2001, Hamlet vor Ödipus: Die Postmoderne als Mythos der Moderne. Texte Theorie Praxis Psychoanalyse, Vol. 2, No. 2.
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2001, Have Michael Hardt and Antonio Negri Rewritten the Communist manifesto for the Twenty-First Century? Rethinking Marxism, No. ¾.
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2001, Love withought mercy, Pli, Vol. 11.

In the Larry King debate between a rabbi, a Catholic priest and a Southern Baptist, broadcast in March 2000, both the rabbi and the priest expressed their hope that the unification of religions is feasible, since, irrespective of his or her official creed, a thoroughly good person can count on divine grace and redemption. Only the Baptist – a young, well-tanned and slightly overweight, repulsively slick Southern yuppie – insisted that, according to the letter of the Gospel, only those who “live in Christ” by explicitly recognizing themselves in his address will be redeemed, which is why, as he consequently concluded, “a lot of good and honest people will burn in hell.” In short, goodness (applying common moral norms) which is not directly grounded in the Gospel is ultimately just a perfidious semblance of itself, its own travesty. Cruel as this position may sound, if one is not to succumb to the Gnostic temptation, one should unconditionally endorse it. The gap that separates Gnosticism from Christianity is irreducible – it concerns the basic question of “who is responsible for the origin of death…
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2000 March-April, Why We All Love to Hate Haider, New Left Review 2.

What is the significance of the EU’s boycott of the new Austrian government? Beyond the Tartuffery of official reactions to Haider in the West, Slavoj Zizek dissects the political function of the new rectitudes of the Third Way.
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1999 November-December, When the Party Commits Suicide, New Left Review, I/238.
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1999, Angelaki: Journal of Theoretical Humanities, Vol. 4, No. 3, pp. 221-231.

Jacques Lacan defines art itself with regard to the Thing: in his seminar on the ethics of psychoanalysis, he claims that art as such is always organized around the central void of the impossible/real Thing – a statement which, perhaps, should be read as a variation on Rilke’s old thesis that beauty is the last veil that covers the horrible. Lacan gives some hints about how this surrounding of the void functions in the visual arts and in architecture; what we shall do here is not provide an account of how, in cinematic art also, the field of the visible, of representations, involves reference to some central and structural void, to the impossibility attached to it – ultimately, therein resides the point of the notion of suture in cinema theory. What I propose to do is something much more naive and abrupt: to analyze the way the motif of the Thing appears within the diegetic space of cinematic narrative – in short, to speak about films whose narrative deals with some impossible/traumatic Thing, like the Alien Thing in science-fiction horror films. What better proof of the fact that this Thing comes from Inner Space than the very first scene of Star Wars?
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1999 March-April, Against the Double Blackmail, New Left Review, I/234.

The prize-winner in the contest for the greatest blunder of 1998 was a Latin American patriotic terrorist who sent a letter-bomb to a US consulate in order to protest against the Americans interfering in local politics. As a conscientious citizen, he wrote on the envelope his return address; however, he did not put enough stamps on it, so that the post office returned the letter to him. Forgetting what he put in it, he opened it and blew himself up—a perfect example of how, ultimately, a letter always arrives at its destination. And is something quite similar not happening to the Slobodan Milosevic régime with the recent NATO bombing? For years, Milosevic was sending letter-bombs to his neighbours, from the Albanians to Croatia and Bosnia, keeping himself out of the conflict while igniting fire all around Serbia—finally, his last letter returned to him. Let us hope that the result of the NATO intervention will be that Milosevic will be proclaimed the political blunderer of the year.
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1999, The Cyberspace Real, World Association of Psychoanalysis.
Cyberspace Between Perversion and Trauma
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1999, From the myth to agape, Journal of European Psychoanalysis, No. 8/9.
Back in the late 1960s and 70s, in the heyday of the Lacanian Marxism, a lot of Lacan’s French followers were attracted by his anti-Americanism…
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1998 Summer, Excerpt from A Leftist Plea for ‘Eurocentrism’, Critical Inquiry, Volume 24, Number 4.
When one says ‘Eurocentrism’, every self-respecting postmodern leftist intellectual has as violent a reaction as Joseph Goebbels had to culture…
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1998 Spring, Psychoanalysis and Post-Marxism, The case of Alain Badiou, The South Atlantic Quaterly.
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1998 February, For a Leftist Appropriation of the European Legacy, Journal of Political Ideologies.
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1998, From “Passionate Attachments” to Dis-Identification, UMBR(a).
I want to address the problem of identification by confronting the predominant deconstructionist doxa…
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1997 Spring-Fall, The Big Other Doesn’t Exist, Journal of European Psychoanalysis.
Why did Freud supplement the Oedipal myth with the mythical narrative of the “primordial father” in Totem and Taboo…
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1997 September-October, Multiculturalism, or, the Cultural Logic of Multinational Capitalism, New Left Review I/225.
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1997, Desire: Drive = Truth: Knowledge, UMBR(a).
(…) the concept of “constructions in analysis” does not rely on the (dubious) claim that the analyst is always right (…)
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1993 November-December, From Courtly Love to the Crying Game, New Left Review I/202.
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1990 September-October, Eastern Europe’s Republics of Gilead, New Left Review I/183.
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1990, Death And Sublimation: The Final Scene Of City Lights. American Journal of Semiotics. Vol. 7, No. 3, pp. 63-72.

It may seem arguable, even absurd, to set Chaplin under the sign of “death and sublimation”: is no the universe of Chaplin’s films, a universe bursting with non-sublime vitality, vulgarity even, the very opposite of damp romantic obsession with death and sublimation? It may be so, but things get complicated at a particular point: the point of the intrusion of the voice. It is the voice that corrupts the innocence of the silent burlesque, of this pre-Oedipal, oral-anal Paradise of unbridled devouring and destroying that is ignorant of death and guilt: “Neither death nor crime exist in the polymorphous world of the burlesque where everybody gives and receives blows at will, where cream cakes fly and where, in the midst of the general laughter, buildings fall down.”
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Ippolit Belinski

Ippolit Belinski is the admin of Zizek.uk. He is an independent scholar working on Carl Schmitt and Hannah Arendt. Belinski has yet to publish his manuscript, though he often justifies the lack of publications by proclaiming to be a poet instead.

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