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Troilus and Criseyde and Troilus and Cressida

For the last three decades or so, literary studies, especially those dealing with premodern texts, have been dominated by the New Historicist paradigm. This book is a collection of essays explores medieval and early modern Troilus-texts from Chaucer to Shakespeare. The contributions show how medieval and early modern fictions of Troy use love and other emotions as a means of approaching the problem of tradition. The book argues that by emphasizing Troilus's and Cressida's hopes and fears, Shakespeare sets in motion a triangle of narrative, emotion and temporality. It is a spectacle of which tells something about the play but also about the relation between anticipatory emotion and temporality. The sense of multiple literary futures is shaped by Shakespeare's Chaucer, and in particular by Troilus and Criseyde. The book argues that the play's attempted violence upon a prototypical form of historical time is in part an attack on the literary narratives. Criseyde's beauty is described many times. The characters' predilection for sententiousness unfolds gradually. Through Criseyde, Chaucer's Poet displaces authorial humility as arrogance. The Troilus and Criseyde/Cressida saga begins with Boccaccio, who isolates and expands the love affair between Troiolo and Criseida to vent his sexual frustration. The poem appears to be linking an awareness of history and its continuing influence and impact on the present to hermeneutical acts conspicuously gendered female. The main late medieval Troy tradition does two things: it represents ferocious military combat, and also practises ferocious literary combat against other, competing traditions of Troy.

Shakespeare’s refurbishment of Chaucer’s Troilus and Criseyde
John Drakakis

‘fidelity’ are not epithets that can be easily attached to a Cleopatra who deploys her sexuality repeatedly, and seductively, as a political weapon to redirect Roman military ambition. Cleopatra may be able to fashion an Antony who is ‘past the size of dreaming’ and to ‘imagine’ him as ‘nature’s piece ’gainst Fancy, / Condemning shadows quite’ (5.2.97–100), 3 and yet her relationship with him is one of the

in Love, history and emotion in Chaucer and Shakespeare
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Performing the politics of passion: Troilus and Criseyde and Troilus and Cressida and the literary tradition of love and history
Andrew James Johnston and Russell West-Pavlov

, and that historical scholarship should lay bare the politically motivated agendas which underpin its particular version of intellectual procedure. This may not appear, at first glance, to be a particularly remarkable assumption, but it drives a number of more unsettling assertions. Queer history posits, first, that the past, like anything else, can be the object of strong affective valencies, indeed

in Love, history and emotion in Chaucer and Shakespeare
Verena Olejniczak Lobsien

’ and ask to what effect they are employed. For a provisional answer, let us glance at some of the central instances of these topical encodings of moral, social, political and literary knowledge. The characters’ predilection for sententiousness unfolds gradually. Troilus first shows his ability to turn a phrase as he rationalizes his refusal to fight because he is lovesick and

in Love, history and emotion in Chaucer and Shakespeare
Criseyde to Cressida
Wolfram R. Keller

vis-à-vis attendant aesthetic concerns. In literary works, as Petkov illustrates, arrogance not only connotes the negotiation of valuation, it often determines new valuations; it signifies novelty and innovation. The originality often marked by arrogance is not reduced to negotiations of social and political claims and group identities, however; especially on account of its relation to the opposing

in Love, history and emotion in Chaucer and Shakespeare
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Reading, space and intimacy in Chaucer’s Troilus and Criseyde
Andrew James Johnston

lies with the scene’s close-to-symmetrical counterpart in Book II. Here, Pandarus seeks out his niece for the first time in his newly acquired role as Prince Troilus’s go-between. Traditionally, this passage has been interpreted as the place where the text establishes a politics of emotion predicated upon a gendered usage of reading matter, thereby connecting powerful emotions to the issue of gender

in Love, history and emotion in Chaucer and Shakespeare
Performing passion in Chaucer and Shakespeare
Andreas Mahler

philosophical treatises on love is thus apt to bring about a synopsis of three different levels on which love was discussed throughout the Middle Ages and the Renaissance. If one accepts that the term ‘discourse’ may be taken to designate systems of thinking and arguing about a certain semantic or thematic phenomenon or topic (such as politics, economics, religion or, say, love), 14 one can argue that

in Love, history and emotion in Chaucer and Shakespeare
The crucial year
David Wallace

then Hector assassinated at a leisurely pace. I wish to explore now pressure exerted upon the play from a quite different direction: not from circumambient historical factors, nor from a fearful future – but rather, from an earlier year, namely, 1532. This date suggests differently turbulent times; the art of printing forms part of them, and their politics. I refer here to William Thynne’s great

in Love, history and emotion in Chaucer and Shakespeare
Narrative palimpsests and moribund epochalities
Russell West-Pavlov

from Sicily to England in the Middle Ages (Heidelberg: Universitätsverlag Winter, 2008), pp. 569–94. 27 A. M. Potter, ‘“Troilus and Cressida”: deconstructing the Middle Ages?’, Theoria: A Journal of Social and Political Theory , 72 (October 1988), 23–35; see also M. C. Bradbrook, ‘What

in Love, history and emotion in Chaucer and Shakespeare
Hope, fear and time in Troilus and Cressida
Kai Wiegandt

). 20 Aquinas, Summa Theologiae , p. 51. 21 Girard also makes the point that choosing Ajax is invested with less fear and more hope (see R. Girard, ‘The politics of desire in Troilus and Cressida ’, in P. Parker and G. Hartman (eds), Shakespeare and the Question of Theory (London: Methuen, 1985

in Love, history and emotion in Chaucer and Shakespeare