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Zizek 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 Zizek'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, Zizek is uniquely able to distinguish Lacan from the poststructuralists who so often claim him.
Diana Taylor is Professor of Performance Studies and Spanish at New York University.She is the author of Theatre of Crisis: Drama and Politics in Latin America(University of Kentucky Press, 1991), Disappearing Acts: Spectacles of Genderand Nationalism in Argentina's "Dirty War" (Duke University Press, 1997), andThe Archive and the Repertoire (Duke University Press, 2003). A TDR ContributingEditor, she has edited numerous volumes on performance and politics in theAmericas, and is the Founding Director of the Hemispheric Institute of Performanceand Politics, funded by the Ford Foundation and the Rockefeller Foundation.
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