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Derrida’s Tense Bow

The European Legacy 18 (6):727-739 (2013)

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  1. The ‘mystical’ foundation of democratic society, mythmaking and truth in The Man Who Shot Liberty Valance(John Ford 1962).Camil Ungureanu - forthcoming - Philosophy and Social Criticism.
    In this article, I combine political philosophy and film to examine the problematic of the ‘mystical’ foundation of authority and democracy as represented in The Man Who Shot Liberty Valance. Ford’s filmic vision is interpretable as a parable of the passage from the state of nature to the modern republic and the deconstruction of American democratic progressivism. To analyse it, I proceed in two steps: first, I defend a middle-way critical Enlightenment perspective between the democratic-progressivist and the deconstructive approach to (...)
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  • Sacrifice, violence and the limits of moral representation in haneke's caché.Camil Ungureanu - 2014 - Angelaki 19 (4):51-63.
    :This article revisits Michael Haneke's Caché as a filmic transformation of the traditional bond between sacrificial violence, morality and community building. By drawing mainly on striking correspondences with Jacques Derrida's view of the “mystical” origin of authority and of the limits of moral representation, the article aims to probe into Haneke's strategies of concealment. In so doing, the article proposes a “postsecular” interpretation of the symbolic meaning of the enigmas of the “ghost director” within the film, and of Majid's theatrical (...)
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  • El gusto por lo extremado: un análisis crítico de Baudrillard y Derrida sobre el terror y el terrorismo.Camil Ungureanu - 2012 - Isegoría 46:193-213.
    Baudrillard interpreta el «nuevo terrorismo» como un intercambio simbólico de regalo y contra-regalo: la muerte del terrorista es un contra-regalo irrefutable que rompe el círculo coercitivo de las relaciones sociales «impuestas» por el sistema global. A su vez, la concepción de Derrida tiene dos dimensiones, explicativa y normativa: en primer lugar, Derrida considera el 11-S como un síntoma multifacético de una crisis autoinmune que tiene aspectos políticos, religiosos y tecno-capitalistas. En segundo lugar, Derrida arguye que existe un «momento» de terror, (...)
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