Philosophical phantasms
‘The Platonic differential’ and ‘Zarathustra’s laughter’
in Foucault’s theatres
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How might relations between face and mask, nature and artifice escape from a Platonic dramaturgy? In which theatrical worlds might metaphysics become displaced by phantasmaphysics? Between Foucault and Deleuze, how does the drama of thought become manifest in a specifically philosophical theatre? And how might this relate to the claims of universality in a modernity that constantly disavows its colonial particularity? Exploring his reading of Deleuze, this chapter extends Foucault’s sense of a ‘rebirth of phantasmaphysics’ to a reading of cinema (with Jean Rouch’s Les Maîtres Fous) and the transformation of erstwhile ethnographic museums into ‘museums of world cultures’.

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