Quotes from book
The Sublime Object of Ideology

The Sublime Object of Ideology

Slavoj Žižek

The Sublime Object of Ideology is a 1989 book by the Slovenian philosopher and cultural theorist Slavoj Žižek. The work is widely considered his masterpiece.

“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.”

Slavoj Žižek book The Sublime Object of Ideology

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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.”

Slavoj Žižek book The Sublime Object of Ideology

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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.”

Slavoj Žižek book The Sublime Object of Ideology

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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.”

Slavoj Žižek book The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

“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.”

Slavoj Žižek book The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

“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.”

Slavoj Žižek book The Sublime Object of Ideology

24-25
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”

Slavoj Žižek book The Sublime Object of Ideology

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

“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.”

Slavoj Žižek book The Sublime Object of Ideology

190
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.”

Slavoj Žižek book The Sublime Object of Ideology

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

“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.”

Slavoj Žižek book The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

“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.”

Slavoj Žižek book The Sublime Object of Ideology

77
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…”

Slavoj Žižek book 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.
183
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.”

Slavoj Žižek book The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

“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.”

Slavoj Žižek book The Sublime Object of Ideology

Source: 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.”

Slavoj Žižek book The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

“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.”

Slavoj Žižek book The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

“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.”

Slavoj Žižek book The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

“Ideological' is a social reality whose very existence implies the non-knowledge of its participants as to its essence - that is, social effectivity, the very reproduction of which implies that the individuals 'do not know what they are doing.”

Slavoj Žižek book The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

“Zhuang Zi, who dreamt of being a butterfly, and after his awakening posed himself a question: how does he know that he is not now a butterfly dreaming of being Zhuang Zi?”

Slavoj Žižek book The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

“Nobody can rule innocently,' as Saint-Just puts it. And in totalitarianism, the Party becomes again the very subject who, being the immediate embodiment of the People can rule innocently. It is not by accident that the real-socialist countries call themselves 'people's democracies.”

Slavoj Žižek book The Sublime Object of Ideology

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The Sublime Object of Ideology (1989)

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