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  1. Thinking the (Ecstatic) Essential: Heidegger after Bataille.John Lechte - 1998 - Thesis Eleven 52 (1):35-52.
    The thought of Heidegger and Bataille has rarely been placed in proximity. However, the notion of the `ecstatic' unconsciously draws them together. Its fundamental ramifications in each thinker's oeuvre should prompt serious reflection, particularly in the age of calculation and cybernetics. The non-utilitarian aspects of the gift, exchange, sacrifice and the sacred also bring the two thinkers closer to each other in a challenge to the dominance of what Bataille calls the `restricted economy' of balanced accounts and equilibrium at all (...)
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  • The Vicissitudes of 'Democracy to Come': Political Community, Khôra, the Human.John Lechte - 2011 - Derrida Today 4 (2):215-232.
    After beginning by situating the author's (possible) relation to Derrida's expression, ‘democracy to come’, the article proceeds from the position that Derrida's phrase is to be understood as part of a political intervention. Indeed, the inseparability of democracy and deconstruction confirms this. After setting out some of the pertinent features of ‘democracy to come’ – seen, in part, in the General Will – the notion of political community in the thought of Hannah Arendt is brought into question, if not deconstructed. (...)
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  • (1 other version)Review Articles : Contemporary philosophy and democracy.Richard Beardsworth - 1997 - History of the Human Sciences 11 (1):129-137.
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  • Recalculating the White Page-GPS Love in Comme dans un film des frères Coen.Valerie Hastings - 2016 - Human and Social Studies 5 (1):53-72.
    Hastings reads the novel Comme dans un film des frères Coen by Bertrand Gervais as addressing both the midlife and the blank page crisis. Indeed, the main character of this novel is a writer in his fifties who still suffers from the failure of his last novel ignored by the critics. Disenchanted, he slowly enters a world of fantasy, and falls in love with the voice of his GPS he called Gwyneth “parle trop” therefore recalling the name of the actress (...)
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