Abstract

In the move from a teleological notion of history to one ruled by the logic of the symptom, Žižek is pushed to theorize the notion of the Act. Bringing together Marxism and psychoanalysis at the level of surplus, revolution and the end of analysis merge. What Žižek provides is a picture of change permeated with contingencies: a hysterical ‘acting out’ can become the Act proper; a violent outburst can become revolution. This can only be accomplished with the help of the party-cum-analyst, which Zizek asserts serves to ensure that spontaneity becomes politicized. This paper serves as an attempt to trace the beginnings of the theoretical contours of Žižek’s development of the Act, and ends by opening towards the investigation of the importance of Pascal’s wager in Žižek’s theoretical corpus