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Although Raphael Hythloday holds out for a vision of knowledge subject to a univocal language style, Thomas More's
Utopia
as a whole envisions knowledge as part of an ongoing dialogue open to a variety of languages and language styles. The philosophy that emerges from this text takes its cue from the commonplace of the theatre of the world, according to which participants do well to speak in accordance with the roles and scenes in which they find themselves. In this preference for a rhetorical philosophy, More in some ways anticipates, mutatis mutandis, the "relationist" and deconstructive work of such 20
th
-century figures as Walter J. Ong and Jacques Derrida. This article reads
Utopia
as a text devoted to the reader's formation to participate in this work of open-ended investigation.