Table of Contents

Series Introduction List of Illustrations Notes on Contributors Acknowledgements Timeline Introduction (Efterpi Mitsi, National and Kapodistrian University of Athens, Greece) 1. The Critical Backstory (Kinga Földváry, Pázmány Péter Catholic University, Hungary) 2. Performance History (Francesca Rayner, Universidade do Minho, Portugal) 3. The State of the Art (Johann Gregory, Cardiff University, UK) 4. New Directions: The Decay of Exemplarity in Troilus and Cressida (Rob Maslen, University of Glasgow, UK) 5. New Directions: ‘What art thou, Greek?’ – Greeks and Greece in Troilus and Cressida (Miklós Péti, Károli Gáspár University of the Reformed Church, Hungary) 6.New Directions: ‘[B]its and greasy relics’: the Politics of Relics in Troilus and Cressida (Vassiliki Markidou, National and Kapodistrian University of Athens, Greece) 7. New Directions: Scenes of Repossession: Greek Translations and Performances of Troilus and Cressida (Paschalis Nikolaou, Ionian University, Corfu, Greece) 8. 'Degrees in schools': Learning and Teaching Resources (Richard Stacey, University of Glasgow, UK) Notes Select Bibliography Index

Promotional Information

A collection of critical essays ideal for undergraduate students and scholars and teachers of Troilus and Cressida.

About the Author

Efterpi Mitsi is Associate Professor in English Literature and Culture at the National and Kapodistrian University of Athens, Greece.

Reviews

A rich treasure trove not only for the undergraduate student, providing basic information on Troilus and Cressida, but proves equally inspiring for instructors and scholars … An inspiring mixture of informative and original scholarship.
*Cahiers Élisabéthains*

Troilus and Cressida: A Critical Reader is a brilliant reassessment of the play’s widely divergent meanings and contexts, including selected Greek appropriations. Highly recommended for scholars in Shakespearean and classical studies.
*Professor Jyotsna Singh, Michigan State University, USA*

This much-needed collection shows how a play that was less than popular with earlier generations can prove fascinating for present-day audiences – taught by recent history to recognise the contradictions in tales of war, self and community.
*Rui Carvalho Homem, University of Porto, Portugal*