Looking Awry
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Looking Awry
Slavoj Žižek, a leading intellectual in the new social movements that are sweeping Eastern Europe, provides a virtuoso reading of Jacques Lacan. Žižek inverts current pedagogical strategies to explain the difficult philosophical underpinnings of the French theoretician and practician who revolutionized our view of psychoanalysis. He approaches Lacan through the motifs and works of contemporary popular culture, from Hitchcock's Vertigo to Stephen King's Pet Sematary, from McCullough's An Indecent Obsession to Romero's Return of the Living Dead—a strategy of "looking awry" that recalls the exhilarating and vital experience of Lacan. Žižek discovers fundamental Lacanian categories the triad Imaginary/Symbolic/Real, the object small a, the opposition of drive and desire, the split subject—at work in horror fiction, in detective thrillers, in romances, in the mass media's perception of ecological crisis, and, above all, in Alfred Hitchcock's films. The playfulness of Žižek's text, however, is entirely different from that associated with the deconstructive approach made famous by Derrida. By clarifying what Lacan is saying as well as what he is not saying, Žižek is uniquely able to distinguish Lacan from the poststructuralists who so often claim him.
Wittgenstein's House
"The book advances the radical proposition that the field in which architecture and philosophy operate includes linguistic and spatial practices. It develops innovative forms of interdisciplinary analyses to demonstrate that the philosophical positions put forth by Wittgenstein's two main works are literally unthinkable outside of their respective conceptions of space: the view from above in the early work and the view from within constructed by the later work."--BOOK JACKET.
The Women Who Knew Too Much
First published in 1988, The Women Who Knew Too Much remains a classic work in film theory and criticism. The book consists of a theoretical introduction and analyses of seven important films by Alfred Hitchcock, each of which provides a basis for an analysis of the female spectator as well as of the male spectator. Modleski considers the emotional and psychic investments of men and women in female characters whose stories often undermine the mastery of the cinematic Master of Suspense. This new edition features a new chapter which considers the last 15 years of Hitchcock criticism as it relates to the ideas in this landmark book.