Apropos the post from Nov. 30, I found only one hit for "Analogical Rationalism" on Google: "Concrete Constructs: The Limits of Rationalism in Swiss Architecture"
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My dinner with Slavoj (again):
Zizek described the last section of a holocaust novel: Jews are being loaded on a train, packed in like cattle. The train goes east for 3 days in freezing temperatures. By the time it reaches its destination only a small group of children are left alive, kept warm by the bodies of the adults who had moved them to the center of the car. When the children are discovered the SS men set the dogs on them. Two escape and run off in the snow. Of the two of them the younger one stumbles and the elder reaches back to help. He pulls him up as the dogs find them and attack.

How do justice to the fact of the crime and the inability to do anything but read or watch, how do justice to memory and at the same time to the moral imperative of hope? Zizek says the novel succeeds, but wonders how one could make the film. The easy solution to the ending is to freeze on the image of the clasped hands, but that makes hope too easy, protecting us from the real end. One answer would to freeze the frame but not the sound.
"So idealism in the context of narrative."
"Yes!"
It's not that this scene would work, that would depend on a whole line of specifics in the making of the film (he also brought up the last scene of Thelma and Louise). But how to model the questions, around the making of a film or a work of art or any act of communication. And these are the questions that need to be modeled. Hope, idealism, in the context of narrative. Narrative as actions and descriptions in time, as statements made to be recontextualized in time and history. All propositions in narrative form, even statements of ideology, are provisional.

On a similar note read comment 12 here.