Look up tiff in Wiktionary, the free dictionary.

Tiff may refer to:

Places[link]

• Tiff, Missouri, United States

People with the given name Tiff[link]

• Tiff Lacey (21st century), British singer
• Tiff Needell (born 1951), British racing driver and television presenter
• Milan Tiff Track and field athletics Triple Jumper

The acronym TIFF[link]

• Tagged Image File Format (TIFF), a computer file format for storing images, including photographs and line art
• Tooth Interior Fatigue Fracture (TIFF), a type of gear failure
• a popular nickname for Timothy Findley (1930–2002), Canadian author, based on his initials (Timothy Irving Frederick Findley)

Film festivals abbreviated to TIFF[link]

• Thessaloniki International Film Festival, an annual film festival held in Thessaloniki, Greece and established in 1960
• Tokyo International Film Festival, a film festival held in Tokyo, Japan and established in 1985
• Toronto International Film Festival, a film festival held in Toronto, Canada and known originally as "The Festival of Festivals" founded in 1976
• Tromsø International Film Festival, an annual film festival held in Tromsø, Norway and established in 1991
• Transilvania International Film Festival (spelled Transylvania in English), a film festival held in Cluj-Napoca, Romania and established in 2001

Other[link]

• Tiff (mineral), a mineral consisting of barium sulfate
• Tiff, a slang word for a verbal argument

See also[link]

• Tiffs, a nickname for branch badges worn by the British Royal Navy
• TIF (disambiguation)
• TIFFE (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Tiff Needell

Born	(1951-10-29) 29 October 1951 (age 60)
Formula One World Championship career
Nationality	British
Active years	1980
Teams	Ensign
Races	2 (1 start)
Championships	0
Wins	0
Podiums	0
Career points	0
Pole positions	0
Fastest laps	0
First race	1980 Belgian Grand Prix
Last race	1980 Monaco Grand Prix
British Formula One Series career
Active years	1979
Races	8
Championships	0
Wins	0
Podium finishes	1
Career points	7
Pole positions	0
Fastest laps	0

Timothy "Tiff" Needell (born 29 October 1951 in Havant, Hampshire) is a British racing driver and television presenter. He is best known as a former co-presenter of Top Gear and current co-presenter of Fifth Gear.

Biography[link]

Needell attended Ottershaw School followed by City University, London where he achieved an Honours Degree in Civil Engineering. Hired by George Wimpey & Co, his day job was as a Structural Design Engineer.

Racing career[link]

Needell first raced at a driving school at Brands Hatch in 1970. He progressed to Formula Ford, his progress assisted by the use of a Lotus 69 FF he won in an Autosport magazine competition.^[1] He later sold his Lotus and used the money to buy and race an Elden Mk10. Needell's Formula Ford period culminated in his acquiring a Crossle 25F with which he won the Kent Messenger FF Championship after competing for only half of the remaining season. This success landed him a partly paid drive in the Formula Ford 2000 Championship in a Hawke chassis provided by McKinstry Racing. Needell was completely dominant in that car and series which provided him with the springboard into Formula 3. The remainder of the 1970s saw Needell as a front runner in the British Formula 3 series and then in the Aurora British Formula One championship. In 1979 he was unable to graduate to the F1 World Championship due to the lack of the correct licence, but he was back in 1980, driving two Grands Prix for Ensign, qualifying for the Belgian Grand Prix at Zolder. However, he had an engine problem and did not finish the race. He subsequently failed to qualify for the Monaco Grand Prix.

In 1988 and 1989 he competed in the British Rallycross Grand Prix in a Metro 6R4 prepared by Will Gollop's motorsport team. He achieved a good result in 1988 finishing 4th in the B-Final in what was his first rallycross event, however, the 1989 event was cancelled due to heavy fog after the practice sessions.

Needell made his first appearance at the 24 Hours of Le Mans in 1981 driving a Ibec-Hesketh 308LM alongside Tony Trimmer. They failed to finish and again in 1982 this time paired with Bob Evans and Geoff Lees in an Aston Martin Nimrod NRA/C2. However the following year Needell finished 17th driving a Porsche 956. In 1985 Needell briefly led the 24 hours driving the Aston Martin EMKA C84/1 and would eventually finish 11th. His best result at Le Mans was 3rd in 1990. He then had a couple of years in the British Touring Car Championship with Nissan, before returning to sports cars in 1995, driving a Porsche at Daytona and a Jaguar XJ220 at Le Mans. He then drove the Lister Storm for 3 years, reaching 3rd overall at Daytona in 1997 before gearbox problems dropped them to 19th. In 1998 he finished 2nd in the GT1 championship and won the Silverstone Golden Jubilee Trophy race.

Since then, Needell's racing career has mainly consisted of racing tin-tops (hard-topped cars), with varying levels of success in sports cars, historic racing and touring cars. He achieved particular notoriety after an accident with Nigel Mansell at the 1993 TOCA shoot out race at Donington Park.^[2]

Television career[link]

Needell is best known in the United Kingdom as a television presenter and motoring journalist, in particular in association with the BBC TV series Top Gear which he started co-hosting in 1987.^[3] In 2001, when the BBC cancelled Top Gear (the show was brought back in 2002), Needell and the whole cast defected and signed with Five to produce and host a new motoring show named Fifth Gear. He does however, still contribute to Top Gear magazine. Needell has also co-presented 'MPH' at Earls Court in 2003, 2004, 2005 with Jeremy Clarkson and Richard Hammond and in 2006 with Jeremy Clarkson and James May (because Richard Hammond was recovering from his accident). He also appeared very briefly in the 2005 Top Gear Comic Relief special, Stars in Fast Cars. In 2009 he appeared on James May's Toy Stories featuring the building of a Scalextric around Brooklands. In 2011, he appeared on Top Gear, driving the Ariel Atom V8 in a race against a BMW S1000RR around the Top Gear Test Track. The segment was done in humour, with James May supposedly driving the Atom V8, only for it to actually be Tiff.

Needell says his highlight to date is "accidentally, ahem, ignoring the strict instructions Ferrari issued about not touching the traction control on their half million pound Enzo..." He has also done this on Fifth Gear while reviewing the Bugatti Veyron as well as the Mercedes-Benz SLR McLaren, joking that his finger slipped after showing viewers the letter from Mercedes-Benz requesting he leave the traction control on.

He was one of several people suspected of portraying the elusive masked racing driver The Stig on the current format of Top Gear.^[4][5] The true identity of The Stig was eventually revealed as being Ben Collins but in late 2010 Needell returned to Top Gear after a nine-year absence to train Slumdog Millionaire director Danny Boyle.^[6] In the same episode Jeremy Clarkson referred to Needell as the "Emergency Stig"

Other work[link]

He has an occasional column in the car magazine Auto Express.^[7]

Needell has lent his voice to the first and second games in the 'TOCA Touring Car series' for British video game developer Codemasters. His voice is also featured in the 'Ferrari Challenge' and 'Le Mans 24 Hours' video game for racing game developer Eutechnyx. He also features in the video games Race Pro and GTR Evolution racing an Aston Martin DBR9. Additionally, he is the voice of the Road Angel road safety device and GPS speed camera alert system, as well as the face on their advertising campaigns. He was the launching announcer for the high speed Rita roller coaster at Alton Towers, as well as narrating several Discovery Channel documentaries.^[8]

Thruxton Circuit has an exclusive deal which enables customers to pay £145 for three laps of fast-paced driving and drifting with Needell. The laps are filmed from within the car and feature his commentary and conversation with the passenger.^[9]

It was confirmed in the February 2012 issue of Evo magazine that Needell will be part of the contribution team going forward in 2012.^[10]

Personal life[link]

He lives in Wiltshire with his wife Patsy and his three sons, Jack, Harry and George.^[11]

His younger brother Chris is a team manager for Barwell Motorsports team racing Aston Martin DBRS9.

In November 2006, Needell was cleared of 'failing to supply details in relation to a speeding ticket', and the accompanying speeding offence by Pontypridd magistrates. He was defended by Nick Freeman, otherwise known as Mr. Loophole,^[12] who also defended former colleague Jeremy Clarkson on a similar case.

He is a football fan and supports Southampton. He is also an active user of Twitter.^[13]

He also works as an after dinner speaker.^[14]

Complete Formula One results[link]

(key)

References[link]

External links[link]

• www.tiff.tv - The official website of Tiff Needell
• Fifth Gear website
• Tiff Needell on Twitter
• interview on Mitzi TV, "Baby You Can Drive My Car"

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2011)

Slavoj Žižek

Slavoj Žižek at Warsaw, Poland, May 15, 2009.
Born	(1949-03-21) 21 March 1949 (age 63) Slovenia (then part of Yugoslavia)
Era	20th- / 21st-century philosophy
Region	Western philosophy
School	Hegelianism Psychoanalysis Marxism
Main interests	Ontology · Film theory Psychoanalysis Ideology · Theology Marxism
Influenced by G. W. F. Hegel · F. W. J. Schelling Jacques Lacan · Karl Marx Friedrich Engels · Theodor W. Adorno Sigmund Freud · Vladimir Lenin Ernesto Laclau Maximilien Robespierre Jean-Jacques Rousseau
Influenced Michael Hardt · Alenka Zupančič · Terry Eagleton

Slavoj Žižek (pronounced [ˈslavoj ˈʒiʒɛk]; born 21 March 1949) is a Slovenian philosopher and cultural critic^[1] working in the traditions of Hegelianism, Marxism and Lacanian psychoanalysis. He has made contributions to political theory, film theory and theoretical psychoanalysis.

Žižek is a senior researcher at the Institute of Sociology University of Ljubljana, Slovenia, and a professor at the European Graduate School.^[2] He has been a visiting professor at, among others, the University of Chicago, Columbia University, London Consortium, Princeton University, New York University, The New School, the University of Minnesota, the University of California, Irvine and the University of Michigan. He is currently the International Director of the Birkbeck Institute for the Humanities at Birkbeck, University of London and president of the Society for Theoretical Psychoanalysis, Ljubljana.^[3]

Žižek uses examples from popular culture to explain the theory of Jacques Lacan and uses Lacanian psychoanalysis, Hegelian philosophy and Marxist economic criticism to interpret and speak extensively on immediately current social phenomena, including the current ongoing global financial crisis. In a 2008 interview with Amy Goodman on the New York City radio show Democracy Now! he described himself as a "communist in a qualified sense" and in another appearance on the show in October 2009 he described himself as a "radical leftist".^[4][5]

It was not until the 1989 publication of his first book written in English, The Sublime Object of Ideology, that Žižek achieved international recognition as a social theorist. Since then, he has continued to develop his status as a confrontational intellectual.

He writes on many topics including subjectivity, ideology, capitalism, fundamentalism, racism, tolerance, multiculturalism, human rights, ecology, globalization, the Iraq War, revolution, utopianism, totalitarianism, postmodernism, pop culture, opera, cinema, political theology, and religion.

He has been called "the most dangerous political philosopher in the West".^[6]

Life[link]

Žižek was born in Ljubljana, People's Republic of Slovenia, Yugoslavia, to a middle-class family. His father Jože Žižek was an economist and civil servant from the region of Prekmurje in eastern Slovenia. His mother Vesna, native of the Brda region in the Slovenian Littoral, was an accountant in a state enterprise.^[7][8] He spent most of his childhood in the coastal town of Portorož.^[9] The family moved back to Ljubljana when Slavoj was a teenager. His parents were both atheists.^[8] Žižek attended the prestigious Bežigrad High School.^[9] In 1967, he enrolled at the University of Ljubljana, where he studied philosophy and sociology. He received a Doctor of Arts in Philosophy from the University of Ljubljana and studied psychoanalysis at the University of Paris VIII with Jacques-Alain Miller and François Regnault.

Žižek's early career was hampered by the political environment of 1970s Yugoslavia. He started his studies in an era of relative liberalization of the Communist regime. Among his early influences was the Slovenian Marxist philosopher Božidar Debenjak who introduced the thought of the Frankfurt School to Slovenia.^[10] Debenjak taught the philosophy of German idealism at the Faculty of Arts of the University of Ljubljana, and his reading of Marx's Das Kapital from the perspective of Hegel's Phenomenology of the Mind influenced many future Slovenian philosophers, including Žižek.^[11]

Žižek frequented the circles of dissident intellectuals, including the Heideggerian philosophers Tine Hribar and Ivo Urbančič,^[8] and published articles in alternative magazines, such as Praxis, Tribuna and Problemi, of which he was also an editor.^[9] In 1971, he was given employment at the University of Ljubljana as an assistant researcher with the promise of tenure. In 1973, after Josip Broz Tito and Stane Dolanc removed the reformist Slovenian leadership and the regime's policies toughened again, he was dismissed after his Master's thesis was explicitly accused of being "non-Marxist".^[12] He spent the next few years undertaking national service in the Yugoslav army in Karlovac.

After four years of unemployment, Žižek gained a job as a recording clerk at the Slovenian Marxist Center. At the same time, he became involved with a group of Slovene scholars, among whom were Mladen Dolar and Rastko Močnik, whose theoretical focus was on the psychoanalytic theory of Jacques Lacan.^[13] In 1979, he was hired as a researcher at the Institute of Sociology of the University of Ljubljana with the help of philosopher Ivan Urbančič.^[12] In the early 1980s, he published his first books, focusing on the interpretation of Hegelian and Marxist philosophy from the perspective of Lacanian psychoanalytic theory. He became one of the foremost members of the so-called Ljubljana school of psychoanalysis. Within its editorial and institutional framework, Žižek edited numerous translations of works by Lacan, Sigmund Freud and Althusser to Slovene (during that period he also became an active member of the Slovenian Association of Literary Translators).^[14] In addition, he wrote the introduction to Slovene translations of G. K. Chesterton's and John Le Carre's detective novels. In 1988, he published his first book dedicated entirely to film theory.

In the late 1980s, he came to public attention as a columnist for the alternative youth magazine Mladina, which assumed a critical stance towards the Titoist regime, criticizing several aspects of Yugoslav politics, especially the militarization of society. Žižek was member of the Communist Party of Slovenia until October 1988, when he quit in protest against the JBTZ-trial together with 32 other Slovenian public intellectuals.^[15] Between 1988 and 1990, he was actively involved in several political and civil society movements which fought for the democratization of Slovenia, most notably the Committee for the Defence of Human Rights.^[16] In the first free elections in 1990, he ran as candidate for Presidency of the Republic of Slovenia (an auxiliary institution abolished in the constitution of 1991) for the Liberal Democratic Party. In a 2008 interview with Amy Goodman on Democracy Now!, he described himself as a "communist in a qualified sense," and in another appearance in October 2009 he described himself as a "radical leftist".^[4][5]

It was not until the 1989 publication of his first book written in English, The Sublime Object of Ideology, that Žižek achieved international recognition as a social theorist. Since then, he has continued to develop his status as a confrontational intellectual. One of Žižek's most widely discussed books, The Ticklish Subject (1999), explicitly positions itself against Deconstructionists, Heideggerians, Habermasians, cognitive scientists, and what Žižek describes as New Age "obscurantists".

Over the course of 25 years, Žižek was able to go from academic ghettoization to attending worldwide conferences and being a premier speaker on theory; he is pictured here at a 2009 lecture in Poland

Ian Parker claims that there is no "Žižekian" system of philosophy because Žižek, with all his inconsistencies, is trying to make us think much harder about what we are willing to believe and accept from a single writer (Parker, 2004). Indeed, Žižek himself defends Jacques Lacan for constantly updating his theories, arguing that it is not the task of the philosopher to act as the Big Other who tells us about the world but rather to challenge our own ideological presuppositions. The philosopher, for Žižek, is more someone engaged in critique than someone who tries to answer questions.^[17]

However, this claim about the role of the philosopher/theorist is complicated by how Žižek frequently derides the consumerist fashionability of postmodern cultural criticism while affirming his universal emancipatory stance and love for "grand explanations" (Žižek, 2008). In contrast to Parker, Adrian Johnston's book Zizek's Ontology: A Transcendental Materialist Theory of Subjectivity argues against the position that Žižek's thought has no consistency or underlying project. Specifically, Johnston claims in his Preface that beneath "what could be called 'the cultural studies Žižek'" is a singular "philosophical trajectory that runs like a continuous, bisecting diagonal line through the entire span of his writing (i.e. the retroactive Lacanian reconstruction of the chain Kant-Schelling-Hegel)." Žižek's affirmation of this claim suggests that like his predecessor Hegel, Žižek's work is better described as rigorous in the sense of systematic rather than as comprising a single, all-encompassing "system."

Žižek wrote text to accompany Bruce Weber photos in a catalog for Abercrombie & Fitch. Questioned as to the seemliness of a major intellectual writing ad copy, Žižek told the Boston Globe: "If I were asked to choose between doing things like this to earn money and becoming fully employed as an American academic, kissing ass to get a tenured post, I would with pleasure choose writing for such journals!"^[18] He is widely regarded^{[by whom?]} as a fiery and colorful lecturer who does not shy away from controversial remarks. His three-part documentary The Pervert's Guide to Cinema was broadcast on British television by the More4 channel in July 2006 and is available on DVD. Žižek has been publishing on a regular basis in journals such as Lacanian Ink and In These Times in the United States, the New Left Review and The London Review of Books in the United Kingdom, and with the Slovenian left liberal magazine Mladina and newspapers Dnevnik and Delo. He co-operates also with the influential Polish leftist magazine Krytyka Polityczna, regional South-East European left-wing journal Novi Plamen, and serves on the editorial board of the psychoanalytical journal Problemi.^{[citation needed]}

He is a fluent speaker of Slovene, Serbo-Croatian, English, French and German. He also has basic knowledge of Italian.^[19] He was formerly married to Slovenian philosopher Renata Salecl and to Argentine model Analia Hounie.^[20]

Astra Taylor's 2005 documentary Žižek! documented its title subject, and Žižek also appeared in her 2008 Examined Life. The International Journal of Žižek Studies was launched in 2007, and since 2005, Žižek has been an associate member of the Slovenian Academy of Sciences and Arts.^[21]

He is a returning professor at New York University where he has taught alongside the deconstructionist Avital Ronell in the place of the late Jacques Derrida during the fall semester.^[22]

Throughout his political writings, Žižek has consistently emphasized his belief that a strong, centralized, hierarchically-organized political party is essential to the task of ending neoliberal capitalism. For instance, his extended criticism of Gilles Deleuze largely stems from his perception that Deleuze's philosophy is opposed to just such a centralized political structure. Despite the fact that the Occupy movement's horizontal-anarchic form of political organization is in complete contradiction to the top-down party system that Žižek has espoused throughout his career, Žižek has sought to cast himself as the Occupy movement's native philosopher. Toward this end, Žižek offered his unqualified support for the Occupy movement while speaking at Occupy Wall Street in New York City during October 2011.^[23]

In April 2012 he was interviewed by Julian Assange on The World Tomorrow debating with other guest David Horowitz a radical right-wing Zionist. Aired on RT. During this interview, Žižek made his nostalgia for American imperialism clear: "Don’t you think that nonetheless… and this is a tragedy… it’s not even a good thing… for me the great failure of Bush presidency was that with his… I wouldn’t even use the word aggressive… not intelligent politics… that the result of his decay was that the United States effectively came close to losing the position of universal world power. Under Bush, the United States lost effectively control of Latin America and so on and so on… and I think… and this is not… I don’t say this with some leftist glee ‘oh oh finally we got the United States’… and I think we are entering, I even tend to agree with you, a very dangerous multi-centered world." ^[24]

Thought[link]

This article may be too technical for most readers to understand. Please help improve this article to make it understandable to non-experts, without removing the technical details. The talk page may contain suggestions. (July 2011)

Ontology[link]

Žižek appropriates various ontologies as critical tools for his investigations. In doing so, Žižek does not posit his own ontology, rather he refigures discordant disciplines through their application to a topic of relevant interest and their differential relationship to one another. This radical approach results in a critique of such uses as misinterpretations. While Žižek posits a return to the category of the Cartesian subject, a return to German idealism, and a return to Lacan, he does so in a way that undercuts their foundations and re-energizes their potential.

1. The defense of the category of the subject involves first a vindication of the notion of subjectivity for an adequate descriptive political theory. Žižek argues that hegemonic regimes function by interpellating individuals into social roles and mandates within a given polity: we cannot understand how power functions without some account of the psychology of political subjects. Secondly, there is the vindication of the "category of the subject". Following Lacan, Žižek contends that subjectivity corresponds to a lack (manque) that always resists full inscription into the mandates prescribed to individuals by hegemonic regimes.
2. In his deployment of the category of "ideology", Žižek finds the notions of ideology in Karl Marx' The German Ideology—which center on the notion of "false consciousness"—to be irrelevant in a period of unprecedented subjective reflexivity and cynicism as to the motives and workings of those in authority (see The Sublime Object of Ideology). It can be argued however that Žižek's most original aspect comes from its insistence that a Lacanian model of the barred or split subject, because of its stipulation that individuals' deepest motives are unconscious, can be used to demonstrate that ideology has less become irrelevant today than revealed its deeper truth (see Matthew Sharpe, Slavoj Žižek.)
3. In a contentious extension of the referential scope of ideology, Žižek maintains that dominant ideologies wholly structure the subject's senses of reality. Yet, The Real is not equivalent to the reality experienced by the subjects as a meaningfully ordered totality. To him, the Real names points within the ontological fabric knitted by the hegemonic systems of representation and reproduction that nevertheless resist full inscription into its terms, and which may as such attempt to generate sites of active political resistance.

Front cover of Žižek's 2006 work The Parallax View, published by MIT Press

In The Parallax View (2006), Žižek stages confrontations between idealist and materialist understandings of various aspects of ontology. One such confrontation between idealism and materialism is expressed in Lacanian terms between an idealism's purported ability to theorize the All versus a Materialism's understanding that an apparent All is really a non-All. His penchant for staging a confrontation between idealism and materialism leads him to describe his work in such paradoxical terms as a "materialist theology." Žižek offers that reality is fundamentally open and a materialist "minimal difference"—the gap that appears in reality between a reductionist description of physical process and one's experience of existence—is the real of human life and the crucial domain that an ontology must attempt to theorize. Žižek equates the gap with the Freudian death drive, as the negative and mortifying "thing that thinks." Although biological psychology might one day be able to completely model a person's brain, there would still be something left over that could not be explained. This "remainder" formally corresponds precisely to the Freudian death drive and Schellingian/Hegelian self-reflecting negativity or "Night of the World," all of which Žižek formulates as the zero-level of subjectivity. It is death drive which takes this role, not the limit-function to pleasure called the pleasure principle, thus it is the negative aspect of consciousness that breaks and offers judgment on the unrepresentable totality. Žižek points to the fact that consciousness is opaque. Taking his cue from Descartes' problem of the possible automaton in hat & coat and the Husserlian failure to fully account for the selfhood of the other (through resort to the metaphor of "empathy"), Žižek claims a primary characteristic of consciousness is that one cannot ever know if an apparently conscious being is truly conscious or merely an effective mime.

Žižek's metaphysics are, to a certain extent an anti-metaphysics, because he believes it is absurd to theorize the All, because something will always remain untheorized. This can be explained in Lacanian terms, in terms of the relationship between the Symbolic and the Real. For Žižek, we can view a person in several ways, but these ways are mutually exclusive. For example, we can see a person as either an ethical being with free will or a determined biological creature but not both. These are the Symbolic interpretations of the Real, ways of using language to understand that which is non-All, that which cannot be totally understood by description. For Žižek, however, the Real is not a thing which is understood in different ways depending on how you decide to look at it (person as ethical being versus person as biological being); the Real is instead the movement from one vantage point to another—the "parallax view". Žižek tries to sidestep relativism by claiming that there is a diagonal ontological cut across apparently incommensurable discourses, which points to their intersubjectivity. This means that although there are multiple Symbolic interpretations of the Real, they are not all relatively "true." Žižek identifies two instances of the Real; the abject Real, which cannot be symbolized, and the symbolic Real (see On Belief), a set of signifiers that can never be properly integrated into the horizon of sense of a subject. The truth is revealed in the process of transiting the contradictions; or the real is a "minimal difference", the gap between the infinite judgement of a reductionist materialism and experience as lived.

Žižek discussing in 2011

The Real[link]

There are also three modalities of the real:

• The "symbolic real": the signifier reduced to a meaningless formula like quantum physics, which can only be understood by normal people using simplistic metaphors.
• The "imaginary real": a horrific thing, that which conveys the sense of horror in horror films
• The "real real": an unfathomable something that permeates things as a trace of the sublime. This form of the real becomes perceptible in the film The Full Monty, in the fact of disrobing the unemployed protagonists completely; in other words, through this extra gesture of "voluntary" degradation, something else, of the order of the sublime, becomes visible. Zizek also used the film The Sound of Music as an example, where the "invaded" Austrians are depicted more like provincial fascists (blond, beautiful, historic dresses), while the Nazis are managers, bureaucrats, etc., "like cosmopolitan decadent corrupted Jews." He posits that the movie has a hidden pro-fascist message that is not directly seen but embedded in the texture.

Postmodernism[link]

Žižek refers to the law throughout his work. The term "the law" signifies the principles upon which society is based, designating a mode of collective conduct based upon a set of prohibitions. However, for Žižek, the rule of the law reveals the act of creation of The Law as the ultimate act if that which it seeks to establish on order upon - the real crime is the act of law itself which reduces all other crime to banal and impossible to be fully realised as criminal via the establishment of the law itself as an always already mediating force; nullifying crime itself. (See For They Know Not What They Do: Enjoyment as a Political Factor.)

One key aspect of the universalization of reflexivity is the resulting disintegration of the big Other, the communal network of social institutions, customs and laws. For Žižek, the big Other was always dead, in the sense that it never existed in the first place as a material thing. All it ever was (and is) is a purely symbolic order. It means that we all engage in a minimum of idealization, disavowing the brute fact of the Real in favor of another Symbolic world behind it. Žižek expresses this disavowal in terms of an "as if". In order to coexist with our neighbors we act "as if" they do not smell bad or look ridiculous. The big Other is then a kind of collective lie to which we all individually subscribe. (See Jacques Lacan on other/Other and Žižek's For They Know Not What They Do.)

Paradoxically, then, Žižek argues that the typical postmodern subject is one who displays an outright cynicism towards official institutions, yet at the same time believes in the existence of conspiracies and an unseen Other pulling the strings. This apparently contradictory coupling of cynicism and belief is strictly correlative to the demise of the big Other. Its disappearance causes us to construct an Other of the Other in order to escape the unbearable freedom its loss encumbers us with. (See Looking Awry: an Introduction to Jacques Lacan through Popular Culture.)

Žižek follows Louis Althusser in jettisoning the Marxist equation: "ideology equals false consciousness." Ideology, to all intents and purposes, is consciousness. Ideology does not "mask" the real—one cannot achieve true consciousness. This being the case, post-ideological postmodern "knowingness"—the cynicism and irony of postmodern cultural production—does not reveal the truth, the real, the hard kernel. Knowing that we are being "lied" to is hardly the stuff of revolution when ideology is not, and never has been, simply a matter of consciousness, of subject positions, but is the very stuff of everyday praxis itself. The cynics and ironists, not to mention the deconstructionists et al., may know that reality is an "ideological construction"—some have even read their Lacan and Derrida—but in their daily practice, caught up in an apparently unalterable world of exchange-values (capital), they do their part to sustain that construction in any case. As Marx would say, it is their very life process that is ideological, what they know, or what they think they know, being neither here nor there. The postmodern cultural artifact—the "critique," the "incredulity"—is itself merely a symptom/commodity fetish. Thus has capital commodified even the cynicism that purports to unmask its "reality," to "emancipate."

Politicization[link]

Today, in the aftermath of the "end of ideology", Žižek is critical of the way political decisions are justified; the way, for example, reductions in social programs are sometimes presented as an apparently 'objective' necessity, though this is no longer a valid basis for political discourse. He sees the current "talk about greater citizen involvement" or "political goals circumscribed within the rubric of the cultural" as having little effectiveness as long as no substantial measures are devised for the long run. But measures such as the "limitation of the freedom of capital" and the "subordination of the manufacturing processes to a mechanism of social control"—these Žižek calls a "radical de-politicization of the economy" (A Plea for Intolerance).

So at present Slavoj Žižek is arguing for a politicization of the economy. For indeed the "tolerant" multicultural impulse, as the dogma of today's liberal society, suppresses the crucial question: How can we reintroduce into the current conditions of globalization the genuine space of the political? He also argues in favor of a "politicization of politics" as a counter balance to post-politics. In the area of political decision making in a democratic context he criticizes the two-party system that is dominant in some countries as a political form of a "post-political era", as a manifestation of a possibility of choice that in reality does not exist.

Politicization is thus for him present whenever "a particular demand begins to function as a representative of the impossible universal". Žižek sees class struggle not as localized objective determinations, as a social position vis-à-vis capital but rather as lying in a "radically subjective" position: the proletariat is the living, "embodied contradiction". Only through particularism in the political struggle can any universalism emerge. Fighting for workers interests often appears discredited today ("indeed in this domain the workers themselves only wish to implement their own interests, they fight only for themselves and not for the whole"). The problem is how to foster a politicizing politics in the age of post-politics. Particular demands, acting as a "metaphorical condensation", would thus aim at something that transcends those particular demands, a genuine reconstruction of the social framework. Žižek, following Jacques Ranciere, sees the real political conflict as being that between an ordered structure of society and those without a place in it, the "part that has no part" in anything but nonetheless causes the structure to falter, because it refers to—i.e. embodies—an "empty principle" of the "universal".

The very fact that a society is not easily divided into classes, that there is no "simple structural trait" for it, that for instance the "middle class" is also intensely fought over by a populism of the right, is a sign of this struggle. Otherwise "class antagonism would be completely symbolized" and no longer both impossible and real at the same time ("impossible/real"). His solution to capitalism is a rapid repoliticization of the economy.

Atheism[link]

Žižek is an atheist. He has said he does not consider religion an enemy but rather one of the fields of struggle. He has also referred to himself as a "Christian materialist". Žižek believes the universalist aspect of Christianity should be secularized into militant egalitarianism, against the "pagan notion of destiny".^[25] This universalism he derives from what he perceives as the alleged Christian death of God: God died on the cross and lives on as the "Holy Spirit", that is, in human community.^{[citation needed]}

In 2006, Žižek wrote an opinion piece published in the New York Times entitled "Atheism is a legacy worth fighting for," and voiced his support for the propagation of atheism in the continent.^[26] He has written many pieces on the reinterpretation of the religious and the theological such as The Puppet and the Dwarf, On Belief and The Fragile Absolute.

Critiques[link]

Žižek has become popular for a cultural critic and philosopher while causing controversy amongst other theorists; he is seen here signing books in 2009.

Slavoj Žižek's notoriety in academic circles has increased rapidly, especially since he began publishing widely in English. Many hundreds of academics have addressed aspects of Žižek's work in professional papers.^[27]

Argumentative method[link]

Žižek's style is a matter of some debate:

Critiques include Harpham (2003)^[28] and O'Neill (2001).^[29] Both agree that Žižek flouts standards of reasoned argument. Harpham calls Žižek's style "a stream of nonconsecutive units arranged in arbitrary sequences that solicit a sporadic and discontinuous attention." O'Neill concurs: "a dizzying array of wildly entertaining and often quite maddening rhetorical strategies are deployed in order to beguile, browbeat, dumbfound, dazzle, confuse, mislead, overwhelm, and generally subdue the reader into acceptance."

While criticizing Žižek's style in general, David Bordwell criticizes his humor as an "academic humor" and in Bordwell's words academic humor is to humor what "military intelligence is to intelligence."^[30] Supporters such as R. Butler^[31] argue that such critiques miss the point and instead support Žižek's thinking: "As Žižek says, it is our very desire to look for mistakes and inconsistencies in the Other that testifies to the fact that we still transfer on to them...."^[32]

Social policy[link]

John Holbo of the National University of Singapore has criticized Žižek^[33] for his alleged refusal to lay out what social formation he would replace the existing order with. Holbo argues that Žižek's "irrational" approach to thought disregards the ontic benefits brought about by late capital, specifically in its liberal-democratic form. A similar criticism, from a scholar akin to Žižek, is made by Ernesto Laclau in Contingency, Hegemony, Universality. In his "Response to Žižek", Laclau claims that Žižek's political thought is dogmatically Marxist, and often out of keeping with his psychoanalytic theories. Noting that "all of Žižek's Marxist concepts come from either Marx himself or from the Russian Revolution", Laclau asserts that "Žižek uses class as a sort of deus ex machina to play the role of the good guy against the multicultural devils. Laclau concludes that Žižek's political thought suffers from "'combined and uneven development'" and that "while his Lacanian tools, combined with his insight have allowed him to make considerable progress in the understanding of ideological processes in contemporary societies, his strictly political thought... remains fixed in traditional categories".^[34]

Alleged misreading of Lacan and Hegel[link]

Some of Žižek's critics have accused him of misreading other philosophers and theorists, particularly Jacques Lacan and G. W. F. Hegel.

Ian Parker, a Lacanian psychoanalyst, complains that Žižek "delights in the most extreme formulations of what the end of psychoanalysis might entail" (Ian Parker, Slavoj Žižek: A Critical Introduction, Pluto Press: London and Sterling, 2004; p. 78). For Parker, this is particularly difficult when Žižek attempts to carry over concepts from Lacan's teachings into the sphere of political and social theory. Parker notes that Lacan's seminars were originally addressed to an audience of psychoanalysts for use in their clinical practice rather than for philosophers such as Žižek to produce new theories of political action. This is particularly true, claims Parker, of Žižek's appropriation of Lacan's discussion of Antigone in his 1959/1960 seminar, The Ethics of Psychoanalysis. In this seminar, Lacan uses Antigone to defend the claim that "the only thing of which one can be guilty is of having given ground relative to one's desire" (Slavoj Žižek, The Metastases of Enjoyment, Verso: London, 1994; p. 69). However, as Parker notes, Antigone's act (burying her dead brother in the knowledge that she will be buried alive) was never intended to effect a revolutionary change in the political status quo; yet, despite this, Žižek frequently cites Antigone as a paradigm of ethico-political action. Parker concludes that carrying over concepts from Lacanian psychoanalysis "into other spheres requires something a little less hasty and less dramatic than what we find in Žižek" (Parker, p. 80).

Noah Horwitz's essay "Contra the Slovenians: Returning to Lacan and away from Hegel" (Philosophy Today, Spring 2005, pp. 24–32) is a critique of Žižek's reading of Hegel. Horwitz claims that Žižek mistakenly conflates Lacan's unconscious with Hegel's unconscious. Horwitz notes that "the 'it' one is meant to identify with in [Lacanian] psychoanalysis is not some inert, substance irreducible to one, but rather the radically other scene where thinking occurs" (Horwitz, p. 30). According to Horwitz, the Lacanian unconscious and the Hegelian unconscious are two totally different mechanisms. If we take speech, Lacan's unconscious reveals itself to us in the slip-of-the-tongue or parapraxis we are therefore alienated from language through the revelation of our desire (even if that desire originated with the Other, as Lacan claims, it remains peculiar to us). In Hegel's unconscious, however, we are alienated from language whenever we attempt to articulate a particular and end up articulating a universal (so if I say 'the dog is with me', although I am trying to say something about this particular dog at this particular time, I actually produce the universal category 'dog').

Recognition[link]

He was listed #25 on Top 100 Public Intellectuals Poll.^[35]

Bibliography[link]

Other works cited[link]

• Canning, P. "The Sublime Theorist of Slovenia: Peter Canning Interviews Slavoj Žižek" in Artforum, Issue 31, March 1993, pp. 84–9.

Critical introductions to Žižek[link]

• Christopher Hanlon, "Psychoanalysis and the Post-Political: An Interview with Slavoj Žižek." New Literary History 32 (Winter, 2001).
• Tony Myers, Slavoj Žižek (London: Routledge, 2003).
• Sarah Kay, Žižek: A Critical Introduction (Cambridge: Polity, 2003).
• Ian Parker, Slavoj Žižek: A Critical Introduction (London: Pluto Press, 2004).
• Matthew Sharpe, Slavoj Žižek, a little piece of the Real (London: Ashgate, 2004).
• Rex Butler, "Slavoj Žižek: Live Theory" (London: Continuum, 2005).
• Jodi Dean, Žižek's Politics (London: Routledge, 2006).
• Walter A. Davis, "Slavoj Zizek, or the Jouissance of the Abstract Hegelian" in Death's Dream Kingdom (London: Pluto Press, 2006).
• Adam Kotsko, Žižek and Theology (New York: T & T Clark, 2008).
• Marcus Pound, Žižek: A (Very) Critical Introduction (Interventions) (Grand Rapids: Eerdmans, 2008).
• Adrian Johnston, Žižek's Ontology: A Transcendental Materialist Theory of Subjectivity (Evanston: Northwestern University Press, 2008).
• Adrian Johnston, Badiou, Žižek, and Political Transformations: The Cadence of Change (Evanston, Northwestern University Press, 2009).
• Dominik Finkelde, Slavoj Žižek zwischen Lacan und Hegel. Politische Philosophie, Metapsychologie, Ethik (Wien: Turia + Kant, 2009).
• Paul A. Taylor, Žižek And The Media (Cambridge: Polity Press, 2010).
• Raoul Moati (ed.), Autour de S., Žižek, Psychanalyse, Marxisme, Idéalisme Allemand, Paris, PUF, "Actuel Marx", 2010
• Fabio Vighi, On Žižek’s Dialectics: Surplus, Subtraction, Sublimation, (Continuum, 2010).
• Matthew Sharpe and Geoff Boucher "Zizek's and Politics: A Critical Introduction" (Edinburgh University Press, 2010)
• Chris McMillan, "Žižek and Communist Strategy: On the Disavowed Foundations of Global Capitalism" (Edinburgh University Press, 2012)

References[link]

External links[link]

• http://es.scribd.com/doc/17882770/Interview-with-Slavoj-iek-httpdemocraciaentucarablogspotcom

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (October 2011)

Wikiquote has a collection of quotations related to: Slavoj Žižek

Wikimedia Commons has media related to: Slavoj Žižek

• http://es.scribd.com/doc/17882770/Interview-with-Slavoj-iek-httpdemocraciaentucarablogspotcom
• Slavoj Zizek Faculty Page at European Graduate School
• Žižek's entry in the Internet Encyclopedia of Philosophy
• Žižek's Bibliography at Lacanian Ink Magazine
• Žižek's Archive at Mideastdilemma.com
• Slavoj Žižek: "What does it mean to be a revolutionary today?" - video from the Marxism 2009 conference
• Interview with Slavoj Žižek: "The Discourse of Political Correctness Hides Extreme Violence", Barcelona Metropolis, 2011
• Shin, Sarah, Slavoj Žižek at Occupy Wall Street: “We are not dreamers, we are the awakening from a dream which is turning into a nightmare”, Verso Books blog, 10 October 2011.
• Column archive at The Guardian
• Appearances on C-SPAN
• Slavoj Žižek on Charlie Rose

• Charlie Rose interview: 26 October, 2011. (33m.)

• Slavoj Žižek at the Internet Movie Database
• International Journal of Žižek Studies
• Slavoj Žižek at the London Review of Books
• Zizek in Manhattan: An intellectual charlatan masquerading as “left”
• Slavoj Žižek on 24UR

Jennifer Lawrence
Lawrence at the 83rd Academy Awards, February 27, 2011
Born	Jennifer Shrader Lawrence (1990-08-15) August 15, 1990 (age 21) Louisville, Kentucky, U.S.
Occupation	Actress
Years active	2006–present

Jennifer Shrader Lawrence^[1] (born August 15, 1990) is an American film and television actress. She had lead roles in TBS's The Bill Engvall Show and in the independent films The Burning Plain and Winter's Bone, for which she received nominations for the Academy Award, Golden Globe Award, Satellite Award, and the Screen Actors Guild Award. At age 20, she was the second youngest actress ever to be nominated for the Academy Award for Best Actress. She is also known for playing Mystique in X-Men: First Class. In 2012, Lawrence achieved wider recognition starring as the heroine Katniss Everdeen in The Hunger Games, an adaptation of Suzanne Collins' best-selling novel of the same name. Her performance in the film garnered her notable critical praise and marked her as the highest grossing action heroine of all time.^[2][3] Lawrence's performances thus far have prompted Rolling Stone to define her as "the most talented young actress in America."^[4]

Early life[link]

Lawrence was born and raised in Louisville, Kentucky, and has two older brothers. Her parents are Karen (née Koch), who runs a children's camp, and Gary Lawrence, who once owned a concrete construction firm, Lawrence & Associates.^[5][6][7] She acted in local theater^[8] and, by the age of 14, had decided to pursue an acting career, persuading her parents to take her to New York City to find a talent agent. Prior to finding success in Hollywood, Lawrence attended Kammerer Middle School. She graduated from high school two years early with a 3.9 average in order to begin a career in acting.^[5][9] While growing up and in between acting, Lawrence served as an assistant nurse at the children's summer day camp that her mother ran.^[10]

Career[link]

Early work[link]

Lawrence had never taken any drama classes/lessons for acting.^[5] She started out her acting career in the TBS comedy The Bill Engvall Show, playing the eldest daughter of Lauren Pearson. Written and created by Bill Engvall and Michael Leeson, the show is set in a Denver suburb and follows the life of 'Bill Pearson' (played by Engvall), a family counselor whose own family could use a little dose of counseling. The series went on the air in September 2007 and was canceled in 2009 after three seasons. Lawrence received the Young Artist Award for Outstanding Young Performer in a TV Series for her role in the show.

Lawrence had guest-roles in the television series The Devil You Know, Cold Case, Medium, and Monk.^[11]

In 2008, she appeared in a small role in the film Garden Party as Tiff. It was directed by Jason Freeland. The same year, Lawrence appeared on the big screen in Guillermo Arriaga's film directorial debut The Burning Plain, opposite Charlize Theron and Kim Basinger. Her performance in the film earned her the Marcello Mastroianni Award for best young emerging actor/actress at the Venice Film Festival in 2008.^[12]

Still in 2008, Lawrence had the lead role in another film director's debut, Lori Petty's family drama The Poker House, opposite Selma Blair and Chloë Moretz, where she starred as Agnes, a young girl victim of abuse.^[13] Lawrence was awarded the Los Angeles Film Festival for Outstanding Performance for her role in the film. She appeared in the music video for the song "The Mess I Made", from the 2009 album Losing Sleep by Parachute.

2010–present[link]

Lawrence's lead role in Debra Granik's Winter's Bone, which won best picture at the Sundance Film Festival in 2010, is generally cited as a breakout performance for her.^[14] She portrays Ree Dolly, a seventeen-year-old in the Ozark Mountains who cares for her mentally ill mother and her younger brother and sister. Ree then discovers that her father put their house and land up as a bond for a court appearance before he disappeared, and the family now faces eviction.^[15] The performance was highly acclaimed by film critics. David Denby, writing in The New Yorker, said "the movie would be unimaginable with anyone less charismatic playing Ree."^[16] Peter Travers from the Rolling Stone also spoke highly of her and noted that "her performance is more than acting, it's a gathering storm. Lawrence's eyes are a roadmap to what's tearing Ree apart".^[17] Receiving accolades for her performance, Lawrence was awarded the National Board of Review Award for Best Breakthrough Performance. She received a nomination for the Academy Award for Best Actress on January 25, 2011, becoming the second-youngest actress to date to be nominated for the category,^[18] and also accrued nominations from the Golden Globe Awards, Screen Actors Guild Awards, Independent Spirit Awards, and the Satellite Awards among others.

Lawrence had a role in The Beaver, a dark comedy starring Jodie Foster and Mel Gibson that was filmed in 2009, but which spent an extended period of time stalled due to controversies surrounding Gibson. It was released on May 6, 2011. Lawrence co-starred in the independent film Like Crazy, which premiered at the 2011 Sundance Film Festival and received a wider release by Paramount Pictures.^[19]

On June 18, 2011, it was announced that Lawrence was invited to join the Academy of Motion Picture Arts and Sciences.

In June 2011, she starred as shape-shifting villain Mystique alongside James McAvoy and Michael Fassbender in X-Men: First Class,^[20] a prequel to the rest of the X-Men film series and will be reprising this role again in the sequel. Lawrence's Mystique is a younger version of the character played by Rebecca Romijn in earlier X-Men films.

She is also set to star alongside Elisabeth Shue in Mark Tonderai's thriller House at the End of the Street,^[21] which completed filming in 2010 and is in post-production.^[22]

Lawrence was cast in David O. Russell's The Silver Linings Playbook, opposite Bradley Cooper and Robert De Niro. She was originally cast to play "O" in the film Savages directed by Oliver Stone, but dropped out due to scheduling conflicts.

In 2012, Lawrence replaced Angelina Jolie in Susanne Bier's period thriller, The Falling, based on the novel Serena by Ron Rash.^[23][24] She will be playing the role of Serena who learns that she can never bear her husband children and is set out to murder the woman who bore her husband an illegitimate son before their marriage.

[edit] The Hunger Games

In March 2011, Lawrence was offered the part of Katniss Everdeen in the film The Hunger Games, based on the best-selling novel of the same name by Suzanne Collins. Despite being a fan of the books, Lawrence took three days to accept the role because she was initially intimidated by the size of the movie and what it may mean for her fame.^[25] She underwent extensive training to get in shape for the role, including stunt training, archery, rock and tree climbing, combat, running, parkour, pilates, and yoga.^[26][27] The film was released on March 23, 2012, and set the record for the third-largest opening weekend of all time, making a record-breaking $152.5 million in three days for a non-sequel film.^[28]

The fact that The Hunger Games emerged as a big box office hit with a female lead represents a dramatic shift for the action film genre because historically, among the "top 200 worldwide box-office hits ever ($350 million and up), not one has been built around a female action star" and for the first time ever, Lawrence contradicts that.^[29] She is currently the highest grossing action heroine.

Though the film generally received positive reviews, Lawrence's strong portrayal of Katniss Everdeen was the most highly praised with Todd McCarthy from The Hollywood Reporter saying Lawrence embodies Katniss, "just as one might imagine her from the novel" and "anchors" the whole film "with impressive gravity and presence", ultimately calling her "the ideal screen actress".^[30] Kenneth Turan from the Los Angeles Times stated that Lawrence is the "best possible performer as Katniss and is the key factor in making 'Hunger Games' an involving popular entertainment with strong narrative drive that holds our attention".^[31] Chicago Sun-Times film critic Roger Ebert also agreed that "Lawrence is strong and convincing in the central role".^[32]

Lawrence will start filming the film adaptation of the second novel in the The Hunger Games trilogy, Catching Fire, this summer, which is scheduled to be released on November 23, 2013.^[33]

Personal life[link]

Lawrence lived in New York City for the first few years of her career, but now resides in Santa Monica, California.^[5] She likes to paint, knit sweaters and scarves, surf, and play the guitar.^[34][35] She has been dating English actor Nicholas Hoult since 2011.^[36]

Filmography[link]