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Educated in the humanities and trained in psychiatry, Jean Starobinski is a central figure in the Geneva School of criticism. For twenty-five years his work has had considerable influence on postmodern European critics (notably Derrida), scholars of French literature, and intellectual historians. Montaigne in Motion is his subtly conceived and elegantly written study of the Essais of Montaigne, whose deceptively plainspoken meditations have entranced readers and stimulated philosophers since their first publication in 1580 and 1595. -- Publisher's description.
Educated in the humanities and trained in psychiatry, Jean Starobinski is a central figure in the Geneva School of criticism. For twenty-five years his work has had considerable influence on postmodern European critics (notably Derrida), scholars of French literature, and intellectual historians. Montaigne in Motion is his subtly conceived and elegantly written study of the Essais of Montaigne, whose deceptively plainspoken meditations have entranced readers and stimulated philosophers since their first publication in 1580 and 1595. Starobinski here offers a decidedly postmodern reading of Montaigne. In chapters dealing with the themes of public and private life, friendship, death, the body, and love, Starobinski interprets Montaigne's writings as a constant "working through" that leads Montaigne from a situation of unreasoned dependence to a revolt affirming his independence and self-sufficiency, and finally toward an acceptance and mastery of necessary relations. Placing this ternary movement at the very heart of the Montaignian enterprise, Starobinski reveals much that will remind us that Montaigne's thought is as apropos to our time as it was to his own.
The popular conception of the Renaissance as a culture devoted to order and perfection does not account for an important characteristic of Renaissance art: many of the period's major works, including those by da Vinci, Erasmus, Michelangelo, Ronsard, and Montaigne, appeared as works-in-progress, always liable to changes and additions. In Perpetual Motion, Michel Jeanneret argues for a sixteenth century swept up in change and fascinated by genesis and metamorphosis. Jeanneret begins by tracing the metamorphic sensibility in sixteenth-century science and culture. Theories of creation and cosmology, of biology and geology, profoundly affected the perspectives of leading thinkers and artists on the nature of matter and form. The conception of humanity (as understood by Pico de Mirandola, Erasmus, Rabelais, and others), reflections upon history, the theory and practice of language, all led to new ideas, new genres, and a new interest in the diversity of experience. Jeanneret goes on to show that the invention of the printing press did not necessarily produce more stable literary texts than those transmitted orally or as hand-printed manuscripts—authors incorporated ideas of transformation into the process of composing and revising and encouraged creative interpretations from their readers, translators, and imitators. Extending the argument to the visual arts, Jeanneret considers da Vinci's sketches and paintings, changing depictions of the world map, the mythological sculptures in the gardens of Prince Orsini in Bomarzo, and many other Renaissance works. More than fifty illustrations supplement his analysis.
Winner of the 2010 National Book Critics Circle Award for Biography How to get along with people, how to deal with violence, how to adjust to losing someone you love—such questions arise in most people’s lives. They are all versions of a bigger question: how do you live? How do you do the good or honorable thing, while flourishing and feeling happy? This question obsessed Renaissance writers, none more than Michel Eyquem de Monatigne, perhaps the first truly modern individual. A nobleman, public official and wine-grower, he wrote free-roaming explorations of his thought and experience, unlike anything written before. He called them “essays,” meaning “attempts” or “tries.” Into them, he put whatever was in his head: his tastes in wine and food, his childhood memories, the way his dog’s ears twitched when it was dreaming, as well as the appalling events of the religious civil wars raging around him. The Essays was an instant bestseller and, over four hundred years later, Montaigne’s honesty and charm still draw people to him. Readers come in search of companionship, wisdom and entertainment—and in search of themselves. This book, a spirited and singular biography, relates the story of his life by way of the questions he posed and the answers he explored. It traces his bizarre upbringing, youthful career and sexual adventures, his travels, and his friendships with the scholar and poet Étienne de La Boétie and with his adopted “daughter,” Marie de Gournay. And we also meet his readers—who for centuries have found in Montaigne an inexhaustible source of answers to the haunting question, “how to live?”
Reflecting on Montaigne, Virginia Woolf remarked, "The most common actions-a walk, a talk, solitude in one's own orchard-can be enhanced and lit up by the association of the mind." In Quotidiana, Patrick Madden illuminates these common actions and seemingly commonplace moments, making connections that revise and reconfigure the overlooked and underappreciated.
Montaigne's Essays resemble a patchwork of personal reflections, but they engage with questions that animate the human mind, and tend to a single goal: to live better in the present and to prepare for death. For this reason, Montaigne's thought and writings have been a subject of enduring interest across disciplines. This Handbook brings together essays by prominent scholars that examine Montaigne's literary, philosophical, and political contributions, and assess his legacy and relevance today in a global perspective. It presents Montaigne's Essays not only in their historical context but also as a starting point for discussing issues that concern us today.
Brush's critical study of the Essays examines the complex process of writing a self-portrait, showing the ways in which it is an entirely different enterprise from writing autobiography. The author discusses how Montaigne revealed his "mind in motion," and the most remarkable feature of that mind, skepticism. He treats Montaigne's development of a conversational voice and explicates how Montaigne's intense self-examination became an evolutionary process which had consequences in his life and literature.
An NYRB Classics Original Shakespeare, Nietzsche wrote, was Montaigne’s best reader—a typically brilliant Nietzschean insight, capturing the intimate relationship between Montaigne’s ever-changing record of the self and Shakespeare’s kaleidoscopic register of human character. And there is no doubt that Shakespeare read Montaigne—though how extensively remains a matter of debate—and that the translation he read him in was that of John Florio, a fascinating polymath, man-about-town, and dazzlingly inventive writer himself. Florio’s Montaigne is in fact one of the masterpieces of English prose, with a stylistic range and felicity and passages of deep lingering music that make it comparable to Sir Robert Burton’s Anatomy of Melancholy and the works of Sir Thomas Browne. This new edition of this seminal work, edited by Stephen Greenblatt and Peter G. Platt, features an adroitly modernized text, an essay in which Greenblatt discusses both the resemblances and real tensions between Montaigne’s and Shakespeare’s visions of the world, and Platt’s introduction to the life and times of the extraordinary Florio. Altogether, this book provides a remarkable new experience of not just two but three great writers who ushered in the modern world.
The topic of certitude is much debated today. On one side, commentators such as Charles Krauthammer urge us to achieve "moral clarity." On the other, those like George Will contend that the greatest present threat to civilization is an excess of certitude. To address this uncomfortable debate, Susan Schreiner turns to the intellectuals of early modern Europe, a period when thought was still fluid and had not yet been reified into the form of rationality demanded by the eighteenth and nineteenth centuries. Schreiner argues that Europe in the sixteenth century was preoccupied with concerns similar to ours; both the desire for certainty -- especially religious certainty -- and warnings against certainty permeated the earlier era. Digging beneath overt theological and philosophical problems, she tackles the underlying fears of the period as she addresses questions of salvation, authority, the rise of skepticism, the outbreak of religious violence, the discernment of spirits, and the ambiguous relationship between appearance and reality. In her examination of the history of theological polemics and debates (as well as other genres), Schreiner sheds light on the repeated evaluation of certainty and the recurring fear of deception. Among the texts she draws on are Montaigne's Essays, the mystical writings of Teresa of Avila, the works of Reformation fathers William of Occam, Luther, Thomas Muntzer, and Thomas More; and the dramas of Shakespeare. The result is not a book about theology, but rather about the way in which the concern with certitude determined the theology, polemics and literature of an age.