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Slavoj Žižek citáty

Slavoj Žižek is a Slovenian continental philosopher. He is a professor at the Institute for Sociology and Philosophy at the University of Ljubljana and international director of the Birkbeck Institute for the Humanities of the University of London. He works in subjects including continental philosophy, political theory, cultural studies, psychoanalysis, film criticism, Marxism, Hegelianism and theology.

In 1989, Žižek published his first English text, The Sublime Object of Ideology, in which he departed from traditional Marxist theory to develop a materialist conception of ideology that drew heavily on Lacanian psychoanalysis and Hegelian idealism. His early theoretical work became increasingly eclectic and political in the 1990s, dealing frequently in the critical analysis of disparate forms of popular culture and making him a popular figure of the academic left. A critic of capitalism, neoliberalism and political correctness, Žižek calls himself a political radical, and his work has been characterized as challenging orthodoxies of both the political right and the social-liberal universities.Žižek's idiosyncratic style, popular academic works, frequent magazine op-eds, and critical assimilation of high and low culture have gained him international influence, controversy, criticism and a substantial audience outside academe. In 2012, Foreign Policy listed Žižek on its list of Top 100 Global Thinkers, calling him "a celebrity philosopher" while elsewhere he has been dubbed the "Elvis of cultural theory" and "the most dangerous philosopher in the West". Žižek's work was chronicled in a 2005 documentary film entitled Zizek! A scholarly journal, the International Journal of Žižek Studies, was founded to engage his work.

✵ 21. marec 1949
Slavoj Žižek fotka
Slavoj Žižek: 99   citátov 29   Páči sa

Slavoj Žižek: Citáty v angličtine

“We feel free because we lack the very language to articulate our unfreedom.”

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Slavoj Žižek

"Introduction: The Missing Ink", in Welcome to the Desert of the Real!: Five Essays on September 11 and Related Dates (2002), p. 2

“I think that the task of philosophy is not to provide answers, but to show how the way we perceive a problem can be itself part of a problem.”

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Slavoj Žižek

Lecture "Year of Distraction" http://www.youtube.com/watch?v=ChWXYNxUFdc, at 1:07.

“Love is what makes sex more than masturbation. If there is no love even if you are really with a partner you masturbate with a partner.”

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Slavoj Žižek

Interview in HARDtalk, BBC World Service (12 January 2010)

“Actual history occurs, so the speak, on credit; only subsequent development will decide retroactively if the current revolutionary violence will be forgiven, legitimated, or if it will continue to exert a pressure on the shoulders of the present generation as its guilt, as its unsettled debt.”

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Slavoj Žižek kniha The Sublime Object of Ideology

159
The Sublime Object of Ideology (1989)

“Insofar as the gap between essence and appearance is inherent to appearance, in other words, infsofar as essence is nothing but appearance reflected into itself, appearance is appearance against the background of nothing - everything appears ultimately out of nothing.”

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Slavoj Žižek

Zdroj: Less Than Nothing (2012), Chapter One (The Drink Before), Vacillating The Semblances
Kontext: The implicit lesson of Plato is not that everything is appearance, that it is not possible to draw a clear line of separation between appearance and reality (that would have meant the victory of Sophism), but that essence is "appearance as appearance,"that essence appears in contrast to appearance within appearance; that the distinction between appearance and essence has to be inscribed into appearance itself. Insofar as the gap between essence and appearance is inherent to appearance, in other words, infsofar as essence is nothing but appearance reflected into itself, appearance is appearance against the background of nothing - everything appears ultimately out of nothing.

“The general reference of the philosophical discussion is usually the triangle world: world-language-subject, the relation of the subject to the world of objects, mediated through language.”

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Slavoj Žižek kniha The Sublime Object of Ideology

77
The Sublime Object of Ideology (1989)

“What is at stake here is precisely the problem of the fulfillment of desire: when we encounter in reality an object which has all the properties of the fantasized object of desire, we are nevertheless necessarily somewhat disappointed; we experience a certain this is not it; it becomes evident that the finally found real object is not the reference of desire even though it possesses all the required properties.”

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Slavoj Žižek kniha The Sublime Object of Ideology

106
The Sublime Object of Ideology (1989)

“Everything pales into insignificance compared to our passionate attachment. In this sense, falling in love is like the blinding light that hit Saul/Paul on the road to Damascus: a kind of religious suspension of the Ethical, to use Kerkegaard's terms.”

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Slavoj Žižek kniha The Sublime Object of Ideology

Zdroj: The Sublime Object of Ideology (1989), p.33, Idea's Appearing

“The Real is therefore simultaneously both the hard impenetrable kernel resisting symbolization and a pure chimerical entity which has in itself no ontological consistency. To use Kripkean terminology, the Real is the rock upon which every attempt at symbolization stumbles, the hard core which remains the same in all possible worlds (symbolic universes); but at the same time its status is thoroughly precarious; it is something that persists only as failed, missed, in a shadow, and dissolves itself as soon as we try to grasp it in its positive nature… like a traumatic event constructed backwards.”

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Slavoj Žižek kniha The Sublime Object of Ideology

190
The Sublime Object of Ideology (1989)

“The big Other, the symbolic order, with a traumatic element at its very heart; and in Lacanian theory the fantasy is a construction allowing the subject to come to terms with this traumatic kernel. At this level the final moment of the analysis is defined as going through the fantasy [la traversée du fantasme]: not its symbolic interpretation but the experience of the fact that the fantasy-object, by its fascinating presence, is merely filling out a lack, a void in the Other. There is nothing behind the fantasy; the fantasy is a construction whose function is to hide this void, this nothing”

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Slavoj Žižek kniha The Sublime Object of Ideology

that is, the lack in the Other.
148
The Sublime Object of Ideology (1989)

“I already am eating from the trash can all the time. The name of this trash can is ideology. The material force of ideology makes me not see what I am effectively eating.”

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Slavoj Žižek The Pervert's Guide to Ideology

The Pervert's Guide to Ideology (2012)

“I believe in clear-cut positions. I think that the most arrogant position is this apparent, multidisciplinary modesty of "what I am saying now is not unconditional, it is just a hypothesis," and so on. It really is a most arrogant position. I think that the only way to be honest and expose yourself to criticism is to state clearly and dogmatically where you are. You must take the risk and have a position.”

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Slavoj Žižek

Conversations with Žižek by Slavoj Žižek and Glyn Daly (Cambridge: Polity Press, 2004), p. 45

“Let us take social struggle at its most violent: war. What interests Hegel is not struggle as such, but the way the "truth"of the engaged positions emerges through it, namely how the warring parties are "reconciled"through their mutual destruction. The true (spiritual) meaning of war is not honor, victory, defense, etc., but the emergence of absolute negativity (death_ as the absolute Master which reminds us of the false stability of our organized finite lives. War serves to elevate individuals to their "truth" by making them renounce their particular self interested identify with the State's universality”

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Slavoj Žižek

Zdroj: Less Than Nothing (2012), Chapter Two, The Thing Itself: Hegel, pp. 200

“In the more sophisticated versions of the critics of ideology - that developed by the Frankfurt School, for example - it is not just a question of seeing things (that is, social reality) as they 'really are," of throwing away the distorting spectacles of ideology; the main point is to see how the reality itself cannot reproduce itself without this so-called ideological mystification. The mask is not simply hiding the real state of things; the ideological distortion is written into its very essence… the moment we see it 'as it really is,' this being dissolves itself into nothingness or, more precisely, it changes into another kind of reality. That is why we must avoid simple metaphors of demasking, of throwing away the veils which are supposed to hide the naked reality.”

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Slavoj Žižek kniha The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

“On the information sheet in a New York hotel, I recently read: 'Dear guest! To guarantee that you will fully enjoy your stay with us, this hotel is totally smoke-free. For any infringement of this regulation, you will be charged $200.' The beauty of this formulation, taken literally, is that you are to be punished for refusing to fully enjoy your stay.”

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Slavoj Žižek

First as Tragedy, Then as Farce (2009)

“Darcy wants to present himself to Elizabeth as a proud gentleman, and he gets from her the message 'your pride is nothing but contemptible arrogance.' After the break in their relationship each discovers, through a series of accidents, the true nature of the other - she the sensitive and tender nature of Darcy, he her real dignity and wit - and the novel ends as it should, with their marriage. The theoretical interest of this story lies in the fact that the failure of their first encounter, the double misrecognition concerning the real nature of the other, functions as a positive condition of the final outcome: we cannot say 'if, from the very beginning, she had recognized his real nature and he hers, their story could have ended at once with their marriage.' Let us take a comical hypothesis that the first encounter of the future lovers was a success - that Elizabeth had accepted Darcy's first proposal. What would happen? Instead of being bound together in true love they would become a vulgar everyday couple, a liaison of an arrogant, rich man and a pretentious, every-minded young girl… If we want to spare ourselves the painful roundabout route through the misrecognition, we miss the truth itself: only the working-through of the misrecognition allows us to accede to the true nature of the other and at the same time to overcome our own deficiency - for Darcy, to free himself of his false pride; for Elizabeth, to get rid of her prejudices.”

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Slavoj Žižek kniha The Sublime Object of Ideology

67
The Sublime Object of Ideology (1989)

“The symptom is not only a cyphered message, it is at the same time a way for the subject to organize his enjoyment - that is why, even after the completed interpretation, the subject is not prepared to renounce his symptom.”

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Slavoj Žižek kniha The Sublime Object of Ideology

80
The Sublime Object of Ideology (1989)

“The idea of the saint is the exact opposite of the priest in service of the Holy. The priest is a functionary of the Holy;' there is no Holy without its officials, without the bureaucratic machinery supporting it, organizing its ritual, from the Aztecs' official of human sacrifice to the modern sacred state or army rituals. The saint on the contrary, occupies the object petit a, of pure object, of somebody undergoing radical subjective destitution. He… enacts no ritual, he conjures nothing, he just persists in his inert presence.”

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Slavoj Žižek kniha The Sublime Object of Ideology

130
The Sublime Object of Ideology (1989)

“…there are always three elements [of psychoanalysis] at work: the manifest dream-text, the latent dream-content or thought and the unconscious desire articulated in the dream. This desire attaches itself to the dream, it interlaces itself in the interspace between the latent thought and the manifest text; it is therefore not 'more concealed, deeper' in relation to the latent thought, it is decidedly more 'on the surface,' consisting entirely of the signifier's mechanisms, of the treatment to which the latent content is submitted.”

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Slavoj Žižek kniha The Sublime Object of Ideology

6
The Sublime Object of Ideology (1989)

“First, [the bourgeoisie] must recognize his own impotence, his incapacity to believe in a sense of history, even if his reason leans towards the truth, the passions and prejudices produced by his class position, prevent him from accepting it. So he should not exert himself with proving the truth of the historical mission of the working class; rather, he should learn to subdue his petty bourgeois passions and prejudices. He should take lessions from those who were once as important as he is now, but are ready to risk all for the revolutionary Cause.”

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Slavoj Žižek kniha The Sublime Object of Ideology

38
The Sublime Object of Ideology (1989)

“The famous MacGuffin, the Hitchockian object, the pure pretext whose sole role is to set the story in motion but which is in itself nothing at all - the only significance of the MacGuffin lies in the fact that it has some significance for the characters - that it must seem to be of vital importance to them…”

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Slavoj Žižek kniha The Sublime Object of Ideology

that's a MacGuffin, a pure nothing which is non the less efficient... what Lacan calls object petit a: a pure void which functions as the object cause of desire.
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The Sublime Object of Ideology (1989)

“Prohibition of desire leads to desire for prohibition.”

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Slavoj Žižek

Zdroj: Slavoj Žižek: Wokeness, Psychoanalysis, and Quantum Mechanics | Robinson's Podcast. https://www.youtube.com/watch?v=IxmZ4AVac7U

“What cannot be described should be inscribed into the artistic form as its uncanny distortion.”

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Slavoj Žižek

Zdroj: Less Than Nothing (2012), Chapter One (The Drink Before), Vacillating The Semblances
Kontext: The horror of the Holocaust cannot be represented; but this excess of represented content over its aesthetic representation has to infect the aesthetic form itself. What cannot be described should be inscribed into the artistic form as its uncanny distortion.

“I found there, on the central square (Václavské náměstí), a café that miraculously worked through this emergency. I remember they had wonderful strawberry cakes, and I was sitting there eating strawberry cakes and watching Russian tanks against demonstrators. It was perfect.”

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Slavoj Žižek

Anecdote about the Soviet suppression of the Prague Spring in 1968, quoted in The New Yorker (5 May 2003), p. 39 http://books.google.com/books?id=AZQeAQAAMAAJ&q=%22cakes+and+watching+Russian+tanks+against+demonstrators.+It+was+perfect%22&dq=%22cakes+and+watching+Russian+tanks+against+demonstrators.+It+was+perfect%22&hl=en&ei=3HRhTpzzPIrv0gGwiazpDw&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA

“What is really disturbing about The Name of the Rose, however, is the underlying belief in the liberating, anti-totalitarain force of laughter, of ironic distance. Our thesis here is almost the exact opposite of the underlying premise of Eco's novel: in contemporary socities, democratic or totalitarian, that cynical distance, laughter, irony, are so to speak, part of the game. The ruling ideology is not meant to be taken seriously or literally. Perhaps the greatest danger for totalitarianism is people who take ideology seriously.”

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Slavoj Žižek kniha The Sublime Object of Ideology

Zdroj: The Sublime Object of Ideology (1989), pp.27, "Totalitarian Laughter"

“When we observe a thing, we see too much in it, we fall under the spell of the wealth of empirical detail which prevents us from clearly perceiving the notional determination which forms the core of the thing. The problem is thus not that of how to grasp the multiplicity of determinations, but rather to abstract from them, how to constrain our gaze and teach it to grasp only the notional determinism.”

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Slavoj Žižek kniha The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

“…crazy, tasteless even, as it may sound, the problem with Hitler was that he was not violent enough, that his violence was not 'essential' enough…”

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Slavoj Žižek

In Defense of Lost Causes (2008)

“Ideology is not a dreamlike illusion that we build to escape insupportable; in its basic dimension, it is a fantasy-construction which serves as a support for our reality itself; an illusion which structures our effective, real social relations and thereby masks some insupportable, real, impossible kernel.”

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Slavoj Žižek kniha The Sublime Object of Ideology

45
The Sublime Object of Ideology (1989)

“There should be no compromise here: anti-Semitism is not just one-among ideologies; it is ideology as such kat'exohen. It embodies the zero-level (or the purest form) of ideology, providing its elementary coordinates: social antagonist ("class struggle") is mystified and displaced so that its cause is projected onto the external intruder.”

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Slavoj Žižek kniha Living in the End Times

Reverberations 2. Reverberations of the Crisis in a Multi-Centric World
Living in the End Times (2010)

“Canned laughter: After some supposedly funny or witty remark you can hear the laughter and applause included in the soundtrack of the show itself - here we have the exact counterpart of the Chorus in classical tragedy; it is here that we have to look for 'living Antiquity.' That is to say, why this laughter? The first possible answer - that it serves to remind us when to laugh - is interesting enough, because it implies the paradox that laughter is a matter of duty and not of some spontaneous feeling; but this answer is not sufficient because we do not usually laugh. The only correct answer would be that the Other - embodied in the television set - is relieving us even of our duty to laugh - is instead laughing for us. So even if, tired from a hard days stupid work, all evening we did nothing but gaze drowsily into the television screen, we can say afterwards that objectively, through the medium of the other, we had a really good time.”

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Slavoj Žižek kniha The Sublime Object of Ideology

33
The Sublime Object of Ideology (1989)