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’.

中文翻译：

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蒙田大学《 Essais》的作者之间

回到他的书中蒙塔涅（Montaigne）关于“实质性”的著名主张，本文考察了作者在埃赛亚（Essais）中的地位。它建议蒙田（Montaigne）构建一种权威的“双重性”，一种技术，通过该技术，静态文本可以根据我们与“作者身份”的作用方式以及与谁相关联来产生多个读数。在“ Apologie de Raimond Sebond”的闭幕式上，蒙田涅夫默默地抄写了普鲁塔克的“ Quesignifioce mot mot E'i”一文，内容涉及万物的内在变化，包括思想和判断力。以此为案例研究，以显示Montaigne如何破坏“作者”的概念，如何将“作者”移至页面的中间空间，并在我们改变观点时允许多位作者进入和移出焦点。这种文本上的复数形式为蒙田市提供了一种令人怀疑的新书写方式，