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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 -… - Slavoj Žižek
" "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... - 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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About Slavoj Žižek
Slavoj Žižek (born 21 March 1949) is a Slovenian sociologist, philosopher and cultural critic. Zizek is a known for his controversial public personality, use of "dirty humor", and complex philosophy that synthesizes the philosophies of Karl Marx, Hegel, and Jacques Lacan.
Also Known As
Alternative Names:
Slavoj Zizek
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Zizek
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Slavoj Krečič Žižek
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Additional quotes by Slavoj Žižek
Think about the strangeness of today's situation. Thirty, forty years ago, we were still debating about what the future will be: communist, fascist, capitalist, whatever. Today, nobody even debates these issues. We all silently accept global capitalism is here to stay. On the other hand, we are obsessed with cosmic catastrophes: the whole life on earth disintegrating, because of some virus, because of an asteroid hitting the earth, and so on. So the paradox is, that it's much easier to imagine the end of all life on earth than a much more modest radical change in capitalism.
Lacan conceives the difference between the two deaths as the difference being real (biological) death and its symbolization, the settling of accounts the accomplishment of symbolic destiny (deathbed confession in Catholicism, for example). This gap can be filled in various ways; it can contain either sublime beauty or fearsome monsters: in Antigone's case, her symbolic death, her exclusion from the symbolic community of the city, precedes her actual death and imbues her character with sublime beauty, whereas the ghost of Hamlet's father represents the opposite case, - actual death unaccompanied by symbolic death, without a settling of accounts - which is why he returns as a frightful apparition until his debt has been repaid. This place between the two deaths, a place of sublime beauty as well as terrifying monsters, is the site of das Ding, of the real-traumatic Kernel in the midst of symbolic order.
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In his seminar on The Ethic of Psychoanalysis, Lacan speaks of the role of the Chorus in classical tragedy: we, the spectators, came to the theatre worried, full of everyday problems, unable to adjust without reserve to the problems of the play, that is to feel the required fears and compassions - but not problem, there is a chorus, who feels the sorrow and the compassion instead of us - or, more precisely, we feel the required emotions through the medium of the chorus: 'You are then relieved of all worries, even if you do not feel anything, the Chorus will do so in your place.'
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