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When we read, we imagine an author who wrote what we are reading and we imagine what they are like. This essay describes how authorial personae are shaped, in particular those of essayists, by considering the work of Michel de Montaigne and Joan Didion in relation to their use (or lack) of friendliness and knowingness. Drawing on ordinary language philosophy, with particular reference to Toril Moi, along with philosopher Alexander Nehamas’s conception of friendship, I explain the sense of quasi-conversational connection that readers can experience when reading Montaigne and Didion, and argue that applying a language of sociality to reading can reveal how our picture of an author influences our interpretation of their text. [ABSTRACT FROM AUTHOR]

The article analyzes the relationship between the biographical subject and the biographical hero in Józef Hen's novel Ja, Michał z Montaigne... (I, Michel de Montaigne...), demonstrating how the author incorporates himself into the narrative of the French essayist's life. The work highlights the duality of identity, where the thoughts of Montaigne and Hen intertwine, creating a shared narrative. Historical and literary contexts help shape the character of Montaigne, and so do contemporary psychoanalytic theories. Hen fictionalizes the biography, creating a space for the reflection on subjectivity and authenticity in biographical literature, and his creative process opens up a dialogue between the author and his subject. [ABSTRACT FROM AUTHOR]

This essay argues that the essay is written under the sign of occasion. The allegorical figure of Occasio, known in Greek as Kairos, figured the moment of opportunity which must be seized for success in rhetoric, politics, and life; failure to grasp the occasion leads to Metanoia, or regret. The first sections show how the early essayists Michel de Montaigne, Francis Bacon, and Robert Boyle shaped the essay as an occasional genre. The final sections turn to the contemporary writer and photographer Teju Cole, to show how photography engages with the decisive moment of Occasio, and how Cole's 'lyric essay' Blind Spot, composed of texts and photographs, reinscribes the themes of occasion, seizure, and regret which animated the early essay. [ABSTRACT FROM AUTHOR]

Francis Bacon's political thought cannot be understood without a close reading of his discussions about human emotions and the role they play from our private to public spheres of interaction. This paper discusses Bacon's widespread treatment of envy as a particularly significant source of political strife within states which, when unattended, leads to civil war. Bacon rejects envy as a 'private' passion. As a 'public' passion, however, it becomes a tool for preventing the very outcome to which 'private' envy is inclined. Envy thus serves as a useful political tool that uncovers ambitious men 'when they grow too great' and helps political leaders 'in handling sedition'. Envy, moreover, is also a central concept that elucidates Bacon's discussions of 'moral' and 'civil' philosophy as two areas of study that need to be united for proper political rule. The paper opens with an analysis of Bacon's treatment of envy in his Essays or Counsels Civil and Moral and his writings on historiography; it then connects Bacon's understanding of envy and civil war with the writings of Thomas Hobbes and Michel de Montaigne; finally, it concludes with a discussion of the role of envy in Bacon's civil and moral philosophy. [ABSTRACT FROM AUTHOR]

Tendo em vista tanto questões literárias quanto questões editoriais, estas notas apresentam uma reflexão sobre dois aspectos de Ensaios (1580), de Michel de Montaigne, que redimensionam o debate acerca da questão da escrita de si, são eles: a imagem da subjetividade e a atitude revisional como movimento editorial. O eixo temático guarda em seu bojo uma reflexão sobre a duração subjetiva, tempo da escrita dentro e fora do texto, que dinamiza as imagens especulares de si dando-lhes movimento, ou seja, produzindo seus fantasmas. A metodologia de abordagem identifica as figuras do espelho e do fantasma em três ensaios selecionados, mas que exemplificam o modus operandi da tessitura da obra. Estas notas lançam mão das interpretações de Starobinski (2018), Birchal (2007) e Scoralick (2016), que se dividem quanto à caracterização do texto e, entre estas, procuram seu lugar, ao observar as convergências e divergências.

No presente trabalho, procurou-se apresentar alguns apontamentos e reflexões sobre a presença indígena, como ponto de valorização da cultura e literatura brasileira, a partir do livro “Resumo da História Literária do Brasil”, de Ferdinand Denis e “Dos Canibais”, ensaio de Michel de Montaigne. Tais autores influenciariam diretamente a primeira geração de românticos, representada aqui por Gonçalves de Magalhães. Procura-se entender a abordagem de tais autores sobre os indígenas no Brasil, assim como apontar como essas obras influenciaram na percepção da presença originária na literatura, principalmente romântica. Parte-se das perspectivas apresentadas por Roque Spencer Maciel de Barros para entender as obras literárias como fontes para a história e das aproximações ético-políticas de Marcelo de Mello Rangel.

Beacons of inspiration for generations of architects, Peter Cook's drawings often have similar but differently expressed architectural preoccupations. Concerned with transparency, time and change, they choreograph 'growies' or 'veggies' and a wealth of typologies and topologies. Bartlett School of Architecture and Architectural Association design tutor Ricardo de Ostos takes us through some of his recent work. [ABSTRACT FROM AUTHOR]

Michel de Montaigne (1533–1592), author of the Essays (published in successive, revised and expanded editions from 1580 until after his death), deserves to be recognized as the first) philosophic architect of modern liberalism, that is, a doctrine that advocates the advancement of individual liberty (under law), and consequently a reduction in the scope and purpose of government to securing what are represented by Montaigne's successors (Hobbes, Locke, Montesquieu, and the American Founders) as people's inherent rights to their life, liberty, property, and the "pursuit of happiness" as they conceive it. His outward, periodic professions of extreme conservatism and of homage to the Catholic Church are merely a rhetorical cover designed to protect the author from being persecuted (and his book from being banned). As a practitioner of what he describes as esoteric rhetoric (attributing it to the ancient political philosophers), Montaigne invites careful readers to see through his rhetorical concealment by noting how his conservative professions are undermined by the overall train of his reasoning and argument. Although Montaigne's argument for liberal individualism may have gone too far in its influence over the long run (that is, the 21st century), we citizens of modern liberal regimes owe him a debt of gratitude for helping to liberate us from the reign of arbitrary monarchs, oppressive aristocrats, and clerical oppressors. [ABSTRACT FROM AUTHOR]

Tendo em vista tanto questões literárias quanto questões editoriais, estas notas apresentam uma reflexão sobre dois aspectos de Ensaios (1580), de Michel de Montaigne, que redimensionam o debate acerca da questão da escrita de si, são eles: a imagem da subjetividade e a atitude revisional como movimento editorial. O eixo temático guarda em seu bojo uma reflexão sobre a duração subjetiva, tempo da escrita dentro e fora do texto, que dinamiza as imagens especulares de si dando-lhes movimento, ou seja, produzindo seus fantasmas. A metodologia de abordagem identifica as figuras do espelho e do fantasma em três ensaios selecionados, mas que exemplificam o modus operandi da tessitura da obra. Estas notas lançam mão das interpretações de Starobinski (2018), Birchal (2007) e Scoralick (2016), que se dividem quanto à caracterização do texto e, entre estas, procuram seu lugar, ao observar as convergências e divergências.

In this paper, we will seek to bring together two authors separated by four centuries: Michel de Montaigne (1533-1592) and Karl Popper (1902-1994). The first proceeds in line with the Pyrrhonian adaptation to social traditions and customs combined with an adogmatic defense of traditional Catholicism. The second proceeds through the adogmatic defense of the ideals of primitive Christianity as driving forces of the liberal-democratic tradition. To do so, we will begin with an exposition of Montaigne's fideism and the aforementioned Pyrrhonian adaptation. Next, we will explain Popper's way of dealing with tradition, placing it as the main vector of social order. Furthermore, we will show how the Christian tradition influenced his thinking to the point that the philosopher conceived it as one of the main ingredients of the open society. We conclude by emphasizing that, despite the differences between the two authors, both are united both in the critique of human cognitive pretensions and in the consideration of traditions as a factor of social stability. [ABSTRACT FROM AUTHOR]

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The treatment of the morisco theme in Don Quixote could be understood as an index — a proof — of the philosophical and spiritual differences between Cervantes and the official ideology of his time. In his discourse, Ricote (the morisco character in Don Quixote II, 1615) names the ‘freedom of conscience’, an important theme in European religious discourse of the 16th and 17th centuries. This article deals with the interpretation of that expression in the literary and ideological context of Cervantesʼ novel and Cervantesʼ world. It seems that the expression refers to the Peace of Augsburg, and it could be interpreted as an appeal for tolerance, in this case regarding the morisco question (the moriscos were banned in 1609, before the publication of the second volume of Don Quixote). Yet this is a problematic interpretation: in Spain, the expression was commonly associated with heresy. It is in this sense that Lope de Vega uses the expression. This in turn is what allows us to characterize Lope de Vegaʼs literary work as conservative and Cervantesʼ as liberal.

In this paper an analysis is made of one of the essays, "Of Cannibals", written by Michel de Montaigne (1533-1592) in the Renaissance period. The document's purpose is to describe, through reflective analysis, the contributions that this author gives to the so-called cultural relativism from the historical context of the 16th century. Given the time, the essay is considered "avant-garde" given the approach and reflection made by the author approaching what later in anthropology would be known as cultural relativism at a time when European culture was considered better than the rest of cultures in the world. By comparing the practices that pe- Columbians do, related to cannibalism, with those that Europeans do, the author realizes that "we" should think if our practices are really better than those of "others" -the Amerindians -. However, to this day, Michel de Montaigne's ideas are still present in a world where Human Rights and cultural relativism are debated. Universalism vs. Relativism. [ABSTRACT FROM AUTHOR]

The article discusses intertextual, intellectual and poetological relations between Michel de Montaigne's Essais and Witold Gombrowicz's autobiographical project. The author shows that the Polish writer was inspired by the French classic's open poetics and his concept of processual and interactional subject. Gombrowicz was also interested in more specific matters present in Montaigne's work: philosophical praise of the body, criticism of scholasticism, opposition of the private to the public. [ABSTRACT FROM AUTHOR]

Muchos de los comentaristas de Gómez Dávila han notado que el carácter de su obra es intertextual, es decir, que no es un sistema cerrado: siempre está conectado implícitamente con otros libros y pensadores. El mismo Gómez Dávila nos indica en sus Escolios que Montaigne y Burckhardt tienen un rol central en esta intertextualidad. El siguiente artículo se propone interpretar la conexión entre los dos pensadores mencionados y la obra del colombiano. En el caso de Burckhardt, se mostrará cómo su pesimismo antropológico basado en una idea del pecado original, su escepticismo sobre la posibilidad humana de construir utopías, su negación de la idea de progreso y su concepción del tamaño y el papel del Estado aparecen y se desarrollan en el pensamiento del colombiano. En el caso de Montaigne, se mostrará su cercanía con Gómez Dávila a partir de sus similitudes biográficas, su alejamiento del espíritu académico de sus propios tiempos, su concepción de la filosofía, su escepticismo como arma para defender la fe y su fuerte conservatismo. Finalmente, se concluirá que esta intertextualidad que el autor mismo señala en su confesión sobre Montaigne y Burckhardt nos ayuda a darle orden y sentido a sus posiciones políticas en los Escolios. En efecto, se intentará mostrar que Gómez Dávila articula las influencias de sus maestros para concluir en una visión de mundo reaccionaria.

Este artigo tem por objetivo apresentar os primeiros resultados de nossa pesquisa de pós-doutorado sobre a tradução da obra Ensaios (1580-1582) de Michel de Montaigne (1533-1592) ao português brasileiro. Ainda muito pouco se sabe sobre a recepção e trajetória de Montaigne e sua obra no Brasil. No entanto, tal desconhecimento contrasta com o fato de serem os Ensaios obra amplamente conhecida e apreciada pelo público leitor brasileiro. Atestam-no a vitalidade da pesquisa acadêmica em filosofia, literatura e ciências sociais que fazem de Montaigne seu centro de interesse e, também, as inúmeras apropriações de sua obra na mídia e nas artes em geral. Qual Montaigne chegou primeiro ao Brasil, como e quando? Estas são as perguntas que buscamos responder ao nos debruçarmos sobre o percurso das traduções de sua obra no Brasil.

"The Portrait of Mr W. H." was published in Blackwood's Edinburgh Magazine in 1889 and a second "version," as it is often termed, was written at various points between then and 1893, but it did not appear until 1921 and then only in a limited edition. This second text, first tentatively titled The Incomparable and ingenious history of Mr W. H. and here called the Rosenbach manuscript, is twice the length of the earlier piece, and in its tone, tenor, and range of reference very different. This article argues why it is important to distinguish carefully between Blackwood's "Mr W. H" and the Rosenbach manuscript. There is much to learn about Wilde's compositional practices and developing interest in doing so. [120 words] [ABSTRACT FROM AUTHOR]

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Returning to Montaigne's famous claim of 'consubstantiality' with his book, this article examines the place of authorship in the Essais. It proposes that Montaigne constructs an authorial 'doubleness', a technique by which static text yields multiple readings depending on how and with whom we associate the role of 'authorship'. At the close of the 'Apologie de Raimond Sebond', Montaigne silently transcribes a lengthy passage from Plutarch's 'Que signifioit ce mot E'i' on the inherent flux of all things, including thought and judgement. This is taken as a case study to show how Montaigne destabilises the notion of the 'autheur', moving 'authorship' to the in-between space of the page and allowing multiple authors to come in and out of focus as we change our perspective. This textual plurality provides Montaigne with a new way of writing doubtfully, of constructing a 'forme d'escrire douteuse et irresolue'. [ABSTRACT FROM AUTHOR]

On 25th May 1572, Queen Elizabeth granted the then 17-year-old Philip Sidney permission to travel to Europe. Placed under the care of Elizabeth’s important courtier and envoy Sir Francis Walsingham in Paris, Sidney was there to witness the St. Bartholomew’s Day massacre. Sidney shared his experiences of the bloody episode with his mentor Hubert Languet and Philippe de Mornay, an aristocratic French Protestant theologian and political theorist. To purge himself of his own memories of the fateful night, Mornay later penned the treatise Excellent discours de la vie et de la mort (1576), a Christian-Senecan meditation on life and death, which Sidney’s younger sister Mary Sidney Herbert, Countess of Pembroke, subsequently translated to A Discourse of Life and Death (1592) as a way of dealing with the grief of losing a father, mother, brother and child all in the one year. As its three later reprints testify, her translation became very popular. We know that Shakespeare read it, as certain textual associations can be traced in Measure for Measure, Much Ado About Nothing and Hamlet. As well as addressing the more well-established knowledge that Shakespeare was influenced by the scepticism of Michel de Montaigne’s Essays (courtesy of John Florio’s translation), as can be observed especially in Hamlet, this paper will investigate how Mornay’s and the Sidneys’ ideas of stoicism inspired Shakespeare and informed his own meditations on life and the fear of death. This will help to elucidate a broader discourse on the theological impact of Mornay and the Sidneys on Shakespeare’s engagement in a kind of private therapy, helping him to address the themes that concerned him: human suffering as a part of everyday life, doubt, mercy and the fear of death.

Artykuł został poświęcony filmowym esejom Grzegorza Królikiewicza. Michał Dondzik omówił młodzieńczą fascynację Królikiewicza lekturą Prób Michela de Montaigne’a, jego pierwsze eseje filmowe zrealizowane w Wytwórni Filmów Oświatowych w Łodzi, eseje wideo o rektorach łódzkiej szkoły filmowej, a także esej montażowy Kern. Autor zrekonstruował konteksty produkcyjne esejów reżysera oraz drogę, którą musiały one przebyć, by dotrzeć do widzów. Jak pisze w zakończeniu artykułu: Twórczość Grzegorza Królikiewicza zarówno w Polsce Ludowej, jak i po 1989 r. skazana była na wąskie rozpowszechnianie. Dotarcie do filmów reżysera wymagało determinacji i pokonania szeregu trudności, jednak prawdziwym wyzwaniem było obejrzenie jego esejów. Są one nieobecne w przestrzeni polskiej kultury po dziś. Tym bardziej warto przyjrzeć się im z bliska, analizować i polemizować, bo do takiego właśnie osobistego, często emocjonalnego ich odbioru prowokuje Królikiewicz.

The purpose of this article is to comment on some specific aspects of the literary essay in base of texts by two contemporary authors: the Swiss Jean Starobinski (1920-2019) and the Mexican Salvador Elizondo (1932-2006). What these two writers have in common is a certain conception of the essay modelled after the example of Montaigne: the essay is viewed as the place in which the concrete, corporeal, individual is, so to speak, shown and exposed. It is argued that the essayistic voice emerging from the writings of Starobinski and Elizondo is a reflective voice that expresses most concrete experiences in human life. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The treatment of the morisco theme in Don Quixote could be understood as an index -- a proof -- of the philosophical and spiritual differences between Cervantes and the official ideology of his time. In his discourse, Ricote (the morisco character in Don Quixote II, 1615) names the 'freedom of conscience', an important theme in European religious discourse of the 16th and 17th centuries. This article deals with the interpretation of that expression in the literary and ideological context of Cervantes' novel and Cervantes' world. It seems that the expression refers to the Peace of Augsburg, and it could be interpreted as an appeal for tolerance, in this case regarding the morisco question (the moriscos were banned in 1609, before the publication of the second volume of Don Quixote). Yet this is a problematic interpretation: in Spain, the expression was commonly associated with heresy. It is in this sense that Lope de Vega uses the expression. This in turn is what allows us to characterize Lope de Vega's literary work as conservative and Cervantes' as liberal. [ABSTRACT FROM AUTHOR]

Copyright of Escritos is the property of Escritos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Etyka is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

On 25th May 1572, Queen Elizabeth granted the then 17-year-old Philip Sidney permission to travel to Europe. Placed under the care of Elizabeth's important courtier and envoy Sir Francis Walsingham in Paris, Sidney was there to witness the St. Bartholomew's Day massacre. Sidney shared his experiences of the bloody episode with his mentor Hubert Languet and Philippe de Mornay, an aristocratic French Protestant theologian and political theorist. To purge himself of his own memories of the fateful night, Mornay later penned the treatise Excellent discours de la vie et de la mort (1576), a Christian-Senecan meditation on life and death, which Sidney's younger sister Mary Sidney Herbert, Countess of Pembroke, subsequently translated to A Discourse of Life and Death (1592) as a way of dealing with the grief of losing a father, mother, brother and child all in the one year. As its three later reprints testify, her translation became very popular. We know that Shakespeare read it, as certain textual associations can be traced in Measure for Measure, Much Ado About Nothing and Hamlet. As well as addressing the more well-established knowledge that Shakespeare was influenced by the scepticism of Michel de Montaigne's Essays (courtesy of John Florio's translation), as can be observed especially in Hamlet, this paper will investigate how Mornay's and the Sidneys' ideas of stoicism inspired Shakespeare and informed his own meditations on life and the fear of death. This will help to elucidate a broader discourse on the theological impact of Mornay and the Sidneys on Shakespeare's engagement in a kind of private therapy, helping him to address the themes that concerned him: human suffering as a part of everyday life, doubt, mercy and the fear of death. [ABSTRACT FROM AUTHOR]

Used by such authors as Michel de Montaigne and Étienne de La Boétie in their descriptions of ideal friendship, the metaphor of grafting offered one of the most powerful and tenacious figures in the early modern discourse of perfect friendship (amicitia perfecta). Closely akin to the classically-inspired figure of friends as “one soul in two bodies” (Montaigne, “Of Friendship”), this horticultural metaphor signified the absolute fusion of perfect friends, their affinity and like-mindedness, in a discourse that also emphasized the significance of truth and the telling thereof (parrhesia) as a defining characteristic of this ideal form of bonding. However, early modern horticultural manuals expressed an ambivalent set of attitudes about grafting that was viewed, on the one hand, as an opportunity for improvement and perfection but also, on the other hand, as a practice that opened up the possibility of debasement and pollution, with the grafter imposing his potentially destructive power over nature. As this essay suggests, Shakespeare’s use of the metaphor of grafting within the realm of friendship expresses this ambivalence, insistently pointing to the actual fragility of the ideal of amicitia perfecta. In various instances in his plays, the idea of perfect friendship is evoked only to be frustrated by betrayal and falsehood, especially when it is put to the test of socially unequal relationships. Offering numerous examples of friends who function as imperfect grafts and parasitize on the stocks they have been grafted onto, Shakespearean plays thus expose the grafted union of friendship as a possible site of dangerous pollution, violence, and domination.

The main goal of this article is to bring up the topic of irony in the essay as a literary genre, based on the considerations made by Eugeni d’Ors, Josep Pla and Joan Fuster. The emergence of the definition of irony as an incomplete adhesion, which refers to Ors although it has lasted especially through Pla, is revised here; the intellectual history of the definition is analyzed in order to consider in which moment Fuster’s essay relates to it and, taking irony as a starting point, it gives a boost to ontemporary Catalan essay.