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Esimerkit

• In Psychics the strange phenomenon of “Katalepsis” experienced by developed “trance-mediumship” bears so close a resemblance, physically, to Ekstasis, that the two are often taken for one and the same thing.
• In no wise is it possible for the State of ' to be attained by Mankind except as the prelude to <span style="font-variant:small-caps">Initiation in the . When the <span style="font-variant:small-caps">Initiations have been fully accomplished, to the , there is no further need for the Processes requisite to induce the State of '<span style="font-variant:small-caps">Ekstasis.
• We find ourselves then in the presence of two human ekstases: the ekstasis which throws us into being-in-itself and the ekstasis which engages us in non-being.
• Conversely, expecting is, as we say, ecstatic. The ecstasy mentioned here, stepping out itself (ἔκστασις) is to some extent a raptus [rapture]. [...] And we therefore call these three basic phenomena the ecstases of temporality.
• This is a double but infinite responsibility, infinitely redoubled, split in two , shared and parcelled out; an infinitely divided responsibility, dissemintated, if you will, for one person, for only one---all alone (this is the condition of responsibility)---and a bottomless double responsibility that implicitly describes an intertwining of temporal ekstases; a friendship to come of time with itself where we meet again the interlacing of the sameand the altogether other ('Grundlick-Anderes') which orientates us in this labyrinth.
• Eisenstein’s discussion of Serov’s portrait associates ekstasis with an “expulsion of meaning.” By contrast, the filmmaker’s handling of Vasily Surikov’s large canvas, La Bojara Morozova (1887), is an example of ekstasis as expressive conversion from the visual to the acoustic.