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The identification of writing with democracy; writing's infertility, bastardy, orphanhood, marginality, distance from truth and presence; writing as promiscuous; written discourse as sorcery; association of sophistry with the archive, mnemotechnics, simulation; visual arts, in being inherently mimetic and deceptive, are forms of writing; modes of discourse identified with writing—sophistry, poetry, the visual arts—are philosophy's Other; analogy between the polis and oral discourse, between expulsion of the pharmakos from the polis and expulsion of writing from "the polis of discourse'; philosophy's claim to exclusive possession of knowledge and truth; condemnation of mimetic art as a sterile prosthesis that produces only a semblance of truth; the corrupting, contaminating effects of poetry (representing written discourse in general, and the entire order of the sign) warrant its banishment; hierarchy of proper and improper discourse; politicization of the discursive hierarchy; two traditional approaches to art and the political: harnessing art to serve the political, and banishing art; Heidegger's third way: the polis, and art, are sites of Being's appearance; ontological affinity between poetry and place; Heidegger's inversion of the Platonic account of the poetry–politics nexus: poetry as founding the political; poetry as giving the gift of a dwelling place; man's battle, using language and art, to win a dwelling place within Being.

DOI: 10.1007/978-3-030-05692-6_6

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