The Essential Zizek

The essential texts for understanding Zizek’s thought.

In this provocative and original work, Slavoj _i_ek takes a look at the question of human agency in a postmodern world. From the sinking of the Titanic to Hitchcock’s Rear Window, from the operas of Wagner to science fiction, from Alien to the Jewish Joke, the author’s acute analyses explore the ideological fantasies of wholeness and exclusion which make up human society. _i_ek takes issue with analysts of the postmodern condition from Habermas to Sloterdijk, showing that the idea of a ‘post-ideological’ world ignores the fact that ‘even if we do not take things seriously, we are still doing them’. Rejecting postmodernism’s unified world of surfaces, he traces a line of thought from Hegel to Althusser and Lacan, in which the human subject is split, divided by a deep antagonism which determines social reality and through which ideology operates. Linking key psychoanalytical and philosophical concepts to social phenomena such as totalitarianism and racism, the book explores the political significance of these fantasies of control. In so doing, The Sublime Object of Ideology represents a powerful contribution to a psychoanalytical theory of ideology, as well as offering persuasive interpretations of a number of contemporary cultural formations.

With his characteristic wit, Zizek addresses the burning question of how to reformulate a leftist project in an era of global capitalism and liberal-democratic multiculturalism. Copyright © Libri GmbH. All rights reserved.

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Billions of dollars were hastily poured into the global banking system in a frantic attempt at financial stabilisation. So why has it not been possible to bring the same forces to bear in addressing world poverty and environmental crisis? In this take-no-prisoners analysis, Slavoj Zizek frames the moral failures of the modern world in terms of the epoch-making events of the first decade of this century. What he finds is the old one-two punch of history: the jab of tragedy, the right hook of farce. In the attacks of 9/11 and the global credit crunch, liberalism dies twice: as a political doctrine and as an economic theory. The election of Donald Trump only confirms the bankruptcy of a liberal order on its last legs. First as Tragedy, Then as Farce is a call for the left to reinvent itself in the light of our desperate historical situation. The time for liberal, moralistic blackmail is over.

In some circles, a nod towards totalitarianism is enough to dismiss any critique of the status quo. Such is the insidiousness of the neo-liberal ideology, argues Slavoj Žižek. Did Somebody Say Totalitarianism? turns a specious rhetorical strategy on its head to identify a network of family resemblances between totalitarianism and modern liberal democracy. Žižek argues that totalitarianism is invariably defined in terms of four things: the Holocaust as the ultimate, diabolical evil; the Stalinist gulag as the alleged truth of the socialist revolutionary project; ethnic and religious fundamentalisms, which are to be fought through multiculturalist tolerance; and the deconstructionist idea that the ultimate root of totalitarianism is the ontological closure of thought. Žižek concludes that the devil lies not so much in the detail but in what enables the very designation totalitarian: the liberal-democratic consensus itself.

Slavoj Žižek, a leading intellectual in the new social movements that are sweeping Eastern Europe, provides a virtuoso reading of Jacques Lacan. Žižek inverts current pedagogical strategies to explain the difficult philosophical underpinnings of the French theoretician and practician who revolutionized our view of psychoanalysis. He approaches Lacan through the motifs and works of contemporary popular culture, from Hitchcock's Vertigo to Stephen King's Pet Sematary, from McCullough's An Indecent Obsession to Romero's Return of the Living Dead—a strategy of "looking awry" that recalls the exhilarating and vital experience of Lacan. Žižek discovers fundamental Lacanian categories the triad Imaginary/Symbolic/Real, the object small a, the opposition of drive and desire, the split subject—at work in horror fiction, in detective thrillers, in romances, in the mass media's perception of ecological crisis, and, above all, in Alfred Hitchcock's films. The playfulness of Žižek's text, however, is entirely different from that associated with the deconstructive approach made famous by Derrida. By clarifying what Lacan is saying as well as what he is not saying, Žižek is uniquely able to distinguish Lacan from the poststructuralists who so often claim him.