Славой Жижек — библиография

In our brave new world of Big Tech, work is automated and money melts into air. What comes next as the global capitalist edifice crumbles? Slavoj Zizek shows how the answer is already stealing into sight, like a thief in broad daylight. What we must do is wake up and see it.

Статья С. Жижека посвящена кинофильму "Матрица".

A spirit is haunting contemporary thought – the spirit of Hegel. All the powers of academia have entered into a holy alliance to exorcize this spirit: Vitalists and Eschatologists, Transcendental Pragmatists and Speculative Realists, Historical Materialists and even ‘liberal Hegelians’. Which of these groups has not been denounced as metaphysically Hegelian by its opponents? And which has not hurled back the branding reproach of Hegelian metaphysics in its turn? Progressives, liberals and reactionaries alike receive this condemnation. In light of this situation, it is high time that true Hegelians should openly admit their allegiance and, without obfuscation, express the importance and validity of Hegelianism to the contemporary intellectual scene. To this end, a small group of Hegelians of different nationalities have assembled to sketch the following book – a book which addresses a number of pressing issues that a contemporary reading of Hegel allows a new perspective on: our relation to the future, our relation to nature and our relation to the absolute.

Статья начинается с критики общепринятой интерпретации прозы Платонова 1920-х гг. Принято считать, что эти романы представляют собой критическое изображение сталинской утопии и ее катастрофических последствий. Автор спорит с подобной трактовкой, демонстрируя, что произведения Платонова — это критика не столько сталинизма, сколько гностико-материалистической утопии, против которой поздний сталинизм выступил в начале 1930-х гг. В тексте критически сталкиваются различные аспекты утопии «биокосмизма» как предтечи сегодняшнего техногнозиса. Особое внимание уделяется тенденции последнего к преодолению сексуальности как последнего очага буржуазной контрреволюции. Этот аспект критики гностикоматериалистической утопии имеет место и в эссе Платонова «Антисексус», написанном в форме рекламы устройства для мастурбации. Приспособление рассматривается в контексте распространения гаджетов (которые Лакан называл les
lathouses), мертвоживущих (undead) органов, которые не просто оказываются дополнениями к человеческому организму, но дают нам ключ к сексуации человеческих существ как существ языка.

Žižek nimmt sich in seinem Opus magnum nichts weniger vor als eine Neudefinition des dialektischen Materialismus. Abgel?st von seinem urspr?nglichen ideologisch-politischen Kontext, passt dieser Begriff auf die Weltsicht moderner Wissenschaftler, die als Materialisten die Realit?t auf dialektische Weise verstehen: als dynamischen Prozess, der immer in Bewegung ist, in dem graduelle Ver?nderung in pl?tzliche Umschw?nge und explosionsartige Entwicklungen m?ndet. Dabei denkt Žižek Materialismus ohne «Materie» im substanziellen Sinn; an dessen Stelle steht ein rein formaler Materialismus der Wellen oder Quanten, die sich in einem entmaterialisierten Raum bewegen. Sein System entwickelt der Autor in Auseinandersetzung mit der Assemblage-Theorie und gestaltet es in Form einer Abhandlung ?ber die Grundstrukturen nicht orientierbarer Oberfl?chen.

As an unprecedented global pandemic sweeps the planet, who better than the supercharged Slovenian philosopher Slavoj iek to uncover its deeper meanings, marvel at its mind-boggling paradoxes and speculate on the profundity of its consequences?

We live in a moment when the greatest act of love is to stay distant from the object of your affection. When governments renowned for ruthless cuts in public spending can suddenly conjure up trillions. When toilet paper becomes a commodity as precious as diamonds. And when, according to iek, a new form of communism – the outlines of which can already be seen in the very heartlands of neoliberalism – may be the only way of averting a descent into global barbarism.

Written with his customary brio and love of analogies in popular culture (Quentin Tarantino and H. G. Wells sit next to Hegel and Marx), iek provides a concise and provocative snapshot of the crisis as it widens, engulfing us all.

Žižek nimmt sich in seinem Opus magnum nichts weniger vor als eine Neudefinition des dialektischen Materialismus. Abgel?st von seinem urspr?nglichen ideologisch-politischen Kontext, passt dieser Begriff auf die Weltsicht moderner Wissenschaftler, die als Materialisten die Realit?t auf dialektische Weise verstehen: als dynamischen Prozess, der immer in Bewegung ist, in dem graduelle Ver?nderung in pl?tzliche Umschw?nge und explosionsartige Entwicklungen m?ndet. Dabei denkt Žižek Materialismus ohne «Materie» im substanziellen Sinn; an dessen Stelle steht ein rein formaler Materialismus der Wellen oder Quanten, die sich in einem entmaterialisierten Raum bewegen. Sein System entwickelt der Autor in Auseinandersetzung mit der Assemblage-Theorie und gestaltet es in Form einer Abhandlung ?ber die Grundstrukturen nicht orientierbarer Oberfl?chen.

Slavoj Žižek’s masterwork on the Hegelian legacy. For the last two centuries, Western philosophy has developed in the shadow of Hegel, whose influence each new thinker tries in vain to escape: whether in the name of the pre-rational Will, the social process of production, or the contingency of individual existence. Hegel’s absolute idealism has become the bogeyman of philosophy, obscuring the fact that he is the dominant philosopher of the epochal historical transition to modernity; a period with which our own time shares startling similarities. Today, as global capitalism comes apart at the seams, we are entering a new transition. In Less Than Nothing , the pinnacle publication of a distinguished career, Slavoj Žižek argues that it is imperative that we not simply return to Hegel but that we repeat and exceed his triumphs,overcoming his limitations by being even more Hegelian than the master himself. Such an approach not only enables Žižek to diagnose our present condition, but also to engage in a critical dialogue with the key strands of contemporary thought—Heidegger, Badiou, speculative realism, quantum physics and cognitive sciences. Modernity will begin and end with Hegel.

Zizek analyzes the end of the world at the hands of the “four riders of the apocalypse.” The underlying premise of the book is a simple one: the global capitalist system is approaching an apocalyptic zero-point. Its four riders of the apocalypse are the ecological crisis, the consequences of the biogenetic revolution, the imbalances within the system itself (problems with intellectual property, the forthcoming struggle for raw materials, food and water), and the explosions of social divisions and exclusions. Society’s first reaction is ideological denial, then explosions of anger at the injustices of the new world order, attempts at bargaining, and when this fails, depression and withdrawal set in. Finally, after passing through this zero-point we no longer perceive it as a threat, but as the chance for a new beginning. or, as Mao Zedong might have put it, “There is great disorder under heaven, the situation is excellent.” Žižek traces out in detail these five stances, makes a plea for a return to the Marxian critique of political economy, and sniffs out the first signs of a budding communist culture in all its diverse forms—in utopias that range from Kafka’s community of mice to the collective of freak outcasts in the TV series Heroes .