1989, The Sublime Object of Ideology

1991, For They Know Not What They Do

1992, Enjoy Your Symptom!

1992, Looking Awry

1993, Tarrying with the Negative

1994, The Metastases of Enjoyment

1996, The Indivisible Remainder

1997, The Abyss of Freedom/Ages of the World

1997, The Plague of Fantasies

1999, The Ticklish Subject

1999, The Fright of Real Tears

2000, The Art of the Ridiculous Sublime

2000, Contingency, Hegemony, Universality (co-authored with Butler & Laclau)

2001, Opera’s Second Death (co-authored with Dolar)

2001, Did Somebody Say Totalitarianism?

2001, On Belief

2001, The Fragile Absolute

2002, Welcome to the Desert of the Real

2003, The Puppet and the Dwarf

2003, Organs without Bodies

2004, Iraq: The Borrowed Kettle (partial)

2006, The Parallax View

2006, The Neighbor (co-authored with Santner & Reinhard)

2006, Interrogating the Real (collected writings)

2006, How to Read Lacan

2007, The Universal Exception (collected writings)

2008, Violence

2009, In Defense of Lost Causes

2009, Mythology, Madness, and Laughter (co-authored with Gabriel)

2009, First As Tragedy, Then As Farce

2010, Living in the End Times

2010, Philosophy in the Present (co-authored with Badiou, my transcription)

2011, The Monstrosity of Christ (co-authored with Milbank)

2012, God in Pain (co-authored with Gunjević)

2012, Less Than Nothing

2012, The Year of Dreaming Dangerously

Editor and Contributor

1992, Everything You Always Wanted to Know about Lacan

1994, Mapping Ideology

2003, Jacques Lacan: Critical Evaluations in Cultural Theory

2004, Revolution at the Gates: Žižek on Lenin

2005, Theodor Adorno: In Search of Wagner

2006, Lacan: The Silent Partners

2007, Trotsky: Terrorism and Communism

2007, Mao: On Practice and Contradiction

2007, Robespierre: Virtue and Terror (missing)

2010, The Idea of Communism (Vol. 1) (co-edited with Douzinas)

2013, The Idea of Communism 2: The New York Conference (Vol. 2) (missing)


1994, The Making of Political Identities

2000, Jacques Ranciere: The Politics of Aesthetics

2002, Georg Lukács: A Defence of History and Class Consciousness

2002, Lacan and Science

2002, Reading Seminar XX

2004, Think Again – Alain Badiou and the Future of Philosophy

2004, Transcendence – Philosophy, Literature, and Theology Approach the Beyond

2004, Immanence, Transcendence and Utopia

2004, Hitchcock: Past and Future

2007, Adventures in Realism

2009, Theories of Race and Racism: A Reader

2009, Cultures of Fear

2010, Paul’s New Moment

2010, Alain Badiou: Five Lessons on Wagner (missing)

2010, The Speculative Turn

2011, Occupy!: Scenes from Occupied America (missing)

2011, Hegel & The Infinite

2011, Democracy in What State?

2011, What Does a Jew Want? (missing)

2012, The Case for Sanctions Against Israel (missing)

2012, Hegel’s Rabble

2012, Concept and Form (missing)

Secondary Literature

2003, Tony Myers: Routledge Critical Thinkers

2004, Glyn Daly: Conversations With Žižek

2004, Ian Parker: A Critical Introduction

2004, Matthew Sharpe: A Little Piece of the Real

2005, Rex Butler: Live Theory

2005, Geoff Boucher, Jason Glynos, Matthew Sharpe: Traversing the Fantasy (missing)

2006, Jodi Dean: Žižek’s Politics

2007, Fabio Vighi & Heiko Feldner: Beyond Foucault

2008, Adam Kotsko: Žižek and Theology

2008, Adrian Johnston: Žižek’s Ontology

2008, Marcus Pound: A (Very) Critical Introduction

2008, Thomas Brockelman: Žižek and Heidegger

2009, Adrian Johnston: Badiou, Žižek, and Political Transformations

2009, Geoff Boucher: The Charmed Circle of Ideology

2010, Fabio Vighi: On Žižek’s Dialectics

2010, Matthew Sharpe & Geoff Boucher: Žižek and Politics

Book series edited by Žižek


1995, Miran Božovič: The Panopticon Writings

1998, Alain Grosrichard: The Sultan’s Court (missing)

1998, Renata Salecl: Perversions of Love and Hate

2000, Alenka Zupančič: Ethics of the Real

2001, Alain Badiou: Ethics

Short Circuits

2003, Alenka Zupančič: Shortest Shadow

2005, Jerry Aline Flieger: Is Oedipus Online? (missing)

2006, Mladen Dolar: A Voice and Nothing More

2007, Lorenzo Chiesa: Subjectivity and Otherness

2008, Alenka Zupančič: The Odd One In

2009, André Nusselder: Interface Fantasy

2009, Henry Bond: Lacan at the Scene

2010, Anca Parvulescu: Laughter (missing)

SIC Series

1996, Gaze and Voice as Love Objects [sic1]

1998, Cogito and the Unconscious [sic2]

2000, Sexuation [sic3]

2003, Perversion and the Social Relation [sic4]

2005, Theology and the Political: The New Debate [sic5] (missing)

2006, Jacques Lacan and the Other Side of Psychoanalysis [sic6]

2007, Lenin Reloaded: Toward a Politics of Truth [sic7] (partial)


source: www.simongros.com

Why We Fight is the provocative new documentary from acclaimed filmmaker Eugene Jarecki (The Trials of Henry Kissinger) and winner of the Grand Jury Prize at the 2005 Sundance Film Festival.

Named after the series of short films by legendary director Frank Capra that explored America’s reasons for entering World War II, Why We Fight surveys a half-century of military conflicts, asking how – and answering why – a nation of, by and for the people has become the savings-and-loan of a government system whose survival depends on an Orwellian state of constant war.


“Mama Dada” is the first book to examine Gertrude Stein’s drama within the history of the theatric and cinematic avant-gardes. It explores her development of a unique playwriting aesthetic based in avant-garde drama, cinema, and queer identity. This is the first study to distinguish between her major and minor dramatic works, and examine in detail Stein’s major plays: “Four Saints in Three Acts ” (1927); “They Must. Be Wedded. To Their Wife.” (1931); “Listen to Me” (1936); “Doctor Faustus Lights the Lights” (1938); “Yes Is for a Very Young Man” (1944-46); and “The Mother of Us All” (1945-46). It is also the first book to consider Stein’s impact as a major influence on the American avant-garde, in particular her influence on The Living Theater, Richard Foreman, and Robert Wilson. Through close examination of her career and work (as text and in performance), Sarah Bay-Cheng aims to demystify Stein’s drama and to connect her achievements to a larger historical and theoretical tradition in European and American theatre.

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A new century, new threats to love . . . Love without risks is like war without deaths – but, today, love is threatened by an alliance of liberalism and hedonism. Caught between consumerism and casual sexual encounters devoid of passion, love – without the key ingredient of chance – is in danger of withering on the vine. In In Praise of Love, Alain Badiou takes on contemporary ‘dating agency’ conceptions of love that come complete with zero-risk insurance – like US zero-casualty bombs. He develops a new take on love that sees it as an adventure, and an opportunity for re-invention, in a constant exploration of otherness and difference that leads the individual out of an obsession with identity and self. Liberal, libertine and libertarian reductions of love to instant pleasure and non-commitment bite the dust as Badiou invokes a supporting cast of thinkers from Plato to Lacan via Karl Marx to form a new narrative of romance, relationships and sex – a narrative that does not fear love.
The article is an exploration of the ways in which Emma Goldman was both a virtuoso of political theatrics – especially effective in a period when challenging ideas were suppressed – and an advocate of politically conscious theater. Goldman was among the first to bring awareness of European modern drama to the USA. Her appreciation for the theater was an integral part of her intellectual development and a strategic component of a political strategy that aspired to embrace all aspects of the human experience. The themes addressed in the plays about which she lectured and wrote served an integrative role – crossing class, ethnic, and national boundaries. Goldman herself lived with a high sense of drama, and played an imposing role on the
political stage, which resonates even today. 

At a time when public speakers in New York could be arrested for making subversive statements, the fiery Emma Goldman at least once eluded arrest by speaking in Yiddish. “She spoke to this group of Jewish women on the Lower East Side,” a policeman reported, “and I’m sorry I couldn’t take down what she said because she spoke in Yiddish.” (The late Howard Zinn recounted this episode in his book, Artists in Time of War.) The cop’s failure to record Goldman’s speech might be considered unfortunate, especially if she happened to be talking about Yiddish drama — for while many of her other speeches were published, her lectures on that subject, delivered between 1914 and 1916, have been lost to us. 

Today, of course, Goldman is remembered less for her theater discussions than for her passionate speeches against conscription and war (“the road to universal slaughter”). Her autobiography, Living My Life, devotes only a few paragraphs to her drama lectures. Yet theater was quite important to her: In essays, public speeches, and a book, The Social Significance of the Modern Drama, Goldman introduced Americans to plays by Henrik Ibsen, August Strindberg, Gerhart Hauptmann, and Frank Wedekind, creators of what she once described as “modern drama, the strongest disseminator of radical thought.”

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Video pojmovnik umetnosti i teorije 20. veka je serija od 22 autorske emisije teoretičara umetnosti Miška Šuvakovića u produkciji ART televizije iz Beograda, realizovana i premijerno emitovana 2000/01. godine. Definisanjem, povezivanjem i ukrštanjem termina kroz narativne strukture, vizuelne, video i zvučne primere, i smele teze, ovaj pojmovnik je prvi korak i stimulans u upoznavanju sa burnom istorijom ideja i društvenih promena dvadesetog veka iz perspektve umetnosti i teorije.

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