An essential companion to the most relevant works of Michel de Montaigne Essays: The Philosophy Classic delivers a carefully curated collection of thought-provoking works by sixteenth-century thinker Michel De Montaigne. Exploring topics as diverse as politics, poetry, love, friendship and the purpose of philosophy, this latest entry in the celebrated Capstone Classics series is accessible and intuitively organized. Follow the thoughts of the person who created the essay genre in literature as he expresses his philosophy, interests, and learning. (...) Throughout, you’ll be guided by an expansive introduction by leading Montaigne scholar Philippe Desan and the comments of series editor Tom Butler-Bowdon, placing the work of Montaigne in its historical and philosophical context. You’ll also find: Celebrated and famous works by Montaigne, including noted classics like “That to Study Philosophy is to Learn to Die” Lesser-known works that have taken on increased importance in the unique context of the 21st-century A version of the popular Charles Cotton translation first published in 1685: a simple, faithful, and clear adaptation of the French original An invaluable resource for anyone interested in the insightful and illuminating work of one of the most enduring thinkers of the 16th-century, Essays: The Philosophy Classic is an essential addition to the libraries of philosophers, historians, and laypeople seeking an eye-opening and fascinating exploration of life itself. (shrink)

In response to Walter Benjamin's caveat that every image of the past not recognized by the present as one of its own concerns threatens to disappear irretrievably, this essay examines images of spitting in the work of Michel de Montaigne and Georges Bataille. By resisting insertion within codified cycles of exchange-especially those of institutionalized violence-their images exemplify a defiance to servitude that can be generalized to a theory of sovereignty. An archaeological inventory indicates possibilities provided by the montage of (...) images for the construction of a heterological counterhistory, where spit and spitting challenge the dominance of spirit in Western culture. (shrink)

Le immagini leonardiane di nascita e creazione, di trasformazione dei corpi e della morfologia terrestre, di eventi atmosferici violenti, sottolineano una concezione metamorfica e trasformista dell'arte che si accorda con una visione della natura e della terra come animata da uno spirito vitale.

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. (shrink)

Œuvres (ordre alphabétique des titres en français) Crise de la philosophie occidentale [1874], Paris, Aubier-Montaigne (Bibliothèque philosophique), 1947 (trad. et introduction de Maxime Herman), 384 p. Le développement dogmatique de l’Église [1885], Paris, Desclée, 1991 (trad. et présentation de François Rouleau et Roger Tandonnet), 209 p. Les fondements spirituels de la vie [1884], Lettre pré...

Chacun connaît les pyramides égyptiennes, les temples grecs, le forum romain et convient que ces traces de civilisations mortes prouvent... que les civilisations meurent, donc qu'elles sont mortelles! Notre civilisation judéo-chrétienne vieille de deux mille ans n'échappe pas à cette loi. Du concept de Jésus, annoncé dans l'Ancien Testament et progressivement nourri d'images par des siècles d'art chrétien, à Ben Laden qui déclare la guerre à mort à notre Occident épuisé, c'est la fresque épique de notre civilisation que je propose (...) ici. On y trouve : des moines fous du désert, des empereurs chrétiens sanguinaires, des musulmans construisant leur "paradis à l'ombre des épées", de grands inquisiteurs, des sorcières chevauchant des balais, des procès d'animaux, des Indiens à plumes avec Montaigne dans les rues de Bordeaux, la résurrection de Lucrèce, un curé athée qui annonce la mort de Dieu, une révolution jacobine qui tue deux rois, des dictatures de gauche puis de droite, des camps de la mort bruns et rouges, un artiste qui vend ses excréments, un écrivain condamné à mort pour avoir écrit un roman, deux jeunes garçons qui se réclament de l'islam et égorgent un prêtre en plein office, sans parler de mille autres choses... Ce livre n'est ni optimiste ni pessimiste, mais tragique car, à cette heure, il ne s'agit plus de rire ou de pleurer, mais de comprendre. -- Book cover. (shrink)

The works of the French essayist reflect his views of morality, society, and customs in the late sixteenth century.

Que dire à des jeunes de vingt ans pour leur conduite dans ce monde qui part à la dérive? La civilisation s'effondre, les valeurs s'inversent, la culture se rétrécit comme une peau de chagrin, les livres comptent moins que les écrans, l'école n'apprend plus à penser mais à obéir au politiquement correct, la famille explosée, décomposée, recomposée se retrouve souvent composée d'ayants droit égotistes et narcissiques. De nouveaux repères surgissent, qui contredisent les anciens : le racisme revient sous forme de (...) racialisme, la phallocratie sous prétexte de néo-féminisme, l'antisémitisme sous couvert d'antisionisme, le fascisme sous des allures de progressisme, le nihilisme sous les atours de la modernité, l'antispécisme et le transhumanisme passent pour des humanismes alors que l'un et l'autre travaillent à la mort de l'homme, l'écologisme se pare des plumes anticapitalistes bien qu'il soit le navire amiral du capital--il y a de quoi perdre pied. J'ai rédigé une série de lettres à cette jeune génération pour lui raconter les racines culturelles de notre époque : elles ont pour sujet la moraline, le néo-féminisme, le décolonialisme, l'islamo-gauchisme, l'antifascisme, la déresponsabilisation, la créolisation, l'antisémitisme, l'écologisme, l'art contemporain, le transhumanisme, l'antispécisme. L'une d'elles explique en quoi consiste l'art d'être français : d'abord ne pas être dupe, ensuite porter haut l'héritage du libre examen de Montaigne, du rationalisme de Descartes, de l'hédonisme de Rabelais, de l'ironie de Voltaire, de l'esprit de finesse de Marivaux, de la politique de Hugo."--Back cover. (shrink)

La contribution de Michel Troper à la théorie générale du droit et à la théorie constitutionnelle est aujourd'hui reconnue et célébrée un peu partout dans le monde. Un talent d'architecte se tient à l'origine de cette audience rarement égalée dans la sphère francophone : celui qu'il faut pour accommoder toutes les exigences, quel que soit l'ordre de valeur dans lequel on les trouve : originalité, rigueur, souci de la fonction, esthétisme, solidité, adaptation, intelligence, inquiétude, esprit critique, renoncement, réalisme... A (...) ces mérites, on ajoutera une curiosité insatiable, un goût prononcé pour l'échange et le débat, un refus distingué de l'académisme, un sens exigeant de l'amitié et une méfiance profônde pour les adjectifs... C'est cet édifice de qualités que les élèves, collègues et amis de Michel Troper sont heureux de célébrer en lui offrant ces Mélanges. (shrink)

Michel de Montaigne Michel de Montaigne, the sixteenth century French essayist, is one of the most renowned literary and philosophical figures of the late Renaissance. The one book he wrote, Les Essais de Michel de Montaigne, is not a traditional work of philosophy. Having begun work on it around 1572, he published the first … Continue reading Montaigne, Michel de →.

In this paper I interpret Montaigne’s essay, “On Educating Children”, as a pedagogical text through its performance of a distinct epistolary function, one that addresses the letter-recipient for the purpose of shaping the ideas, actions, and beliefs of that individual. At the same time, I also read “On Educating Children” within the context of the wider project of Montaigne’s Essays, which, as I suggest, is an ethical-aesthetic project of self-fashioning and self-cultivation. The net result is an interpretation of teaching as (...) an ethical-aesthetic practice of the self, one that is in concert with the interpretation of Montaigne’s writing of the Essays as a similar practice of the self. In order to build this case, I employ Michel Foucault’s fourfold schema of ethical subjectivity, mapping that schema onto “On Educating Children”, so as to reveal a unique pedagogy of self-formation—a pedagogy that works as much upon the self of the teacher as it does the self of the student. (shrink)

Os sentidos da paixão foram originalmente um curso livre que o Núcleo de Estudos e Pesquisas da Fundação Nacional de Arte (Funarte) promoveu no Rio de Janeiro, São Paulo, Brasília e Curitiba e que atraiu cerca de setecentas a mil pessoas em cada cidade. Prova da fertilidade do curso é este livro apaixonado. Nele, alguns dos mais brilhantes intelectuais brasileiros discutem desde o amor em Platão até a paixão em Pasolini, passando por Freud, Walter Benjamin e Clarice Lispector, o que (...) só comprova a riqueza de um tema que até então não havia sido objeto de um debate como este.ÍndiceApresentaçãoPor que tanta paixão? Adauto NovaesOS SENTIDOS DA PAIXÃOO conceito de paixão - Gérard LebrunSobre o medo - Marilena ChauiPlatão: as várias faces do amor - José Américo Motta PessanhaO CANTO DAS PAIXÕESA glória - Renato Janine RibeiroA inveja - Renato MezanA melancolia de Ulisses - Olgária MatosPaixão da igualdade, paixão da liberdade: a amizade em Montaigne - Sérgio CardosoA paixão dionisíaca em Tristão e Isolda - José Miguel WisnikO lenço e o caos - Jorge ColiPasolini: paixão e ideologia - Michel LahudA paixão de Clarice Lispector - Benedito NunesPoesia: a paixão da linguagem - Paulo LeminskiÉdipo e a paixão - Hélio PellegrinoO Dom de Édipo - Luiz Renato MartinsLou Andreas-Salomé: a paixão viva - Luzilá Gonçalves FerreiraA PAIXÃO REVOLUCIONÁRIAA alegoria da liberdade - Jorge ColiA paixão revolucionária e a paixão amorosa em Stendhal - Renato Janine RibeiroA PAIXÃO SILENCIOSARazão e paixão - Sérgio Paulo RouanetA psicanálise e o domínio das paixões - Maria Rita KehlBenjamin: política e paixão - Katia Muricy. (shrink)

Diderot escreve, na Enciclopédia, um longo verbete, “Tear de meias”, no qual compara o tear a um raciocínio cuja conclusão seria o têxtil. Ele retoma esta comparação na Refutação de Helvétius: ali, é o próprio Leibniz que se torna uma máquina de reflexão, similar ao “tear de meias”. A opção materialista do homem máquina retoma uma tradição que assimila o texto ao tecido. Encontramos a mesma imagem no Fausto de Goethe, que é citado por Freud em A interpretação dos sonhos, (...) e na novela de Henry James O motivo no tapete. A invenção é sempre cruzamento, tecelagem e mestiçagem, numa interação entre criação técnica e representação da atividade intelectual. O sistema de programação dos teares foi posteriormente adaptado às primeiras máquinas analíticas, ancestrais de nossos computadores atuais. A Enciclopédia teorizou esta interação, reabilitando os teares e concebendo o pensamento como um trabalho. (shrink)

The main purpose of this dissertation is to develop a specific perspective on the history of human thought. This goal can be achieved by critically reflecting on the dominant concept of modernity, linked with the idea of teleological and linear development, which underlies the common vision of history. The proposed approach is grounded in an in-depth analysis of the life and work of Michel de Montaigne, drawing on numerous achievements in intellectual history, conceptual history, and the history of philosophy, (...) simultaneously outlining a novel approach to the history of human thought. The first part of the dissertation revises the concept of modernity, surveys various philosophical interpretations of history (in dialogue with contemporary historiography), and finally outlines reworked notions of modernity and postmodernity. These considerations are based on discussions of history and historicity undertaken by various authors, especially Michel Foucault and Jacques Derrida. It is especially the latter’s contribution in this area that has been so far underestimated, especially in Poland. What emerges is an image of history as a nexus of changes, neither absolutely progressive nor regressive, occurring in three dimensions: material, linguistic, and mental. Consequently, it appears necessary to take their intertwining into account in all historical research. Contrary to what the dominant notion of modernity suggests, these intersections are in fact argued to facilitate non-dogmatic thinking in any period or moment in history. The second part of the dissertation turns to Montaigne’s Essais – a work whose publication was an exceptional event in intellectual history, which is argued to confirm the previously formulated theses. First, a theoretical construct is introduced, describing the structure of human reality, termed “the structure of authority.” It defines the system of relations that shape the existence of every human being: relations of power, knowledge, and faith. This system of relations is demonstrated using the example of the early modern era. Against this background, Montaigne appears as an author who questioned or at least attenuated the structure of authority in his time because he now appears as a modern or even postmodern writer who was ahead of his time. The first part of the thesis consists of five chapters, two directly addressing the concept of modernity (chapters 1 and 5), one discussing the concept of history (chapter 2), and two other dealing with specific concepts of history developed by Foucault and Derrida (chapters 3 and 4). The second part elaborates on the concept of the structure of authority (chapter 6), and applies it in practice to discuss the early modern period (chapter 7) when Montaigne lived and wrote. His thought is analysed in two subsequent chapters (8 and 9). The author of Essais is argued to be a coherent thinker despite the numerous contradictions found in his work, as well as the originator of the “essay” method. Discussion covers many of his concepts and ideas, as well as his political and religious views. The conclusion gathers all reflections and summarizes the results. (shrink)

Os costumes – coustumes – têm um papel central em Os Ensaios de Michel de Montaigne. Não só porque deles o ensaísta extrai os mais variados exemplos – leçons – utilizados em seus textos, mas sobretudo porque Montaigne entende que as regras morais, as leis, a ordem civil e toda convenção social estão ancoradas na sedimentação dos hábitos ao longo dos anos. O que, a princípio, parece trivial, é, na verdade, uma guinada em relação à tradição filosófico-política, na medida (...) em que Montaigne desloca a fundamentação do político, da moral e das leis da própria natureza – como concebiam os filósofos da antiguidade – e de Deus – como concebiam os filósofos cristãos –, para o terreno dos costumes, terreno este eminentemente humano. Este artigo detém-se num capítulo – De la Coustume et de ne Changer Aisément une Loy Receue – dos Ensaios para demonstrar como Montaigne opera esse deslocamento das leis e do político do fundamento natural para os costumes – mos maiorum. (shrink)

Michel de Montaigne, the inventor of the essay, has always been acknowledged as a great literary figure but has never been thought of as a philosophical original. This book treats Montaigne as a serious thinker in his own right, taking as its point of departure Montaigne's description of himself as 'an unpremeditated and accidental philosopher'. Whereas previous commentators have treated Montaigne's Essays as embodying a scepticism harking back to classical sources, Ann Hartle offers an account that reveals Montaigne's thought (...) to be dialectical, transforming sceptical doubt into wonder at the most familiar aspects of life. This major reassessment of a much admired but also much underestimated thinker will interest a wide range of historians of philosophy as well as scholars in comparative literature, French studies and the history of ideas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Michel de Montaigne: Accidental PhilosopherZahi ZallouaMichel de Montaigne: Accidental Philosopher, by Ann Hartle ; 303 pp. Cambridge: Cambridge University Press, 2003. $60.00.Ann Hartle's new book is arguably the clearest and most compelling interpretation of Montaigne as a genuine philosopher since Hugo Friedrich's masterful Montaigne (1949). Her study is indeed an emphatic response to Friedrich's call to read Montaigne philosophically. Hartle derives her almost oxymoronic title from Montaigne's (...) own self-description as "a new figure: an unpremeditated and accidental philosopher." Taking Montaigne's moment of self-discovery à la lettre, Hartle systematically proceeds to elucidate the full meaning of Montaigne's observation. What emerges from her reading is a radical thinker who breaks with ancient philosophy and medieval theology. Her Montaigne, however, does not disavow the past but ultimately enriches it, building upon prior models. In this respect, the essayist practices the Renaissance art of imitation—creative imitation that repeats but also alters its exemplary model in a move to rival it. While Hartle exhibits an outstanding knowledge of the history of philosophy—from Plato to Heidegger, passing through Machiavelli, Hume, and Rousseau—her book is not itself a historical study nor a work in the history of ideas: she insists that her interpretation is conceptual rather than historical.What is accidental philosophy? It is foremost a non-authoritative, thoroughly human philosophy, one which takes as a sine qua non the recognition of the world's contingency—an awareness that things might have been radically different. Accidental philosophy thus represents nothing short of a displacement and transformation of reason, a calling into question of its traditional sovereign and divine-like status. (One thinks here of Aristotle's notion of the active intellect [nous poetikos], which he considers to be divine in man in Book X of the Nicomachean Ethics.) Rejecting the belief in an autonomous reason, Montaigne renders problematic the possibility of "deliberative philosophy" (accidental philosophy's counterpart): "the exercise of reason as rule within the soul, a place and function that reason claims for itself on the basis of its superiority with the hierarchy of nature." In his critique of reason—most eloquently displayed in the "Apology for Raymond Sebond," chapter 12 of [End Page 441] Book II of the Essays—Montaigne might be seen as proto-postmodernist, occupying a similar position as Nietzsche in a history of counter-Enlightenment thought. But such an interpretation, argues Hartle, is on the whole inaccurate, given Montaigne's commitment to truth.As would be expected in a book about Montaigne's philosophy, skepticism plays a major role in Hartle's positive assessment of the essayist. Skepticism has traditionally been interpreted in Montaigne scholarship either as a stage in the evolution of the essayist's thought, or as an expression of his fideism. The evolutionary reading was first championed by Pierre Villey in Les Sources et l'évolution des "Essais" de Montaigne (1933), in which he argued that Montaigne's thought evolved through three stages: Stoicism, Skepticism, and Naturalism (or Epicureanism). This now unpopular view was nevertheless recently reaffirmed by David Quint in his well-received Montaigne and the Quality of Mercy (1998). The essayist's fideism, on the other hand, is more readily accepted in Montaigne circles. It is commonly accepted that Montaigne's skepticism functions in a way that undermines reason's authority while leaving room for faith in religious matters. Hartle's understanding of Montaigne's skepticism differs in a major way from both of these accounts. She asks: "Does skepticism provide us with a complete and adequate understanding of Montaigne's philosophical activity?" Hartle offers a seemingly definitive answer: "Montaigne is not a skeptic" (p. 15). Yet, she makes her response more nuanced in several passage of her study, arguing again not for a clean break with ancient skep-ticism but with a profound transformation of this dominant philosophical school.What we have, then, is a "skeptical moment" rather than a full-fledged skeptical suspension of judgment. And it is in this moment that an openness to the possible—such as the discovery of the strange in the familiar—is made manifest. Hartle rightly points to Montaigne's discovery of his own... (shrink)

Desde Platão, a morte tem sido um tema recorrente na história da filosofia e as escolas helenísticas fizeram dela uma reflexão diária, de onde advém não só o termo meditatio mortis, mas toda uma literatura, inclusive durante o medievo, que tem como centralidade o momento final da vida. Assim, no século XVI, período no qual se encontra o nosso autor, Michel de Montaigne, a meditação sobre a morte era um topos retórico, mas os Ensaios abordam o tema da morte (...) não somente do ponto de vista literário, mas como uma meditação diária, como um exercício espiritual. Deste modo, o nosso artigo pretende sugerir que Montaigne, muito além de uma abordagem retórica, tenta recuperar o sentido mais originário que as escolas helenísticas davam à meditatio mortis, tomando-a como uma preparação para a própria vida, como uma atenção constante ao presente, diante de um cenário eminente de mortes, com as epidemias de peste negra e guerra civil. (shrink)

Since Plato, death has been a recurring theme in the history of philosophy and the Hellenistic schools of thought. The "death" subject became a daily reflection particularly in Epicureanism and in Stoicism, from which not only the term meditatio mortis comes from, but an entire literature, including the writings made in the medieval times that had the final moment of life as their central point. Thus, in the 16th century, the period when Michel de Montaigne lived his life, meditation (...) on death was a rhetorical topos. Nevertheless, his Essays approach the theme of death not only from a literary standpoint, but as a daily meditation, as a spiritual exercise. In this perspective, this article suggests that Montaigne, far beyond a rhetorical approach, attempts to recover the most original meaning that the Hellenistic schools of thought gave to meditatio mortis, taking this concept as a preparation for life itself, as a constant way of observing the present, faced with an imminent scenario of various deaths, such as the Black Death epidemic and the civil war in Montaigne troubled times. (shrink)

Mark Greengrass - Michel de Montaigne: Accidental Philosopher - Journal of the History of Philosophy 43:3 Journal of the History of Philosophy 43.3 355-356 Ann Hartle. Michel de Montaigne: Accidental Philosopher. New York: Cambridge University Press, 2003. Pp viii + 303. Cloth, $60.00. « Nouvelle figure: un philosophe impremedité et fortuite ! » [A new figure: an unpremeditated and accidental philosopher!]. Thus writes Montaigne in a paragraph all to itself, initially his own manuscript addition to his copy of (...) the 1588 edition of the Essais and one of the numerous changes that appeared to the text published in 1595, three years after his death. The phrase provides the axis for Ann Hartle's excellent and innovative study of Montaigne as a philosopher. Her central.. (shrink)

It is a recent tendency to read certain pre- and early-modern thinkers as “anticipatory critics” of modernity; the name of Michel de Montaigne often comes up in this context. Most of the critical approaches treat Montaigne like a pre-Rousseau proto-romantic which is indeed is an important part of Montaigne’s thinking. However, as I show in this paper, his Essays also allow for a different interpretation. Namely, I demonstrate that 1) Montaigne’s appraisal of Nature is far from a romantic-idyllic one; (...) 2) his understanding of the interspecies division is more subtle than it is often thought; 3) his thought thus interpreted includes an ethics of becoming-animal that is based on a radically anti-Platonic body-mind economy. (shrink)

"The “philosophical” style specific to Montaigne’s Essays, totally devoid of demonstration and system, gives the reader the possibility of “essaying” an experience of his own reading, based on the idea that “Words belong half to the speaker, half to the hearer” (III, 13). Following Montaigne’s idea that selfishness is the basis of solidarity between men (the basis of society), we can detect two levels in this political conception: 1) on the one hand, the relationship between the individual subject and his (...) own complex state; 2) on the other hand, the relationship of the individual to otherness. For Montaigne, the first level is a priority and, as his own political experience shows, the individual subject has above all the duty to remain true to himself and to his own temperament. The duty to serve others is secondary, occasional and moderate. To complete the ideas that can constitute a “map” of Montaigne’s political philosophy, we have analyzed – quantitatively and qualitatively – the contexts in which the French philosopher used the word “conflict”. The examples confirm the predominance of the interior level of the individual subject and less of the relationship of the individual to otherness. To be active in the public sphere, the individual needs modesty and moderation in the expression of his opinions, as well as a rational evaluation when he wishes major changes; otherwise, they risk doing more harm than good to others. The individual must struggle internally with the weapons of reason, so as not to give in to irrational desires – such as revenge or carnal desires – which would affect others, which is virtue. An inner balance is necessary, and the others will gain from this. Keywords: Montaigne, Essays, political philosophy, Renaissance, map, conflict, individual, society, political system, selfishness, solidarity, opinion, public life, moderation, otherness, private life, civil war". (shrink)