Slavoj Žižek [slah-voy zhee-zhek] (b. 1949) is a Slovenian philosopher and cultural critic working. 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.
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. Continue reading
Slavoj Žižek
Unknown Known
Unknown knowns are the things that we know, but are unaware of knowing. The coining of the term is attributed to Slovenian Philosopher Slavoj Žižek and it refers to the unconscious beliefs and prejudices that determine how we perceive reality and intervene in it. It is the Freudian unconscious, the ‘knowledge which doesn’t know itself,’ as French psychoanalyst Jacques Lacan said.
Žižek first used the term as a response to former US Defense Secretary Donald Rumsfeld’s statement at a press briefing given in, 2002: ‘There are known knowns; there are things we know we know. We also know there are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns – the ones we don’t know we don’t know.’ Continue reading
Yo
Yo is an English slang interjection, commonly associated with American English. It was popularized by Italian and African Americans in Philadelphia in the 1970s. It is used to signify informality, close cultural understanding, and communal bonding. It remains very popular among Philadelphia Italian Americans, possibly arising from the Italian language word ‘io’ (meaning ‘I’). In Italian, first person statements are often preceded by io.
Although often used as a greeting, yo may come at the end of a sentence, often to direct focus onto a particular individual or group or to gain the attention of another individual or group. It may specify that a certain statement that was previously uttered is more important, or may just be an ‘attention grabber’ (e.g. ‘Listen up, yo!’). In the Japanese language, the sentence-final particle ‘yo’ is used to emphasize sentences as is often the case in English slang as above, but is etymologically unrelated. ‘YŌ’ is also used by Japanese teens as casual greetings between friends, but is pronounced with a more drawn-out tone.
Phatic Expression
In linguistics, a phatic expression [fat-ik] is one whose only function is to perform a social task, as opposed to conveying information. The term was coined by anthropologist Bronisław Malinowski in the early 1900s from Greek ‘phanein’ (‘to show oneself,’ ‘appear’).
In Russian linguist Roman Jakobson’s work, ‘Phatic’ communication is that which concerns the channel of communication, for instance when one says ‘I can’t hear you, you’re breaking up’ in the middle of a cell phone conversation. In the modern context, this usage appears in online communities and more specifically on micro-blogging. Continue reading
Aizuchi
Aizuchi [eye-zoo-chee] is the Japanese term for frequent interjections during a conversation that indicate the listener is paying attention and understanding the speaker. In linguistic terms, these are a form of phatic expression (one whose only function is to perform a social task, as opposed to conveying information).
Aizuchi are considered reassuring to the speaker, indicating that the listener is active and involved in the discussion. Aizuchi are frequently misinterpreted by non-native speakers as agreement on the part of the listener, because common aizuchi include: ‘hai,’ ‘ee,’, or ‘un’ (‘yes,’ with varying degrees of formality); ‘sō desu ne’ (‘I see’); ‘sō desu ka’ (‘is that so?’); ‘honma’ (‘really’); ‘naruhodo’ (‘I see, that’s right’); and nodding. These can be compared to English ‘yeah, yeah,’ ‘yeah, ok,’ ‘got it,’ ‘yep,’ ‘uhuh,’ or ‘go on,’ but are more pronounced and important in Japanese. Continue reading
The Avengers
The Avengers is a team of superheroes, appearing in magazines published by Marvel Comics. The team made its debut in 1963 in ‘The Avengers #1,’ and was created by writer-editor Stan Lee and artist/co-plotter Jack Kirby, following the trend of super-hero teams after the success of DC Comics’ Justice League of America. Labeled ‘Earth’s Mightiest Heroes,’ the Avengers originally consisted of Iron Man, Ant-Man, Wasp, Thor, and the Hulk.
The original Captain America was discovered by the team in issue #4, trapped in ice, and he joined the group when they revived him. The rotating roster has become a hallmark of the team, although one theme remains consistent: the Avengers fight ‘the foes no single superhero can withstand.’ The team, famous for its battle cry of ‘Avengers Assemble!,’ has featured humans, mutants, robots, gods, aliens, supernatural beings, and even former villains.
James Jean
James Jean is a Taiwanese-American visual artist, known for both his commercial and fine art gallery work. He is also known in the American comics industry as a cover artist for various books published by DC Comics, as well as for his work for Prada, ESPN, and Atlantic Records. His work, which has been collected in numerous volumes, has been compared to Maxfield Parrish (known for his distinctive saturated hues and idealized neo-classical imagery). Jean was born in Taiwan and was raised in Parsippany-Troy Hills, New Jersey. He illustrated covers for the comic book series ‘Fables’ and ‘The Umbrella Academy.’ In 2008, Jean retired from illustration and commercial projects to focus on painting.
In 2007, Jean created a mural for the Prada Epicenter stores in New York and Los Angeles. He also created a backdrop for Prada’s Spring/Summer 2008 show in Milan. Aspects of the Epicenter mural and the Milan wallpaper were transformed into clothing, handbags, shoes, and packaging. Prada undertook a global campaign that featured Jean’s work in advertising environments, animation, and special events. Jean developed an animated short based on the theme titled ‘Trembled Blossoms,’ taken from the poem ‘Ode to Psyche,’ by John Keats (one of his darker and more experimental odes). In 2010, Jean was commissioned by fashion designer Phillip Lim to paint a series of portraits featuring Los Angeles-based actors, musicians, and tastemakers, including Rachel Bilson, Selma Blair, and Devendra Banhart.
Displacement Activity
A displacement activity is the result of two contradicting instincts in a particular situation. Birds, for example, may peck at grass when uncertain whether to attack or flee from an opponent; similarly, a human may scratch his or her head when they do not know which of two options to choose. Displacement activities often involve actions to bring comfort such as scratching, drinking, or feeding.
The first description of a displacement activity (though not the use of the term) is probably by English evolutionary biologist Julian Huxley in 1914. The subsequent development of research on displacement activities was a direct consequence of Austrian zoologist Konrad Lorenz’s works on instincts. However, the first mentions of the phenomenon came in 1940 by the two Dutch zoological researchers Nikolaas Tinbergen and Adriaan Kortlandt.
Intellectualization
Intellectualization is a defense mechanism where reasoning is used to block confrontation with an unconscious conflict and its associated emotional stress, by ‘using excessive and abstract ideation to avoid difficult feelings.’ It involves removing one’s self, emotionally, from a stressful event.
Intellectualization may accompany, but ‘differs from rationalization, which is justification of irrational behavior through clichés, stories, and pat explanation.’ It is one of Freud’s original defense mechanisms. Freud believed that memories have both conscious and unconscious aspects, and that intellectualization allows for the conscious analysis of an event in a way that does not provoke anxiety.
Defense Mechanism
A defense mechanism is the coping technique individuals unconsciously use to protect themselves from getting hurt in unpleasant situations (e.g. conflicts, unhappiness). Without defense mechanism, people may suffer from psychological and mental illness. In Freudian psychoanalytic theory, defense mechanisms are unconscious, psychological strategies brought into play by various entities to cope with reality and to maintain self-image.
Healthy persons normally use different defenses throughout life. An ego defense mechanism becomes pathological only when its persistent use leads to maladaptive behavior such that the physical and/or mental health of the individual is adversely affected. The purpose of ego defense mechanisms is to protect the mind/self/ego from anxiety and/or social sanctions and/or to provide a refuge from a situation with which one cannot currently cope. Continue reading
Anima and Animus
Jung identified the anima [an-uh-muh] as being the unconscious feminine component of men, and the animus [an-uh-muhs] as the unconscious masculine component in women. However, this is rarely taken as a literal definition: many modern day Jungian practitioners believe that every person has both an anima and an animus. Jung stated that the anima and animus act as guides to the unconscious unified Self, and that forming an awareness and a connection with the anima or animus is one of the most difficult and rewarding steps in psychological growth. Jung reported that he identified his anima as she spoke to him, as an inner voice, unexpectedly one day.
Often, when people ignore the anima or animus the complexes, the anima or animus vies for attention by projecting itself on others. This explains, according to Jung, why we are sometimes immediately attracted to certain strangers: we see our anima or animus in them. Love at first sight is an example of anima and animus projection. Moreover, people who strongly identify with their gender role (e.g. a man who acts aggressively and never cries) have not actively recognized or engaged their anima or animus. Continue reading
Shadow
In Jungian psychology, the shadow is a part of the unconscious mind consisting of repressed weaknesses, shortcomings, and instincts. It is one of the three most recognizable archetypes, the others being the ‘anima and animus’ and the ‘persona.’ ‘Everyone carries a shadow,’ Jung wrote, ‘and the less it is embodied in the individual’s conscious life, the blacker and denser it is.’ It may be (in part) one’s link to more primitive animal instincts, which are superseded during early childhood by the conscious mind.
According to Jung, the shadow, in being instinctive and irrational, is prone to projection: turning a personal inferiority into a perceived moral deficiency in someone else. Jung writes that if these projections are unrecognized ‘The projection-making factor (the Shadow archetype) then has a free hand and can realize its object–if it has one–or bring about some other situation characteristic of its power.’ These projections insulate and cripple individuals by forming an ever thicker fog of illusion between the ego and the real world. Continue reading













