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Journal articles on the topic 'Troilus and Cressida (Shakespeare)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Roudabush, William G. ""This is and is not Cressid": Seeing Double in Shakespeare's Troilus and Cressida." Shakespeare Bulletin 41, no. 2 (2023): 223–46. http://dx.doi.org/10.1353/shb.2023.a910440.

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Abstract: This article offers a new interpretation of Shakespeare's Troilus and Cressida in the context of "that terrible Poetomachia " at the turn of the seventeenth century. It argues that Shakespeare stages a microcosm of the poets' war between the recently revived children's companies and the professional theater. Shakespeare appropriates conventions from the boy company repertories to defend against their caricatures of professional playing and its system of apprenticeship. Reading the play as a whole, and the character of Cressida in particular, as perspectival double images, it shows ho

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2

Ángel-Luis Pujante and Keith Gregor. "Managerial Shakespeare and TROILUS AND CRESSIDA." Linguaculture 14, no. 1 (2023): 83–100. http://dx.doi.org/10.47743/lincu-2023-1-0322.

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From the 1990s a new development has taken place within the framework of ‘Shakespeare in popular culture’, and more specifically of so-called ‘Self-help Shakespeare’, namely what Douglas Lanier has termed ‘the Shakespeare corporate-management manual’. What underlies them all is the notion that, if Shakespeare is famous for portraying universal human nature, he has a good deal to teach the world of business and management. To this effect, they provide quotations and discussions of a number of plays, particularly Henry V, Hamlet, Macbeth, Othello, Julius Caesar and The Merchant of Venice. The va

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3

LeCompte, Elizabeth, Kate Valk, and Maria Shevtsova. "A Conversation on The Wooster Group's Troilus and Cressida with the RSC." New Theatre Quarterly 29, no. 3 (2013): 233–46. http://dx.doi.org/10.1017/s0266464x13000432.

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Elizabeth LeCompte and Kate Valk here discuss with Maria Shevtsova The Wooster Group's work with the Royal Shakespeare Company on Troilus and Cressida and the challenges posed for them by this joint venture. The project was initially proposed by Rupert Goold, but was brought to fruition by playwright Mark Ravenhill, his first directing experience. Troilus and Cressida was part of the World Shakespeare Festival, during which all Shakespeare's plays were performed by different companies from countries across the globe. The Festival, four years in the making and spanning eight months, was part of

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4

Dusinberre, Juliet, and David Bevington. "The Arden Shakespeare Troilus and Cressida." Shakespeare Quarterly 51, no. 1 (2000): 90. http://dx.doi.org/10.2307/2902325.

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5

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

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6

Mancewicz, Aneta. "Looking Back at the Audience: The RSC & The Wooster Group’s "Troilus and Cressida" (2012)." Multicultural Shakespeare: Translation, Appropriation and Performance 11, no. 26 (2014): 65–79. http://dx.doi.org/10.2478/mstap-2014-0006.

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The controversy around the RSC & The Wooster Group’s Troilus and Cressida (Stratford-upon-Avon 2012) among the spectators and critics in Britain revealed significant differences between the UK and the US patterns of staging, spectating, and reviewing Shakespeare. The production has also exposed the gap between mainstream and avant-garde performance practices in terms of artists’ assumptions and audiences’ expectations. Reviews and blog entries written by scholars, critics, practitioners, and anonymous theatre goers were particularly disapproving of The Wooster Group’s experimentation with

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7

Reilly, Kara. "Troilus and Cressida by William Shakespeare (review)." Theatre Journal 65, no. 2 (2013): 277–79. http://dx.doi.org/10.1353/tj.2013.0037.

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8

Gil, Daniel Juan. "Shakespeare in Production: "Troilus and Cressida" (review)." Shakespeare Quarterly 57, no. 3 (2006): 349–51. http://dx.doi.org/10.1353/shq.2006.0072.

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9

Wilson-Lee, Edward. "Shakespeare by Numbers: Mathematical Crisis in Troilus and Cressida." Shakespeare Quarterly 64, no. 4 (2013): 449–72. http://dx.doi.org/10.1353/shq.2013.0061.

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10

Nicolaescu, Madalina. "Translating Troilus and Cressida for an iconoclastic socialist production." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (2019): 102–12. http://dx.doi.org/10.1177/0184767819835549.

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The focus of the article is the investigation of the stage version commissioned for the 1965 production of Troilus and Cressida directed by David Esrig. It looks at the tradition in Romania not to publish translations of Shakespeare produced for the stage before focusing on the differences between the two types of translation (page and stage) in the socialist period. Esrig’s production is further discussed as a case study, comparing this version, by Florian Nicolau, with Leon Leviţchi’s canonical one, published in 1960.

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11

Matos, Timothy L. "Shakespeare's Troilus and Cressida 5.2." Explicator 62, no. 2 (2004): 74–77. http://dx.doi.org/10.1080/00144940409597175.

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12

Shaw, William P. "Meager Lead and Joyous Consequences: RSC Triumphs Among Shakespeare's Minor Plays." Theatre Survey 27, no. 1-2 (1986): 37–67. http://dx.doi.org/10.1017/s0040557400008796.

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Bassanio's words, as he chooses the correct casket to win Portia as his wife, might offer an insight to the production history of the Royal Shakespeare Company:An impressive number of the RSC's greatest theatrical triumphs have been stagings of Shakespeare's “meager lead,” his lesser or minor plays. To seek the common element in these surprising coups, I will examine four productions of such plays, one from each of the conventional generic categores, and spanning four decades in the history of the RSC: Brook's Love's Labor's Lost (1946) and Titus Andronicus (1955), Hall's and Barton's Troilus

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13

Ruszkiewicz, Dominika. "Joyce Carol Oates’s Carthage as a Modern Troilus and Cressida Story." Romanica Silesiana 20, no. 2 (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 m

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14

Gregory, Johann. "Shakespeare’s Troilus and Cressida: Visualising Expectations as a Matter of Taste." Actes des congrès de la Société française Shakespeare, no. 29 (March 3, 2012): 47–66. http://dx.doi.org/10.4000/shakespeare.1705.

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15

Hattaway, Michael. "Re-shaping King Lear: Space, Place, Costume, and Genre." Linguaculture 2017, no. 1 (2017): 9–22. http://dx.doi.org/10.1515/lincu-2017-0002.

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Abstract Performance studies must enjoy parity of esteem with critical studies because they remind us of the plurality of “readings” that are generated by a Shakespearean text. Shakespeare seems to have apprehended this when, in Othello, he used a nonce-word, “denotement”, which applies to Othello’s reading of his wife in his mind’s eye. I examine other sequences in which we watch a character “reading” on-stage or imagined action, in Hamlet, Titus Andronicus, Cymbeline, Richard II, and Troilus and Cressida. In Hamlet this involves re-reading as well as generic displacement, which, I argue, is

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16

Yarong, Wu, and Hao Tianhu. "Greece Reinvented: Shakespeare’s “Greek Plays” as a Subgenre." Multicultural Shakespeare: Translation, Appropriation and Performance 30, no. 45 (2024): 173–92. https://doi.org/10.18778/2083-8530.30.11.

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This article justifies the addition of “Greek Plays” as a subgenre to classify Shakespeare’s works. The six plays (A Midsummer Night’s Dream, Timon of Athens, Two Noble Kinsmen, The Comedy of Errors, Pericles, Prince of Tyre, and Troilus and Cressida) in this subgenre are defined as adaptations of ancient Greek literature, staged in Greek or closely related settings, and featuring characters from Greek mythology and history. Through a review of the research history of Shakespeare’s Greek plays and an exploration of interactions between Englishmen and Greeks, the authors provide a brief but com

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17

Sandrock, Kirsten. "Hurricanes, Atlantic Weather, and Global Time in King Lear." SEL Studies in English Literature 1500-1900 63, no. 2 (2025): 191–213. https://doi.org/10.1353/sel.2025.a959892.

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Abstract: The word "hurricane" entered the English language via early modern Atlantic travelers. Shakespeare uses hurricane twice in his oeuvre: in King Lear and Troilus and Cressida . Together with other references in King Lear , the term suggests that Shakespeare had Atlantic travel narratives in mind for his play about a tempestuous king. These references add a global dimension to the multiple British temporalities with which King Lear is known to engage. The Atlantic functions as a supplementary space to read King Lear as a tragedy in which the spiraling motion of the hurricane characteriz

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18

Hirota, Atsuhiko. "The Memory of Hesione: Intertextuality and Social Amnesia in Troilus and Cressida." Actes des congrès de la Société française Shakespeare, no. 30 (April 1, 2013): 43–56. http://dx.doi.org/10.4000/shakespeare.1920.

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19

Ilnytzkyj, Oleh S. "Review of Olʹha Luchuk. Panteleіmon Kulish i Mykola Lukash: Perekhresni stezhky perekladachiv; Shekspirova drama “Troil i Kressyda” v konteksti ukrainsʹkoi kulʹtury." East/West: Journal of Ukrainian Studies 6, № 2 (2019): 239–41. http://dx.doi.org/10.21226/ewjus547.

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Book review of Olʹha Luchuk. Panteleіmon Kulish i Mykola Lukash: Perekhresni stezhky perekladachiv; Shekspirova drama “Troil i Kressyda” v konteksti ukrainsʹkoi kulʹtury [Panteleimon Kulish and Mykola Lukash: Translators Crossing Paths; Shakespeare’s Drama “Troilus and Cressida” in the Context of Ukrainian Culture]. Vydavnytstvo “Akta,” 2018. 556 pp. Illustrations. Tables. Appendices. Bibliography. Index. UAH 289,00, cloth.

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20

Murtaugh, Daniel M. "Troilus And Cressida in the Light of Day: Shakespeare Reading Chaucer." English 65, no. 250 (2016): 191–210. http://dx.doi.org/10.1093/english/efw027.

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21

Hunt, Maurice. "Shakespeare's Troilus and Cressida and Christian Epistemology." Christianity & Literature 42, no. 2 (1993): 243–60. http://dx.doi.org/10.1177/014833319304200204.

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22

Flachmann, Michael. "Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; The Merchant of Venice. Edited by Charles Edelman. $65 cloth; Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; The Taming of the Shrew. Edited by Elizabeth Schafer. $65 cloth; Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; King Henry V. Edited by Emma Smith. $23 paper." Theatre Survey 45, no. 1 (2004): 158–61. http://dx.doi.org/10.1017/s0040557404410084.

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In their “Editors' Preface” to the Cambridge University Press Shakespeare in Production series, J. S. Bratton and Julie Hankey proudly describe the “comprehensive dossier of materials,” including “eye-witness accounts, contemporary criticism, promptbook marginalia, stage business, cuts, additions and rewritings,” that make up the heart of this brilliant and exceptionally useful collection of Shakespeare editions. Conceived by Jeremy Treglown and first published by Junction Books, the series was later printed by Bristol Classical Press as Plays in Performance, though none of the original four t

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23

Kuprel, Diane. "Refiguring the Self through the Other: The Spectacular Function of Mimicry in Shakespeare, Marivaux and Tieck." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 2 (January 15, 1997): 159–78. http://dx.doi.org/10.22201/ffyl.poligrafias.1997.2.1601.

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Diane Kuprel does a review about the performance situation, dramatic figures engage in the ludic activity of mimicry by playing roles in the presence of other figures who function, passively or actively, as audience. To recast this in more ontologically weighted terms, the performance situation presents the process by which the subject (actor), in representing the self-as-other (character), submits to a self-dispossession, and expropriates and appropriates otherness as its own in its directedness toward others (audience). For this essay, she analyses three dramas: Troilus and Cressida by Shake

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24

Held, Joshua R. "Troilus and Cressida's Folio Prologue in the Poets’ War: Shakespeare, Jonson, Marston." Ben Jonson Journal 28, no. 2 (2021): 214–36. http://dx.doi.org/10.3366/bjj.2021.0314.

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Although many scholars have denigrated Troilus and Cressida, the Folio version of the play—with a prologue—offers a more tractable, even winsome play than does the quarto version. As a buffer between the real world of an audience and the imagined world of a play, the prologue adjusts the expectations of an audience, highlighting at once its own potency and the interpretive potential of this textual difference between quarto and Folio. This Prologue conveys an appeal neither obsequious nor arrogant—as do its respective models in John Marston's Antonio and Mellida and Ben Jonson's Poetaster—but

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25

Shapovalova, A. A. "Giovanni Boccaccio. Filostrato; Diana’s Hunt." Voprosy literatury, no. 4 (August 10, 2023): 194–97. http://dx.doi.org/10.31425/0042-8795-2023-4-194-197.

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The review is devoted to a seminal event in Russian studies of Italian literature — the publication of a versified translation of Filostrato and Diana’s Hunt, Boccaccio’s first two works. Such a translation appears in the Russian language for the first time, thanks to the work of A. Triandafilidi and V. Oslon. Diana’s Huntis Boccaccio’s first completed poem in terza rima, a verse form previously used only by Dante. Filostrato holds a special place not only in Boccaccio’s legacy but also inworld literature. With its Graecised title and written in ottava rima, this narrative poem marks the depar

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26

Minton, Gretchen E., and Mikey Gray. "The Ecological Resonance of Imogen’s Journey in Montana’s Parks." New Theatre Quarterly 38, no. 4 (2022): 299–318. http://dx.doi.org/10.1017/s0266464x22000227.

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In this article Gretchen Minton and Mikey Gray discuss an adaptation of Shakespeare’s tragicomedy Cymbeline that toured Montana and surrounding states in the summer of 2021. Minton’s sections describe the eco-feminist aims of this production, which was part of an international project called ‘Cymbeline in the Anthropocene’, showing how the costumes, set design, and especially the emphasis upon the female characters created generative ways of thinking about the relationship between the human and the more-than-human worlds. Gray’s first-person narrative at the end of each section reflects upon h

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27

Cunin, Muriel. "« The bonds of heaven are slipp’d, dissolv’d and loos’d1 »: Figures de l’espace dans Troilus and Cressida." Actes des congrès de la Société française Shakespeare, no. 22 (November 1, 2005): 75–93. http://dx.doi.org/10.4000/shakespeare.744.

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28

Prendergast, Maria Teresa Micaela. "The Aesthetics of Railing: Troilus and Cressida and Coriolanus." Renaissance and Reformation 31, no. 3 (2008): 69–101. http://dx.doi.org/10.33137/rr.v31i3.9169.

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Cet essai explore comment Shakespeare utilise la rhétorique des insultes cruelles et fortement métaphoriques des débuts de la modernité afin de réaliser une rivalité agressive entre le déclinant idéal aristocratique élisabéthain du sang et du langage épique d’une part, et le théâtre satirique en émergence d’autre part. Ce type de théâtre se justifie en associant le guerrier aristocratique à un corps suintant, efféminé, et malade. Cet essai se concentre en particulier sur les pièces Troilus and Cressida et Coriolanus, qui établissent un fort lien entre la manifestation de maladies internes sur

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29

Elton, W. R. "Aristotle's "Nicomachean Ethics" and Shakespeare's "Troilus and Cressida"." Journal of the History of Ideas 58, no. 2 (1997): 331. http://dx.doi.org/10.2307/3653872.

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30

Wilcher, R. "Suckling's Fruition Poems and Shakespeare's Troilus and Cressida." Notes and Queries 53, no. 2 (2006): 164–66. http://dx.doi.org/10.1093/notesj/gjl013.

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31

Elton, William R. "Aristotle's Nicomachean Ethics and Shakespeare's Troilus and Cressida." Journal of the History of Ideas 58, no. 2 (1997): 331–37. http://dx.doi.org/10.1353/jhi.1997.0012.

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32

Younglim Han. "Dryden’s Rewriting of Shakespeare in Troilus and Cressida; or, Truth Found Too Late." Shakespeare Review 44, no. 2 (2008): 309–31. http://dx.doi.org/10.17009/shakes.2008.44.2.005.

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33

Minton, Gretchen E. "Ecological Adaptation in Montana: Timon of Athens to Timon of Anaconda." New Theatre Quarterly 37, no. 1 (2021): 20–37. http://dx.doi.org/10.1017/s0266464x20000779.

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In this article Gretchen E. Minton describes her adaptation of William Shakespeare and Thomas Middleton’s 1606 play Timon of Athens. This adaptation, called Timon of Anaconda, focuses on the environmental legacy of Butte, Montana, a mining city that grew quickly, flourished, fell into recession, and then found itself labelled the largest Superfund clean-up site in the United States. Timon of Anaconda envisions Timon as a wealthy mining mogul whose loss of fortunes and friends echoes the boom-and-bust economy of Butte. The original play’s language about the poisoning of nature and the troubled

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34

DOĞAN ADANUR, Evrim. "The Uses of Anachronism in Shakespeare’s Troilus and Cressida." Gaziantep University Journal of Social Sciences 16, no. 4 (2017): 1048–56. http://dx.doi.org/10.21547/jss.341889.

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35

Hayes, Tara J., and Roger Apfelbaum. "Shakespeare's "Troilus and Cressida": Textual Problems and Performance Solutions." Sixteenth Century Journal 37, no. 2 (2006): 615. http://dx.doi.org/10.2307/20477962.

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36

Dawson, Anthony B., and W. R. Elton. "Shakespeare's 'Troilus and Cressida' and the Inns of Court Revels." Modern Language Review 97, no. 2 (2002): 390. http://dx.doi.org/10.2307/3736874.

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37

Spear, Gary. "Shakespeare's "Manly" Parts: Masculinity and Effeminacy in Troilus and Cressida." Shakespeare Quarterly 44, no. 4 (1993): 409. http://dx.doi.org/10.2307/2870998.

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38

O'Rourke, James, and Barbara E. Bowen. "Gender in the Theater of War: Shakespeare's Troilus and Cressida." Shakespeare Quarterly 47, no. 1 (1996): 89. http://dx.doi.org/10.2307/2871065.

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39

NAVITSKY, JOSEPH. "Scurrilous Jests and Retaliatory Abuse in Shakespeare's Troilus and Cressida." English Literary Renaissance 42, no. 1 (2012): 3–31. http://dx.doi.org/10.1111/j.1475-6757.2011.01097.x.

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40

Alatorre, Sophie. "L’Art du détour selon Shakespeare : les déviations de Troilus and Cressida, d’Othello et de The Tempest." Revue LISA / LISA e-journal, Vol. VI – n° 3 (March 1, 2008): 182–97. http://dx.doi.org/10.4000/lisa.393.

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41

Dr. Sanjib Kuar Baishya. "A Critical Analysis of Adaptation, Domestication and Foreignization as Effective Strategies for Translating Shakespeare’s Plays into Assamese." Creative Launcher 7, no. 6 (2022): 75–83. http://dx.doi.org/10.53032/tcl.2022.7.6.08.

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One of the major challenges faced by the translators is finding equivalence in the target language. The translators of Shakespeare plays have used Assamese words as appropriate equivalence of English words used by Shakespeare. However, it is not possible for the translators to claim that a particular kind of translation is the most faithful to the source text or the original text. The critics of translation studies are divided on deciding the parameters to assess whether a particular translation is faithful or not. The translators face various challenges in the process of translation such as f

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42

Picco, Frédéric. "La voix publique, des Tragiques grecs jusqu’à Troilus and Cressida et Coriolanus : Une conquête de la polyphonie ou la désagrégation du corps politique ?" Actes des congrès de la Société française Shakespeare, no. 28 (March 1, 2011): 207–23. http://dx.doi.org/10.4000/shakespeare.1629.

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43

Șoitu, Patricia. "A Socio-Sexual Topography of Desire in Shakespeare’s Troilus And Cressida." Analele Universității „Ovidius” Constanța. Seria Filologie 33, no. 2 (2022): 84–95. http://dx.doi.org/10.61801/uocfilo.2022.2.07.

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44

Scott, William O. "Risk, Distrust, and Ingratitude in Shakespeare's Troilus and Cressida." SEL Studies in English Literature 1500-1900 52, no. 2 (2012): 345–62. http://dx.doi.org/10.1353/sel.2012.0022.

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45

Miola, Robert S. "Lesse Greeke? Homer in Jonson and Shakespeare." Ben Jonson Journal 23, no. 1 (2016): 101–26. http://dx.doi.org/10.3366/bjj.2016.0154.

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Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic im

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46

Forbes, Curdella. "Shakespeare, Other Shakespeares and West Indian Popular Culture: A Reading of the Erotics of Errantry and Rebellion in Troilus and Cressida." Small Axe: A Caribbean Journal of Criticism 9 (March 2001): 44–69. http://dx.doi.org/10.2979/sax.2001.-.9.44.

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47

Chernaik, Warren. "Review of Shakespeare’s Troilus and Cressida (directed by Gregory Doran) at the Royal Shakespeare Theatre, Stratford upon Avon, 22 October 2018." Shakespeare 15, no. 2 (2019): 195–97. http://dx.doi.org/10.1080/17450918.2018.1559222.

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48

서동하. "Re-reading of Shakespeare’s Troilus and Cressida through Bill Brown’s ‘Thing Theory’." Shakespeare Review 55, no. 2 (2019): 301–21. http://dx.doi.org/10.17009/shakes.2019.55.2.006.

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49

Perry, Seamus. "Keats’s Noises Off." Romanticism 28, no. 2 (2022): 118–27. http://dx.doi.org/10.3366/rom.2022.0548.

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Robert Gittings once suggestively identified a possible connection between Keats’s circumstances, living in Wentworth Place in the Spring of 1819, and a detail from the ‘Ode to Psyche’. Drawing especially on the Keatsian writings of Michael O’Neill, this essay seeks speculatively to relate the representation of experience in the great odes more generally to the idiosyncratic nature of life in the double-house, shared at first with the Dilkes and then with the Brawne family. It also explores the particular significance of Shakespeare’s Troilus and Cressida within this culminating moment of Keat

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50

Searle, William. ""By Foule Authority": Miscorrection in the Folio Text of Shakespeare's "Troilus and Cressida"." Papers of the Bibliographical Society of America 95, no. 4 (2001): 503–19. http://dx.doi.org/10.1086/pbsa.95.4.24304608.

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