Educated in the humanities and trained in psychiatry, Jean Starobinski is a central figure in the Geneva School of criticism. His classic work, "Montaigne in Motion", is a 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. Here Starobinski 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 reveals much that will remind us that Montaigne's thought is as apropos to our time as it was to his own.

A study of the word pair "action and reaction" embracing philosophy, semantics, literature, and science. What do biologists mean when they say that to live is to react? Why was the term abreaction invented and later abandoned by the first generation of psychoanalysts? What is meant by reactionary politics? These are but a few of the questions the internationally renowned scholar Jean Starobinski answers in his conceptual history of the word pair, action and reaction. Not simply a history of ideas, Action and Reaction is also a semantic and philological history, a literary history, a history of medicine, and a history of the biological sciences. By concentrating on the moment when scientific language and ordinary language diverge, Starobinski uncovers a genealogy of the human and natural sciences through their usage of action and reaction as metaphors. Newton's law-to every action there is an equal and opposite reaction-becomes a point of departure for an exploration of the lexical and metaphorical traces left in its wake. Starobinski analyzes the scientific, literary, and political effects of the use of the terms action and reaction to describe and explain the material universe, the living body, historical events, and psychological behavior. In what he calls a "polyphonic score"-a kind of mosaic-he uses his subject to offer new insights into the work of philosophers (Aristotle, Leibniz, Kant, Nietzsche, Jaspers), scientists (Newton, Bichat, Bernard, Bernheim, Freud), and writers (Diderot, Constant, Balzac, Poe, Valry). Ultimately, the book explores the power and danger of metaphorical language and questions the convergence and collapse of scientific and moral explanations of the universe.

We often look to the theater for spectacle and wonder, but in opera, we find pure enchantment. What is it about the marriage of music and the stage that fills us with such bewilderment and passion? How does the sensual space of opera transport us into the realm of dream?

Jean Starobinski considers the allure of several seducers and seductresses from nineteenth-century opera-Monteverdi's "Poppea," Handel's "Alcina," and Massenet's "Manon," among others-and how their stories are woven into the fabric of Western culture. A talented storyteller and renowned critic of literature and music, Starobinski moves from musical analysis and textual exegesis to an investigation of the political, social, and aesthetic scene of Europe at the time. He traces the elements of theater, poetry, painting, sculpture, dance, and music as they occur in operatic performance, and shows how opera's use of narrative genres, especially the fairy tale, in turn influenced many important short stories, novels, and other works.

Nineteenth-century romantics were drawn to opera because of their desire to revive a religious vision of the world that the Enlightenment suppressed. Starobinski revisits the experiences of Rousseau, Stendhal, Hoffmann, Balzac, and Nietzsche, major writers who fell for opera's portrayal of "heaven," the loss of one's love, and the task of the artist, whether composer or performer. Starobinski's critical breadth and depth, as well as his eclectic taste and keen observation, echo such great comparative critics as Erich Auerbach, RenA(c) Wellek, George Steiner, Harold Bloom, and Angus Fletcher. This spellbinding book will enchant not only fans of the opera, but also those who wish tounderstand the form's enduring heritage in Western culture.

In 1990 the Department of Graphic Arts at the Louvre made their holdings available to guest curators for a program called "Parti Pris," or "Taking Sides." In this program, major cultural figures outside of the discipline of art history organized exhibitions based on the department's collection. Within its first several years, this novel collaboration produced exhibitions curated by philosopher Jacques Derrida and filmmaker Peter Greenaway.
Jean Starobinski, noted literary critic and intellectual historian from the University of Geneva, was selected as the third curator in the program. In his exhibition and accompanying essay, Starobinski explores the theme of largesse in its broadest sense. Arguing that gift giving and receiving are fundamental human gestures, he examines graphic and textual representations from the offering of the apple to Eve to Salome's gift of the head of John the Baptist, from the giving of laws to the gift of death. Charity, the poetic gift, and the benefits of Fortune all play a role in Starobinski's extended meditation on the act of donation. Lavishly illustrated and
dazzling in its scope and imagination, "Largesse" is an exemplar of the rich intellectual work that can result from crossing disciplinary boundaries and considering history as a dense network of themes and allusions.

In 1990 the Department of Graphic Arts at the Louvre made their holdings available to guest curatos for a programme called "Parti Pris" or "Taking Sides". Jean Starobinski, literary critic and intellectual historian from the University of Geneva, was selected as the third curator in the programme. In his exhibition and accompanying essay, Starobinski explores the theme of largesse in its broadest sense. Arguing that gift giving and receiving are fundamental human gestures, he examines graphic and textual representations from the offering of the apple to Eve to Salome's gift of the head of John the Baptist, from the giving of lawsto the gift of death.