By Slavoj Zizek
With average brio and boldness, Slavoj Zizek argues in The Fragile Absolute that the subversive middle of the Christian legacy is far too worthwhile to be left to the fundamentalists.
Here is a becoming contribution from a Marxist to the 2000th anniversary of 1 who was once good conscious that to perform love in our international is to usher in the sword and hearth.
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Extra resources for The Fragile Absolute: Or, Why is the Christian Legacy Worth Fighting For?
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Old child, was imprisoned in Majdanek, turned out to be a literary fiction invented by the author. • ~_. ,_ .. ,' uo_. _ _ • __... - . _ ... ". Iaw loses its efficiency, when it no longer functions properly? -~d~--~~~--~~~-th~--~~bi~;-b~hi~(rth-~-s~'t:--'~l:mply-- reads instructions (what acts they are to are to say, what - actors are trained to enact these instructions immediately, with no delay.... Another example from war can help us to clarify this point lurther. The ultimate lesson of the latest American military interventions, especially Operation Desert Fox against Iraq at the end of 1998, is that such operations signal a new era in military history - battles in which the attacking force operates under the constraint that it can sustain no casualties.
In Benigni, we have a lather who aSSUIues an almost maternal protective role, a father who relies on pure appearance, weaving for his son a protective web of fictions, a kind 01' ersatz-placeho; while Vinterberg presents the paternal figure as the monstrous rapist of his children - here, the obscene father, lar fI·om protecting the children from trauma, is the very cause of the trauma, the brutaljouisseur. It is crucial here to avoid the trap of conceiving these two opposed poles (Benigni's protective fatber and Vinterberg's obscene father) 73 THE fRAGILE ABSOLUTE SLAVOJ ZIZEK if the opposition is that of pure appearance (the protective maternal father) versus the Real of the violent rapist that becomes visible once we tear down the false appearance.
Herself, and thus frustrates him by fulfilling it. At the very end of When, at the end, he wakes up, he does so in order to escape the the film, John wakes up and discovers that the entire cata- horrible prospect of the realization of his desire in all its funda- strophic situation of his poisoning his sister has been his dream: meutal ambiguity, since this realization implies that the what awakens him is the returning Deborah, and he merrily fundamental 'passionate attachment' that structured his life is elopes with her to New York, leaviug his two sisters behind.