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Alenka Zupančič, Ph.D., is a Lacanian philosopher and social theorist, based as a full-time researcher in the philosophy department of the Slovenian Academy of Sciences and Arts. She was born in 1966 in Slovenia. Alenka received her Ph.D. from the University of Ljubljana in 1990 and currently is a member of the the Ljubljana School for Psychoanalysis. At the European Graduate School, she holds a position as a lecturer where she teaches an intensive summer seminar on Friedrich Wilhelm Nietzsche.

The foundation for Alenka Zupančič's philosophical work is influenced primarily by Slovenian Lacanian scholars, such as Mladen Dollar and Slavoj Žižek, but also uses the tools and methodologies of classical philosophers, including Immanuel Kant, Georg Wilhelm Friedrich Hegel, and Henri Bergson. Zupančič is a particularly interested in the works of Friedrich Wilhelm Nietzsche and Jacques Lacan, and often uses their work as a conduit through which to explore conceptual spaces defined on one hand between the psychoanalytic and philosophical, and delimited on the other by the frenetic nature of contemporary culture.

Since the early nineties, Zupančič has been continuously published in numerous psychoanalytic and philosophical anthologies (i.e., Think Again. Alain Badiou and the Future of Philosophy; The Cambridge Companion to Lacan) and journals; she has appeared in print in Filozofski vestnik, New Formations, The American Journal of Semiology, Problemi, Razpol, Umbr(a), Lacanian Ink, Identiteti, Parrallax and others.

Her primary and most exhaustive work on Friedrich Wilhelm Nietzsche, The Shortest Shadow: Nietzsche's Philosophy of the Two (MIT Press, 2003) is a book, appropriately bisected at its center; the structural duality of the text itself exposes the central philosophical tension at the spiritual hour designated by Friedrich Wilhelm Nietzsche as "Noon." She presents in her the first section, the outlaw philosopher as essentially an outlaw, rejecting reductionist notion that academics have long held in order to update his thinking to apply to the ethics of contemporary society; in the second she examines his notion of the "shortest shadow," and the irreducible duality of the subject at the moment of minimal difference.

Alain Badiou has championed Zupančič's writing as a "spiritual explosion," and Slavoj Zizek included her most recent English language book, The Odd One In: On Comedy (2008), in his Short Circuits series, defined as "short Lacanian interventions in art, philosophy, theology, and ideology."

In her book on Comedy she writes, "Comic subjectivity does not reside in the subject making the comedy, nor in the subjects of egos that appear in it, but in this very incessant and irresistible, all-consuming movement." Thus locating the point of popular comedy in the impossible location, which can only be located through a series of dialectical movements. These absences defined by a prevailing dialectical current are one of Zupančič's major subjects of exploration, along with the undefined spaces, or voids inherent in the symbolic order bestowed upon ethics, language, the arts, love, and comedy by popular and professional/academic discourse, and the impossible duality that arises from the impossibility of these absences as it resides in the possibility of their symbolic representation.

Alenka Zupančič’s work often focuses around the idea of evil. In an interview with Cabinet Magazine published in their Winter Issue 2001/2002 she says the following on the subject of evil:The theoretical necessity of rethinking the concept of evil is linked to the more general interest in the question of ethics.

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