The Pervert's Guide To Cinema from "iek and Cinema" - a Special Issue of Tvrda Croatian Journal for Theory, Culture and Visual Media, 1-2, 2007.(Guest Editor Srecko Horvat).

Volume 1.0 - Previously published work, webcasts etc.

Unlike the rest of IJS which is devoted to previously unpublished articles and their original contributions to understanding iek's output - this Issue makes room for past pieces and various iek-related material of interest to IJS readers. Including for example:

*A full Webcast of a talk iek gave at Calvin College, Michigan on November 10th, 2006.
*Selected chapters and articles - including a number from Adrian Johnston

Vol One, Number One - 2007: Why iek?

A series of "Why iek?" articles from Board members - these articles are intended to convey the broad appeal and resonance of iek's work for a wide range of disciplines.

Vol One, Number Two - 2007: iek & Badiou

IJS is designed to cover both general and specific aspects of iek's work. This issue is devoted to a specific theme - the relevance of Badiou's concepts to iek's work.

The issue starts with an article from Marc de Kesel that provides an illuminating (Damascene?) account of the rather unusual relationship Badiou's mathematically-inspired ontology of Being and his notion of the event have to St. Paul's robust philosophy of Christianity.

This is followed by a previously unpublished article by iek that further interrogates Badiou's notion of the event. Issue 2 then consists of a series of responses from various Badiou scholars including a piece entitled "The Quick and the Dead" closely referred to in iek's article and a new response from its author, Adrian Johnston

Interviews on the theme of Zizek and Cinema

2007-01-02T19:36:00.000Z

Interviews on the theme of iek and Cinema

Paul A. Taylor The Importance of iek's Thought

Sophie Fiennes The Pervert's Guide To Cinema

Ben Wright The Reality of the Virtual

Srecko Horvat Cinema as the Royal Path of the Unconscious

Zizek Review of Children of Men

2007-01-02T18:07:00.000Z

Zizek Reviews Children of Men

[Via I Cite]

I shouldn't be surprised--Zizek will be on the DVD version of Children of Men. The director knows his work. News - The Human Project.

Slavoj Zizek Reacts to Children of Men

Philosopher and cultural critic Slavoj Zizek provides his commentary and observations about Alfonso Cuaron's Children of Men. The filmmakers recently spent time with Mr. Zizek after identifying him as an important element in their research because of the unique philosophical view he offers on both the implementation of governmental power, and the damaged emotional state of a refugee.
In this transcript, he discusses issues including the foreground/background dynamics of the film, infertility and politics. Zizek brings a complex and informative view on Children of Men's portrayal of London, the emotional state of the characters and overall vision of the film.

SLAVOJ ZIZEK:

For me, Children of Men is a model of a kind of materialist subversion of a reactionary classic, because the novel is obviously a spiritualist Christian parable of resuscitation, bringing new life and so on. The novel ends with baptizing. It's clear Christian parable. The film is a model of how you can take a reactionary text, change some details here and there and you get a totally, a totally different story. I would say that it's a realist film, but in what sense? Hegel in his esthetics says that a good portrayal looks more like the person who is portrayed than the person itself. A good portrayal is more you than you are yourself. And I think this is what the film does with our reality. The changes that the film introduces do not point toward alternate reality, they simply make reality more what it already is. I think this is the true vocation of science fiction. Science fiction realism introduces a change that makes us see better. The nightmare that we are expecting is here.

...

So this I think is a true despair of the film. It's not so much ab out infertility. I think it's problematic to focus on infertility and then do the obvious spiritualist trick and say 'oh byt you know this biological infertility is really a metaphor for spiritual infertility' or whatever. I think that we should avoid this cheap direct spiritualist reading of the film. I think that the true infertility is the very lack of meaningful historical experience. It's a society of pure meaningless historical experience. Today ideology is no longer big causes such as socialism, equality, justice, democracy. The basic injunction is 'have a good time' or to put it in more spiritualist terms 'realize yourself. This is why I think Dalai Lama is such a big hit. He preaches enlightened egoism; be happy, realize your potentials and so on. And this our despair today. I think that this film gives the best diagnosis of the ideological despair of late capitalism. Of a society without history, or to use another political term, biopolitics. And my god, this film literally is about biopolitics. The basic problem in this society as depicted in the film is literally biopolitics: how to generate, regulate life. But again, I think the crucial point is that this obvious fact shouldn't deceive us. The true despair is precisely that; all historical acts disappear. Like all those classical statues are there, but they are deprived of a world. They are totally meaningless, because what does it mean to have a statue of Michaelangelo? It only works if it signals a certain world. And when this world is lacking, it's nothing. It all depends on whether we have a world. Doe we have some horizon that makes it meaningful? It's against this background that I think that the film approaches the topic of immigration and so on.

Posted by Jodi on December 29, 2006 at 04:49 PM in Zizek | Permalink

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Comments

I saw the film about a month ago when it came out here in Tokyo. It's good (but not that good). It was the British sociologist, Barbara Adam's book "Timescapes of Modernity", rather then Zizek, who came immediately to mind when I saw it though.

http://www.cardiff.ac.uk/schoolsanddivisions/academicschools/socsi/staff/acad/adam.html

Posted by: Amish Lovelock | December 29, 2006 at 06:57 PM

I really liked this film, but I really don't like what iek said about it. For one, he's harping on this whole materialist/spiritualist bit that I don't think makes a whole lot of sense. iek really has a strange materialism and I often find myself thinking, to my horror, that all this commitment to materialism by leftist philosophers is pure verbage without content. In a way the war cry remains that we don't know what a body can do, we don't know what material is. Which brings us to his conception of world, another common thing nowadays, which says nothing about the world but only makes reference to meaning. Would the world cease if there was no humanity? No, it wouldn't. Does a marble statue become nothing outside of human meaning? Does it even make sense to ask such a question?

It really is a great movie though. Amish is wrong, it is that good. One of the reasons it is so good is the pure motifs from Melville that haunt it.

Posted by: Anthony Paul Smith | December 30, 2006 at 06:26 AM

Seriously, does Zizek even read or listen to the teachings of the Dalai Lama before he writes this shit? The distinctions between Soto or American Zen (which I practice) and Tibetan Buddhism (which I do not) are vast, but it really only takes a brief time reading through any of the literature on the Tibetan path, or on Tantic Buddhism in general, to see that "enlightened egoism" is a ridiculous paraphrasing of that tradition.

But I don't know what I expect. He can't take the time to read closely Levinas, Deleuze, and Heidegger before he criticizes their work, I don't know why I should expect him to actually know anything about Buddhism before he does the same.

Posted by: Kenneth Rufo | December 30, 2006 at 09:12 AM

Now, if Zizek wanted to chastise the Dalai Lamam for the ritualistic and materialist structure of Lamaism in general, I'd be all down with that. It's just that he doesn't teach enlightened egoism, and I'm not sure his popularity stems his teachings as much as it does his celebrity and a generalized American suspicion regarding China.

Sorry, I know this is tangential to the post. We were going to see the movie over break, while we were up visiting my folks in Ohio, but for whatever reason, it didn't show up in theaters there.

Posted by: Kenneth Rufo | December 30, 2006 at 09:52 AM

Kenneth,

I don't think it is out yet in the States. It came out here (the UK) before a few months back, but I think they were waiting for Oscar reasons to release it in the States.

Posted by: Anthony Paul Smith | December 30, 2006 at 10:58 AM

We all need to learn to read more carefully:

"This is why I think Dalai Lama is such a big hit."

This is not about what the Dalai Lama does or doesn't teach - but what the Dalai Lama represents through culture - the subject is "a big hit", not Dalai Lama.

Posted by: pebird | December 30, 2006 at 01:57 PM

"On the Beach" [Neville Shute - my fingers kept typing 'Shite':0) ] I saw as a child, and it terrified. Not the inevitable cruel death of the characters, but trying to comprehend the end of civilization.

This little chap had never imagined such things, having just discovered civilization and what a wonderful thing it was well, according to my school text books and exciting trips to the big city.

I think at that moment I became a philosopher. Clearly the story's outcome could be grasped by my little mind, but not the deep despair.

Posted by: phillwv | December 30, 2006 at 02:03 PM

'Like all those classical statues are there, but they are deprived of a world. They are totally meaningless, because what does it mean to have a statue of Michaelangelo? It only works if it signals a certain world. And when this world is lacking, it's nothing.'

No, this is what is bad, in fact is such an example of Zizek at his hyperbolic most yellow-journalistic, most Jeanne Dixon-prophetic without any basis that such a thing can be proven in any way other than it might qualify as a 'likelihood.' This was the trouble with the way he portrayed the 'virtual' as becoming more concrete than the localized/geographical, except that there was more there to work against in his prescription, although he has never followed it up.

In this latest, very irresponsible paragraph, you might miss that Michelangelo's statues were 'meaningless' a hundred years after they were made quite as much as they are in 2006 (IF they are, which they most certainly are NOT).
And they, like Bach, Beethoven, Petipa DO still 'signal a certain world', just not all of it as when they are new-born.

And what about 'and my god, this film literally is about biopolitics.' Incredible. I just can't even believe it. Virilio has been talking about these things for over 10 years, and Kurzweil outlines how he wants as much of it to take place as is science-fictionally possible.

I saw the previews of this, which was sufficient for me. It looked repulsive, but mainly unnecessary. It's just trendy and 'signals the world of 2006.' By 2008, it will even more meaningless than a Michelangelo statue or maybe even than Christmas.

Posted by: Patrick J. Mullins | December 30, 2006 at 02:22 PM

What surprises me is that no one finds it worth commenting on the weird fact that Zizek is going to be included on the DVD of the movie. I find this quite remarkable.

On statue and world--this strikes me as a good point if an old hermeneutic one--meaning depends on a horizon, a horizon marks a world.

Posted by: Jodi | December 30, 2006 at 02:27 PM

'On statue and world--this strikes me as a good point if an old hermeneutic one--meaning depends on a horizon, a horizon marks a world.'

It depends on it only to a certain degree, and always had done. It does not follow to go all the way to 'totally meaningless'. In fact, what I noted above about Zizek's favoring the 'virtual' is distinctly interactive with this: Unless the virtual world is by now the concrete one, the statues and old work still have their uses, which go well beyond tourist buses up to the Parthenon or Ground Zero (also surely 'meaningless' in this definition by now). While cyberspace affects a lot of what is produced offline by now, it's still not nearly as much as Zizek would insist upon: Not nearly everyone lives in cyberworld to such a degree that it can said to have become the dominant one--although it is definitely trying to. In any case, all the great works of art of the past would have found some way to become useless by now, instead of being valued (and for much more than their prestige value.)

I don't find it at all strange that Zizek and the director of 'Children of Men'. I would think this was a perfect match or trendies.

Posted by: Patrick J. Mullins | December 30, 2006 at 02:38 PM

pebird, you did read the next sentence, yes?

Posted by: Kenneth Rufo | December 30, 2006 at 04:22 PM

The fact that he is going to be on the DVD isn't that much of a surprise after "Pervert's Guide..."

Anthony's point about materialism is why I think Barbara Adam is the academic name that fits the film, rather than Zizek. Although it could be a Zygmunt Bauman film too.It's very "British Sociology"

Posted by: Amish Lovelock | December 30, 2006 at 07:24 PM

Amish--hmmm...I don't know her work and I disagree with APS re Z's materialism--I find the idea of a materialism that is ruptured by the gap that is the subject quite convincing; also, APS slips in his comment between a world and the world.

Posted by: Jodi | December 30, 2006 at 07:28 PM

Well of course you do. Still don't see what the hell that has to do with this movie. It was an intentional shift. A world and the world are neccesarily coimplicated, which is why I don't agree with the pessimism of Zizek.

Patrick,

You're abolustely an old codger on this point. Alfonso Cuaron is a wonderful director. Hardly trendy, though you should know that the anti-trendy is again the new trendy.

Posted by: Anthony Paul Smith | December 31, 2006 at 06:25 AM

'Would the world cease if there was no humanity? No, it wouldn't.'

Earth wouldn't, world would.

'Does a marble statue become nothing outside of human meaning?'

Of course. There are yet no lower animals capable of appropriating Art. To plants and lower animals, a marble statue is a rock.

Posted by: Patrick J. Mullins | December 31, 2006 at 10:13 AM

All animals and even plants have worlds.

So it's either a statue or it's nothing? You don't see the problem with that?

Posted by: Anthony Paul Smith | December 31, 2006 at 10:35 AM

It's either a piece of Art (for humans) or a 'hard thing' (plants and animals.) It does not become 'nothing' as 'hard thing', but it becomes 'nothing' as Art if it has only a plant and animal audience.

Posted by: Patrick J. Mullins | December 31, 2006 at 10:40 AM

Surely you've heard stories of animal art. Animal language. Animal society.

Posted by: Anthony Paul Smith | December 31, 2006 at 11:06 AM

Oh, pul-leaze, I'm not such an easy mark. Just because it's Sunday and I feel like being sweet to assuage my guilt for not having been to Sunday School since ----.

Posted by: Patrick J. Mullins | December 31, 2006 at 11:15 AM

Oh you.

Posted by: Anthony Paul Smith | December 31, 2006 at 02:08 PM

Of course I read it. Now you go re-read it with the concept "big hit" in the back of your mind.

Wow, different meaning. Funny how that works.

Happy New Year!

Posted by: pebird | December 31, 2006 at 03:36 PM

Oh, I see where we disagreed. When I wrote about the need for reading, I was talking about need to engage the words as they appear in print, and you were talking about the words in the back of your mind that give the words in print the widest latitude for plausibility.

So when I see the words that say, in effect, "he's a big hit; he preaches enlightened egoism" and then respond to that by noting "but wait, he doesn't teach enlightened egoism" I was responding to something totally different than you were, as you saw Zizek saying "such a big hit. He preaches enlightened egoism", which you insightfully realized should be include the phrase "and by 'preaches' I mean represent through culture," which I had totally missed. You also correctly realized that the Dalai Lama was not the subject in the phrases "the Dalai Lama is such a big hit" and "he preaches enlightened egoism." And whereas I mistakenly read the whole thing as what was printed in the excerpt, you correctly realized that, when Zizek said "the Dalai Lama is such a big hit" he meant "the teachings that are not the teachings of enlightened egoism but that are derived from what the Dalai Lama represents through culture, and which are all totally unrelated to the next sentence I'm about to say, are such big hits."

My bad. I can only plead bad reading on my part.

Happy New Year.

Posted by: Kenneth Rufo | December 31, 2006 at 10:36 PM

Kenneth--that's pretty damn good. The New Year is as good a time as any to ring out the outmoded. I don't care about the Dalai Lama, but I can see that Zizek wrote about the Dalai Lama very much as he wrote about Michelangelo's statues. You're supposed to take it literally until signalled not to. Is that the style?

Posted by: Patrick J. Mullins | December 31, 2006 at 11:24 PM

btw, 'children of men' opened Xmas Day in 'selected cities' [divine term]

Posted by: Patrick J. Mullins | December 31, 2006 at 11:34 PM

Hitchcock, Lynch, Kieslowsky

2007-01-01T00:42:00.000Z

__________________________________________________________

Hitchcock

_________________________________________________________

Lynch

__________________________________________________________

Kieslowsky

BOOK REVIEW: The fright of real theory - Alexai Monroe: Slavoj Zizek's The Fright of Real Tears: Krzysztof Kieslowski Between Theory and Post-Theory

__________________________________________________________

The Žižek Site

Articles On The Web [2007 - ]

Films And Documentaries

BoLaGrams: BOundary LAnguage diaGRAMS

Bolagrams and Lynch's Lost Highway

Bolagrams and Lynch's Lost Highway

Digression 2 - How To Make A Mobius Strip

Digression 2 - How To Make A Mobius Strip

Escher's Moebius Ring - Ants:

Books [1989 - 1993]

Books [1994 - 1998]

Books [1999 - 2000]

Books [2001 - 2003]

Books [2004 - 2007]

Articles On The Web - (1989 - 2003)

Articles On The Web - (2003-2006)

Nobody has to be vile Against Liberal CommunistsApril 6, London Review of Books

Lets be Realists, Let's Demand the Impossible!Why pragmatic politics are doomed to fail in the Middle EastAugust 30, In These Times

International Journal of Zizek Studies - Contents

Interviews on the theme of Zizek and Cinema

Zizek Review of Children of Men

Zizek Reviews Children of Men

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Comments

Hitchcock, Lynch, Kieslowsky

Nobody has to be vile
Against Liberal Communists
April 6, London Review of Books

Lets be Realists, Let's Demand the Impossible!
Why pragmatic politics are doomed to fail in the Middle East
August 30, In These Times