This article examines Václav Havel's unconventional route to democracy. At the core of the enquiry is an analysis of the role his Absurdism played in the development of his thought and activism. The essay illustrates how a typically literary, non-democratic intellectual orientation sustained Havel in his struggle for democratic political change against the abuses of really existing socialism. Yet, Havel's thought did not stop there; he eyed Western liberalism critically as well. Springing from his Absurdist sensibility was a vision of (...) democracy that was neither wholly liberal nor socialist, yet quite practical. By making a case for reconsidering ideas that typically fall outside the purview of democratic theory, this article also suggests the possibility of critically rethinking democracy itself. (shrink)

Claude Lefort's rethinking of ‘the political’ has been highly fruitful for political theory, yet its politics remain unclear. It has inspired transformative, radical-democratic projects, but has also served as a basis for more liberal conceptions. This article explores the sources and implications of this ambiguity by setting Lefort's work against the backdrop of the anti-totalitarian moment in French political thought and the trajectories of two of his students, Miguel Abensour and Marcel Gauchet. It emerges that although Lefort's democratic theory cannot (...) be reduced to a defensive liberalism, neither is it as expansive as some might hope. (shrink)

Charles Taylor’s conception of the relationship between democracy and social creativity developed through a critical synthesis of various traditions, including the Romantic Movement and liberal political philosophy. However, it is argued that Taylor’s understanding of the implications of religion and revolution significantly differentiates his standpoint from that of pragmatism and theories of democratic creativity. Taylor’s defence of religious transcendence is shown to give rise to tensions with the latter perspective. The theorists of democratic creativity suggest that democracy originates in the (...) rupturing of religious significations and their closure of meaning. Taylor essentially inverts these arguments and perceives that the loss of transcendence may lead to a closed world structure. Taylor claims that the dilemmas of the modern immanent frame were prefigured in the French Revolution’s inability to generate an institutional form consistent with its understanding of democracy and that social creativity should be qualified in light of this historical experience. (shrink)