A provocative, highly accessible journey to the heart of Sophocles' Antigone elucidating why it keeps resurfacing as a central text of Western thought and Western culture. There is probably no classical text that has inspired more interpretation, critical attention, and creative response than Sophocles' Antigone. The general perspective from which the book is written could be summarized with this simple question: What is it about the figure of Antigone that keeps haunting us? Why do all these readings and rewritings keep emerging? To what kind of always contemporary contradiction does the need, the urge to reread and reimagine Antigone-in all kinds of contexts and languages-correspond? As key anchor points of this general interrogation, three particular "obsessions" have driven the author's thinking and writing about Antigone. First is the issue of violence. The violence in Antigone is the opposite of "graphic" as we have come to know it in movies and in the media; rather, it is sharp and piercing, it goes straight to the bone. It is the violence of language, the violence of principles, the violence of desire, the violence of subjectivity. Then there is the issue of funerary rites and their role in appeasing the specific "undeadness" that seems to be the other side of human life, its irreducible undercurrent that death alone cannot end and put to rest. This issue prompted the author to look at the relationship between language, sexuality, death, and "second death." The third issue, which constitutes the focal point of the book, is Antigone's statement that if it were her children or husband lying unburied out there, she would let them rot and not take it upon herself to defy the decree of the state. The author asks, how does this exclusivist, singularizing claim (she would do it only for Polyneices), which she uses to describe the "unwritten law" she follows, tally with Antigone's universal appeal and compelling power? Attempting to answer this leads to the question of what this particular (Oedipal) family's misfortune, of which Antigone chooses to be the guardian, shares with the general condition of humanity. Which in turn forces us to confront the seemingly self-evident question: "What is incest?" Let Them Rot is Alenka Zupancic's absorbing and succinct guided tour of the philosophical and psychoanalytic issues arising from the Theban trilogy. Her original and surprising intervention into the broad and prominent field of study related to Sophocles' Antigone illuminates the classical text's ongoing relevance and invites a wide readership to become captivated by its themes.

A provocative, highly accessible journey to the heart of Sophocles' Antigone elucidating why it keeps resurfacing as a central text of Western thought and Western culture. There is probably no classical text that has inspired more interpretation, critical attention, and creative response than Sophocles' Antigone. The general perspective from which the book is written could be summarized with this simple question: What is it about the figure of Antigone that keeps haunting us? Why do all these readings and rewritings keep emerging? To what kind of always contemporary contradiction does the need, the urge to reread and reimagine Antigone-in all kinds of contexts and languages-correspond? As key anchor points of this general interrogation, three particular "obsessions" have driven the author's thinking and writing about Antigone. First is the issue of violence. The violence in Antigone is the opposite of "graphic" as we have come to know it in movies and in the media; rather, it is sharp and piercing, it goes straight to the bone. It is the violence of language, the violence of principles, the violence of desire, the violence of subjectivity. Then there is the issue of funerary rites and their role in appeasing the specific "undeadness" that seems to be the other side of human life, its irreducible undercurrent that death alone cannot end and put to rest. This issue prompted the author to look at the relationship between language, sexuality, death, and "second death." The third issue, which constitutes the focal point of the book, is Antigone's statement that if it were her children or husband lying unburied out there, she would let them rot and not take it upon herself to defy the decree of the state. The author asks, how does this exclusivist, singularizing claim (she would do it only for Polyneices), which she uses to describe the "unwritten law" she follows, tally with Antigone's universal appeal and compelling power? Attempting to answer this leads to the question of what this particular (Oedipal) family's misfortune, of which Antigone chooses to be the guardian, shares with the general condition of humanity. Which in turn forces us to confront the seemingly self-evident question: "What is incest?" Let Them Rot is Alenka Zupancic's absorbing and succinct guided tour of the philosophical and psychoanalytic issues arising from the Theban trilogy. Her original and surprising intervention into the broad and prominent field of study related to Sophocles' Antigone illuminates the classical text's ongoing relevance and invites a wide readership to become captivated by its themes.

Why sexuality is at the point of a "short circuit" between ontology and epistemology. Consider sublimation-conventionally understood as a substitute satisfaction for missing sexual satisfaction. But what if, as Lacan claims, we can get exactly the same satisfaction that we get from sex from talking (or writing, painting, praying, or other activities)? The point is not to explain the satisfaction from talking by pointing to its sexual origin, but that the satisfaction from talking is itself sexual. The satisfaction from talking contains a key to sexual satisfaction (and not the other way around)-even a key to sexuality itself and its inherent contradictions. The Lacanian perspective would make the answer to the simple-seeming question, "What is sex?" rather more complex. In this volume in the Short Circuits series, Alenka Zupancic approaches the question from just this perspective, considering sexuality a properly philosophical problem for psychoanalysis; and by psychoanalysis, she means that of Freud and Lacan, not that of the kind of clinician practitioners called by Lacan "orthopedists of the unconscious." Zupancic argues that sexuality is at the point of a "short circuit" between ontology and epistemology. Sexuality and knowledge are structured around a fundamental negativity, which unites them at the point of the unconscious. The unconscious (as linked to sexuality) is the concept of an inherent link between being and knowledge in their very negativity.

Why philosophize about comedy? What is the use of investigating the comical from philosophical and psychoanalytic perspectives? In The Odd One In, Alenka Zupancic haceks over both cs] considers how philosophy and psychoanalysis can help us understand the movement and the logic involved in the practice of comedy, and how comedy can help philosophy and psychoanalysis recognize some of the crucial mechanisms and vicissitudes of what is called humanity. Comedy by its nature is difficult to pin down with concepts and definitions, but as artistic form and social practice comedy is a mode of tarrying with a foreign object--of including the exception. Philosophy's relationship to comedy, Zupancic haceks over both cs] writes, is not exactly a simple story (and indeed includes some elements of comedy). It could begin with the lost book of Aristotle's Poetics, which discussed comedy and laughter (and was made famous by Umberto Eco's The Name of the Rose). But Zupancic haceks over both cs] draws on a whole range of philosophers and exemplars of comedy, from Aristophanes, Moliere, Hegel, Freud, and Lacan to George W. Bush and Borat. She distinguishes incisively between comedy and ideologically imposed, "naturalized" cheerfulness. Real, subversive comedy thrives on the short circuits that establish an immediate connection between heterogeneous orders. Zupancic haceks over both cs] examines the mechanisms and processes by which comedy lets the odd one in. Alenka Zupancic haceks over both cs] is Senior Research Fellow at the Institute of Philosophy, Slovene Academy of Sciences, Ljubljana. She is the author of The Shortest Shadow: Nietzsche's Philosophy of the Two (MIT Press, 2003)."

The giant of Ljubljana marshals some of the greatest thinkers of our age in support of a dazzling re-evaluation of Jacques Lacan.
It is well known that Jacques Lacan developed his ideas in dialogue with major European thought and art, past and present. Yet what if there is another frame of reference, rarely or never mentioned by Lacan, which influenced his thinking, and is crucial to its proper understanding? Zizek focuses on Lacan's "silent partners," those who provide a key to Lacanian theory, discussing his work in relation to the Pre-Socratics, Diderot, Hegel, Nietzsche, Holderlin, Wagner, Turgenev, Kafka, Henry James, Artaud and Kiarostami.
As Zizek says, "The ultimate aim of the present volume is to instigate a new wave of Lacanian paranoia: to push readers to engage in the work of their own and start to discern Lacanian motifs everywhere, from politics to trash culture, from obscure ancient philosophers to contemporary Iranian filmmakers."
Contributors include Alain Badiou, Bruno Bosteels, Joan Copjec, Mladen Dolar, Fredric Jameson, Silvia Ons, and Alenka Zupancic.

Restoring Nietzsche to a Nietzschean context-examining the definitive element that animates his work. What is it that makes Nietzsche Nietzsche? In The Shortest Shadow, Alenka Zupancic counters the currently fashionable appropriation of Nietzsche as a philosopher who was "ahead of his time" but whose time has finally come-the rather patronizing reduction of his often extraordinary statements to mere opinions that we can "share." Zupancic argues that the definitive Nietzschean quality is his very unfashionableness, his being out of the mainstream of his or any time. To restore Nietzsche to a context in which the thought "lives on its own credit," Zupancic examines two aspects of his philosophy. First, in "Nietzsche as Metapsychologist," she revisits the principal Nietzschean themes-his declaration of the death of God (which had a twofold meaning, "God is dead" and "Christianity survived the death of God"), the ascetic ideal, and nihilism-as ideas that are very much present in our hedonist postmodern condition. Then, in the second part of the book, she considers Nietzsche's figure of the Noon and its consequences for his notion of the truth. Nietzsche describes the Noon not as the moment when all shadows disappear but as the moment of "the shortest shadow"-not the unity of all things embraced by the sun, but the moment of splitting, when "one turns into two." Zupancic argues that this notion of the Two as the minimal and irreducible difference within the same animates all of Nietzsche's work, generating its permanent and inherent tension.

Hitchcock gets onto the analyst s couch in this extraordinary volume of case studies. The contributors bring to bear an unrivaled enthusiasm and theoretical sweep on the entire Hitchcock oeuvre, analyzing movies such as Rear Window and Psycho. Starting from the premise that everything has meaning, the authors examine the films ostensible narrative content and formal procedures to discover a rich proliferation of hidden ideological and psychic mechanisms. But Hitchcock is also a bait to lure the reader into a serious Marxist and Lacanian exploration of the construction of meaning. An extraordinary landmark in Hitchcock studies, this new edition features a brand-new essay by philosopher Slavoj i ek, presenter of Sophie Fiennes s three-part documentary The Pervert s Guide to Cinema. Contributors: Pascal Bonitzer, Miran Bo ovi, Michel Chion, Mladen Dolar, Fredric Jameson, Stojan Pelko, Renata Salecl, Alenka Zupan i and Slavoj i ek.

The idea of Kantian ethics is both simple and revolutionary: it proposes a moral law independent of any notion of a pre-established Good or any 'human inclination' such as love, sympathy or fear. In attempting to interpret such a revolutionary proposition in a more 'humane' light, and to turn Kant into our contemporary - someone who can help us with our own ethical dilemmas - many Kantian scholars have glossed over its apparent paradoxes and impossible claims. This book is concerned with doing exactly the opposite. Kant, thank God, is not our contemporary; he stands against the grain of our times. Lacan on the face of it appears the very antithesis of Kant - the wild theorist of psychoanalysis compared to the sober Enlightenment thinker. His concept of the Real, however, provides perhaps the most useful backdrop to this new interpretation of Kantian ethics. Constantly juxtaposing her readings of the two philosophers. Alenka Zupancic summons up an 'ethics of the Real', and clears the ground for a radical restoration of the disruptive element in ethics.