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Relevant bibliographies by topics / Cressida

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Books
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Academic literature on the topic 'Cressida'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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Journal articles on the topic "Cressida"

1

Zurowski, Andrzej. "Cressida's Children: Troilus and Cressida in Gdansk." Shakespeare Quarterly 42, no. 3 (1991): 359. http://dx.doi.org/10.2307/2870849.

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Krims, Marvin. "Misreading Cressida." Psychoanalytic Review 89, no. 2 (April 2002): 239–56. http://dx.doi.org/10.1521/prev.89.2.239.19920.

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Minton, Gretchen E. "Troilus and Cressida." Shakespeare Bulletin 31, no. 3 (2013): 529–35. http://dx.doi.org/10.1353/shb.2013.0056.

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Spiekerman, Tim. "Ulysses Is Not the Hero of Troilus and Cressida." Review of Politics 78, no. 4 (2016): 523–37. http://dx.doi.org/10.1017/s0034670516000498.

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AbstractShakespeare's Troilus and Cressida is a notoriously bleak and problematic play: a dark comedy, a witty tragedy, an X-rated romance. A love story set during the Trojan War, the play appears to treat both love and war with utter cynicism. Ulysses drives the plot, craftily luring a despondent Achilles back onto the battlefield, and exposing Troilus to the betrayal of his beloved Cressida. A world-class manipulator and debunker of love and honor, Ulysses casts a shadow over this sour play, though he seems curiously unaffected by his skeptical outlook. A few critics have argued that Ulysses is the hero of Troilus and Cressida, a clear-sighted philosopher who may well speak for Shakespeare himself. I will argue against that view. I will also suggest that Troilus, if not the hero of this play, is perhaps its only sympathetic character.

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Brady, Owen Edward. "Troilus and Cressida (review)." Theatre Journal 56, no. 1 (2004): 113–14. http://dx.doi.org/10.1353/tj.2004.0006.

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Altree, Claire. "Troilus and Cressida (review)." Shakespeare Bulletin 25, no. 1 (2007): 121–23. http://dx.doi.org/10.1353/shb.2007.0000.

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Gil, Daniel Juan. "Troilus and Cressida (review)." Shakespeare Quarterly 55, no. 3 (2004): 320–22. http://dx.doi.org/10.1353/shq.2005.0010.

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Cooke, Virginia. "A Moveable Match: Troilus and Cressida." Scene: Reviews of Early Modern Drama, no. 2 (October 20, 2018): 20. http://dx.doi.org/10.18357/scene02201718361.

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Ruszkiewicz, Dominika. "Joyce Carol Oates’s Carthage as a Modern Troilus and Cressida Story." Romanica Silesiana 20, no. 2 (December 31, 2021): 1–17. http://dx.doi.org/10.31261/rs.2021.20.05.

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Both Geoffrey Chaucer’s Troilus and Criseyde and Joyce Carol Oates’s Carthage are set in times of war, the Trojan War and the Iraq War, respectively, and both are associated with love on the one hand, and loss on the other. In fact, Carthage contains many echoes of the past, with the main characters of the novel, Juliet and Cressida Mayfield, bringing connotations with Chaucer’s and Shakespeare’s works, their father compared to an old Roman general, and Corporal Brett Kincaid likened to the hero of chivalric romances. The aim of this article is to argue that Oates’s Carthage may be seen as a modern Troilus and Cressida story in that it presents aspects of medieval reality in a modern guise, with the most poignant and recurrent association being that between the “war on terror” and medieval crusades and the emotion dominating the characters’ reactions being rage, an emotion which occurs in relation to the fires of passion and war in Chaucer’s Troilus and Criseyde, Shakespeare’s Troilus and Cressida, and Joyce Carol Oates’s Carthage.

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Guinle, Francis. "« This is, and is not, Cressid » : la vérité en question dans Troilus and Cressida." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 68, no. 1 (2011): 29–43. http://dx.doi.org/10.3406/xvii.2011.2463.

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Dissertations / Theses on the topic "Cressida"

1

Mills, Lise Maren Signe. "Shakespeare's Troilus and Cressida, a commentary." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ60063.pdf.

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Janz, Edward. "Illusion in Troilus and Cressida." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1667.

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This thesis is an examination of Shakespeare's 1603 satire Troilus and Cressida that looks at illusion and the value given to it by means of war, Helen of Troy, and ultimately the two lovers themselves. Although it is depressingly obvious throughout the drama that life is an illusion, it is also obvious that there is a need for that illusion, and an equally profound necessity to have the illusion debunked. The first part of the thesis examines the impact of war on Troy. This part concentrates on the myth of the hero, who like Falstaff presents himself to the world as heroic but is actually a coward. The theme of a person who presents himself as one thing but is another recurs throughout the play. Shakespeare did not have a monopoly on this insight. The paper details how two of Shakespeare's contemporaries, Galileo and Cervantes, also addressed this problem. The paper continues with an examination of the convictions and distortions played out by the less than perfect military council and by the insidious politics of the major characters and their flawed commitment to unreliable leaders. The thesis examines the emotional traps the characters set for themselves as well as the bad advice they listen to in order to set themselves free. The paper keeps returning to the theme of illusions, their danger, and their usefulness. The end focuses on the title characters themselves, as well as the homoerotic relationship of Achilles and his live-in lover. The conclusion attempts to sort out the real from the fiction. The play ends, or so it appears, with the familiar story of two men fighting over a woman. It has come, like many other plays of the period, full circle. The characters seem at peace with themselves, or at least at peace with the haunting and perpetual idea that life is indeed an illusion with both a necessity for that illusion and an equally valid necessity to have that illusion debunked.

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3

Thorne, Alison. "Problems of perspective in Shakespeare's 'Troilus and Cressida'." Thesis, University College London (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244104.

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4

八鳥, 吉明, and Yoshiaki Hachitori. "Troilus and Cressidaにおけるリビトー経済." 名古屋大学大学院文学研究科, 1999. http://hdl.handle.net/2237/5717.

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Zambon-Palmer, Angela 1947. "Character conceptions of Shakespeare's Cressida in major twentieth-century productions." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278477.

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For three centuries, Shakespeare's Cressida was universally considered to be a fully culpable "daughter of the game." However, as a result of changing cultural conditions at the beginning of the twentieth century, her motivations within the play began to be re-examined. The threat of war in Europe and the women's struggle for equal rights renewed interest in Troilus and Cressida. From this time forward, the play was in constant production. Cressida was regarded as a coquette and a courtesan by critics and directors until the 1960s when Joseph Papp (at the New York Shakespeare Festival) portrayed her as a victim of men and war. In the 1970s, feminist critics in particular studied the nuances of one of Shakespeare's most maligned women. Their observations proved an insightful, three-dimensional analysis of a young woman in a war-torn country. Regardless of the perception of Cressida's motivations by modern thinkers, their considerations of her character were ignored in productions of the 1970s and 1980s.

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八鳥, 吉明, and Yoshiaki Hachitori. "Troilus and Cressidaにおけるリビドー経済(2)." 名古屋大学大学院文学研究科, 2000. http://hdl.handle.net/2237/5730.

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Willcox, Douglas R. "Metadrama and antitheatricality in Shakespeare's King Lear and Troilus and Cressida." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002756.

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Park, Yoon-hee. "Rewriting Woman Evil?: Antifeminism and its Hermeneutic Problems in Four Criseida Stories." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278387/.

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Since Benoit de Sainte-Maure's creation of the Briseida story, Criseida has evolved as one of the most infamous heroines in European literature, an inconstant femme fatale. This study analyzes four different receptions of the Criseida story with a special emphasis on the antifeminist tradition. An interesting pattern arises from the ways in which four British writers render Criseida: Geoffrey Chaucer's Troilus and Crisevde is a response to the antifeminist tradition of the story (particularly to Giovanni Boccaccio's II Filostrato); Robert Henryson's Testament of Cresseid is a direct response to Chaucer's poem; William Shakespeare's Troilus and Cressida aligns itself with the antifeminist tradition, but in a different way; and John Dryden's Troilus and Cressida or Truth Found Too Late is a straight rewriting of Shakespeare's play. These works themselves form an interesting canon within the whole tradition. All four writers are not only readers of the continually evolving story of Criseida but also critics, writers, and literary historians in the Jaussian sense. They critique their predecessors' works, write what they have conceived from the tradition of the story, and reinterpret the old works in that historical context.

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Brown, Joanne Elizabeth. "Reinterpreting Troilus and Cressida : changing perceptions in literary criticism and British performance." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7359/.

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Troilus and Cressida is the unusual instance of a Shakespearean play which had long been read and commented upon before stage practitioners explored it in the theatre. My thesis examines the changing perceptions of the play’s characters, paying attention to the chronological relationship between revisions in literary criticism, much of which was written with little proximity to performance, with reinterpretations during its British stage history. The thesis has a particular focus on issues of gender and sexuality. Both the theatre and literary criticism reflected and responded to social change in their dealings with this play, but they did so at different moments. By using the case of Troilus and Cressida, I examine whether theatrical practice or academic literary criticism has acted as the more efficient cultural barometer. Revisions of Cressida are my central example and I also examine the reinterpretations of eight other characters. The delayed acceptance of the play into the theatre means that the claims of relevance become especially acute. Despite the perceived progressive potential of performance, I conclude that theatrical representations of characters in this play have been slow to change in relation to the revisions seen on the pages of literary criticism.

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Smolkin, Vladislav. "Artist Alien Ghost Juggler: Performance of “Troilus and Cressida” as Graduate Thesis." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2801.

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Books on the topic "Cressida"

1

Cressida. London: Nick Hern, 2000.

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2

Shakespeare, William. Troilus and Cressida =: Troilus und Cressida. Tübingen: Francke Verlag, 1986.

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Troilus and Cressida. 2nd ed. New York: Modern Library, 2002.

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Shakespeare, William. Troilus and Cressida. San Diego, CA: ICON Classics, 2005.

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Shakespeare, William. Troilus und Cressida. Ko ln: Theaterverlag Ute Nyssen & J. Bansemer, 1985.

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Shakespeare, William. Troilus and Cressida. Middlesex, Harmondsworth: Penguin, 1987.

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Shakespeare, William. Troilus and Cressida. Harmondsworth, Middlesex, England: Penguin Books, 1987.

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8

Geoffrey, Chaucer. Troilus and Cressida. Mineola, N.Y: Dover Publications, 2006.

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9

Shakespeare, William. Troilus und Cressida. Mu nchen: Mu nchner Kammerspiele, 1986.

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10

Shakespeare, William. Troilus i Cressida. Poland: Krakow, 1985.

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Book chapters on the topic "Cressida"

1

Grene, Nicholas. "Troilus and Cressida." In Shakespeare’s Tragic Imagination, 64–89. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24970-1_4.

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Goodland, Katharine, and John O’Connor. "Troilus and Cressida." In A Directory of Shakespeare in Performance Since 1991, 322–23. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_32.

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Goodland, Katharine, and John O’Connor. "Troilus and Cressida." In A Directory of Shakespeare in Performance Since 1991, 1867–81. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_71.

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Goodland, Katharine, and John O’Connor. "Troilus and Cressida." In A Directory of Shakespeare in Performance, 1970–1990, 318–22. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1007/978-1-349-60041-0_32.

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Goodland, Katharine, and John O’Connor. "Troilus and Cressida." In A Directory of Shakespeare in Performance, 1970–1990, 1737–57. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1007/978-1-349-60041-0_73.

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Margolies, David. "Troilus and Cressida." In Shakespeare’s Irrational Endings, 112–37. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137031044_6.

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Gill, Richard. "Troilus and Cressida." In Mastering Shakespeare, 164–71. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-14551-5_13.

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Knowles, Ronald. "Troilus and Cressida." In Shakespeare’s Arguments with History, 158–76. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9781403913647_11.

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Grene, Nicholas. "Troilus and Cressida." In Shakespeare’s Tragic Imagination, 64–89. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1057/9780230379190_4.

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Adelman, Janet. "5. "This Is And Is Not Cressid ": The Characterization Of Cressida." In The (M)other Tongue, 119–41. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501741951-007.

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Conference papers on the topic "Cressida"

1

Huelke, Donald F., and Harold W. Sherman. "Automatic Shoulder Belts Injury Reduction in Toyota Cressida Crashes." In SAE International Congress and Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1988. http://dx.doi.org/10.4271/880404.

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