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.

Slavoj Žižek photo

“This is probably the fundamental dimension of 'ideology': ideology is not simply a 'false consciousness', an illusory representation of reality, it is rather this reality itself which is already to be conceived as 'ideological' - 'ideological' is a social reality whose very existence implies the non-knowledge of its participants as to its essence -that is, the social effectivity, the very reproduction of which implies that the individuals 'do not know what they are doing'. 'Ideological is not the false consciousness of a (social) being but this being itself in so far as it is supported by "false consciousness"'. Thus we have finally reached the dimension of the symptom, because one of its possible definitions would also be 'a formation whose very consistency implies a certain non-knowledge on the part of the subject': the subject can 'enjoy his symptom' only in so far as its logic escapes him - the measure of the success of its interpretation is precisely its dissolution.”

Slavoj Žižek book The Sublime Object of Ideology

The Sublime Object of Ideology (1989)

Slavoj Žižek photo

“The source of totalitarianism is a dogmatic attachment to the official word: the lack of laughter, of ironic detachment. An excessive commitment to Good may in itself become the greatest Evil: real Evil is any kind of fanatical dogmatism, especially exerted in the name of supreme Good… Consider only Mozart's Don Giovanni at the end of the opera, when he is confronted with the following choice: if he confesses his sins, he can still achieve salvation; if he persists, he will be damned forever. From this viewpoint of the pleasure principle, the proper thing to do would be to renounce his past, but he does not, he persists in his Evil, although he knows that by persisting he will be damned forever. Paradoxically, with his final choice of Evil, he acquires the status of an ethical hero - that is, of someone who is guided by fundamental principles beyond the pleasure principle and not just by the search for pleasure or material gain.”

Slavoj Žižek book The Sublime Object of Ideology

23
The Sublime Object of Ideology (1989)

Slavoj Žižek photo

“The wreck of the Titanic functions as a sublime object: a positive, material object elevated to the status of the impossible Thing. And perhaps all the effort to articulate the metaphysical meaning of the Titanic is nothing but an attempt to escape this terrifying impact of the Thing, an attempt to domesticate the Ting by reducing it to its symbolic status, by providing it with a meaning. We usually say that the fascinating presence of a Thing obscures its meaning; here, the opposite is true: the meaning obscures the terrifying impact of its presence.”

Slavoj Žižek book The Sublime Object of Ideology

77
The Sublime Object of Ideology (1989)

Slavoj Žižek photo

“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.”

Slavoj Žižek book The Sublime Object of Ideology

32; quote from Lacan's Le séminaire, livre VII : L'éthique de la psychanalyse, 295
The Sublime Object of Ideology (1989)

Slavoj Žižek photo

“Even the dead will not be safe from the enemy if he wins.”

Slavoj Žižek book The Sublime Object of Ideology

161
The Sublime Object of Ideology (1989)

Slavoj Žižek photo

“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.”

Slavoj Žižek book The Sublime Object of Ideology

183
The Sublime Object of Ideology (1989)

Slavoj Žižek photo

“As Bertolt Brecht puts in his Threepenny Opera: What is the robbery of a bank compared to the foundation of a new bank?”

Slavoj Žižek book The Sublime Object of Ideology

26
The Sublime Object of Ideology (1989)

Slavoj Žižek photo

“Symbolic castration - the final moment of analysis is reached when the subject is ready to accept this fundamental loss, to consent to symbolic castration as a price to be paid for access to his desire.”

Slavoj Žižek book The Sublime Object of Ideology

147
The Sublime Object of Ideology (1989)