John O'Neill reads Montaigne's Essays from their central principle of friendship as a communicative and pedagogical practice operative in society, literature and politics. The friendship between Montaigne and La Boétie was ruled neither by plenitude nor lack but by a capacity for recognition and transitivity. As an essayist Montaigne is an exemplary practitioner of a technique of difference and recognition that puts all certainties of history, philosophy and culture in the balance of weighted comparison. The essayist reveals how every absolute subjectivity or authority is shaken by its internal weakness once we move inside the contrastive structure of domination in politics, gender and race. O'Neill's reading of the Essays strives to be faithful to the phenomenology of their embodied practices of reading-to-write-to re-read and re-write. From this standpoint he engages the principal critical readings of the Essays over the last century that have examined with great brilliance their history, structure is evolutionary, structuralist, Marxist or psychoanalytical, O'Neill provides close readings of Montaigne's literary critics. By bringing to bear the ethico-critical practice of 'essaying' to resist the subjection of the Essays to dominant criticism, O'Neill reminds readers that Montaigne's appeal is in how he survived bloody cultural war with a balance of modesty and tolerance, invoking compromise where others practice violence.
Altogether, this book provides a remarkable new experience of not just two but three great writers who ushered in the modern world.
The works of the French essayist reflect his views of morality, society, and customs in the late sixteenth century In his Essays Montaigne warns us from the outset that he has set himself 'no goal but a domestic and private one' yet he is ...
This practical, easy-to-use guide provides answers to the most common problems encountered by students in the writing of history research papers. It employs a practical approach beginning with the first...
The text includes Books 1, 2, and 3 of the essays; Montaigne’s translation of the natural theology of Raymond Sebond; a travel journal; and selected letters. Montaigne's self-portrait is both individual and extra ordinarily universal.
Sets out in a new and authoritative way the history of the essay; explains how the essay has come to mean what it does, surveys the widely various incarnations of the form, offers new accounts of major essayists in English, and traces a ...
Three historically dynamic configurations establish the range of all possible genres—tragedy as power politically deployed as mimesis, satire as power rationally deployed as rhetoric, and the essay as power textually deployed as ...
Writers of the modern essay can trace their chosen genre all the way back to Michel de Montaigne (1533-92). But save for the recent notable best seller How to Live: A Life of Montaigne by Sarah Bakewell, Montaigne is largely ignored.
We have noted that some scholars have placed Montaigne within the Renaissance tradition of irony and paradox.32 He has also been portrayed as a satirist , 33 and we will examine the first part of his essay with this interpretation in ...
Selections from Montaigne's essays are arranged to form a sort of autobiography
Hassan Melehy, Writing Cogito: Montaigne, Descartes, and the Institution of the Modern Subject (Albany: State University of New York Press, 1997), 85, claims that “what the essay offers, as a critical instrument, is an attenuation of ...