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Future politics

In Paul Patton & John Protevi (eds.), Between Deleuze and Derrida. New York: Continuum (2003)

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  1. Alexandre Lefebvre interviews Paul Patton.Alexandre Lefebvre - 2013 - Contemporary Political Theory 12 (3):206-214.
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  • The Categorical Imperative and Not Being Unworthy of the Event: Ethics in Deleuze's Difference and Repetition.Leonard Lawlor - 2020 - Deleuze and Guattari Studies 14 (1):109-135.
    This essay starts from a consideration of Deleuze's theory of time. It begins with the empty form of time. But the essay's aim is to understand Deleuze's reversal of Platonism in his 1968 Difference and Repetition. There is no question that the stakes of the reversal of Platonism are ontological. But I argue that what is really at stake is a movement of demoralisation. The essay proceeds in three steps. First, we determine what sufficient reason or grounding is, for Deleuze. (...)
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  • Struggling with time: A Rousseauian caution to the politics of becoming.Mabel Wong - 2012 - Contemporary Political Theory 11 (2):172-191.
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  • Review essay: Between Deleuze and Derrida, editors, Paul Patton & John Protevi.Adrian Parr - 2003 - Critical Horizons 4 (2):305-314.
    Gilles Deleuze and Jacques Derrida have each made significant contributions to philosophies of difference and yet few have tackled the difficult task of studying the connection between the two. In their forthcoming book, Between Deleuze and Derrida, editors Paul Patton and John Protevi do exactly this. What emerges is a fascinating study of the similarities and differences between the two philosophers and in particular the ethical and political threads underlying their connection.
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  • Derrida, Politics and Democracy to Come.Paul Patton - 2007 - Philosophy Compass 2 (6):766-780.
    Derrida's early reluctance to spell out political implications of deconstruction gave way during the course of the 1980s to a series of analyses of political concepts and issues. This article identifies the principal intellectual strategies of Derrida's political engagements and provides a detailed account of his concept of ‘democracy to come’. Finally, it suggests several points of contact between Derrida and recent liberal political philosophy, as well as some areas in which deconstructive analyses require further refinement if fruitful exchange is (...)
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  • An Ethics Worthy of the Name.Marie Chabbert - 2024 - Angelaki 29 (1):237-251.
    Abstract:This paper sheds light on the relation of mutual exclusion and implication that binds Derridean ethics with the figure of God. In rupture with existing scholarship that categorizes Derridean ethics as either radically atheistic or dialectically pertaining to the Judeo-Christian moral order, I put forward the argument that Derrida’s ethical thinking is best considered outside of the dialectics of a/theism. I demonstrate that, far from plainly disproving or falling within the bounds of existing religious discourses, Derrida inaugurates a new way (...)
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  • A theory of legislation from a systems perspective.Peter Harrison - unknown
    In this thesis I outline a view of primary legislation from a systems perspective. I suggest that systems theory and, in particular, autopoietic theory, as modified by field theory, is a mechanism for understanding how society operates. The description of primary legislation that I outline differs markedly from any conventional definition in that I argue that primary legislation is not, and indeed cannot be, either a law or any of the euphemisms that are usually accorded to an enactment by a (...)
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  • Untimely Resnais: Muriel's Disarticulations of Justice.Laura McMahon - 2016 - Film-Philosophy 20 (2-3):219-234.
    Alain Resnais's 1963 film Muriel ou le temps d'un retour has been read in terms of a failure to engage with the historical and political issues surrounding the Algerian War – a failure viewed by Susan Sontag as a consequence of Resnais's favouring of aesthetics over politics. This essay reconsiders Muriel beyond the terms of this perceived privileging of aesthetic abstraction over political engagement, and looks at ways in which the spatio-temporal organization of the film is bound to forms of (...)
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