Joyce Carol Oates’s Carthage as a Modern Troilus and Cressida Story

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.

You’re Collating Just Fine and Other Lies You’ve Been Telling Yourself

Although textual scholars agree that collation is a crucial component of the editing process, it often goes undefined and only briefly explained. This article defines the term, explains different kinds of collation, and explores some of its applications. We emphasize stemmatology and medieval textual traditions. By drawing from editorial examples and the theoretical frameworks of projects centred on works such as the Canterbury Tales, Troilus and Criseyde, Dante’s Commedia and the Greek New Testament, the article seeks to compare manual and computer-assisted approaches to collation methods. We delineate the scope of this activity and argue that computer-assisted collation minimizes the risk of missing out on relevant data. We examine the advantages of full-text collation over sample collation and conclude that no decisions about stemmatically significant variation can be made a priory and that variant distribution is the major factor weighing on significance.

No, I’m not… Chaucer? The Arabic motif in Troilus and Criseyde and Pushkin’s ‘The Prophet’ [‘Prorok’]

The article discusses two works of literature: Troilus and Criseyde, a long poem written in the genre of courtly romance (1382–1386/1387) by G. Chaucer, and ‘The Prophet’ [‘Prorok’] (1826), a poem by A. Pushkin. The two works are compared due to a common motif: the opening of the chest and swapping of the heart as a sign of the person’s spiritual regeneration. In her comparative analysis of the two poems, the author attempts to identify their common source or the likelihood of direct contact — whether Pushkin had come across Chaucer’s work and borrowed the motif directly. As for the heart being replaced, it seems both poets may have been inspired by several biblical stories. Further analysis of the motif of the chest being opened suggests that the research should focus on the Arabic tradition alone and take into account the potential influence of Islamic religious texts on Pushkin as well as Chaucer. Relying on the available data about Russian and European relations with the Arabic world, the article hypothesises about the ways in which the motif in question could have reached each of the poets. The author names the Quran as the common genetic source of the two poems.

CHAUCER

This chapter has five sections 1. General; 2. The Canterbury Tales; 3. Troilus and Criseyde; 4. Other Works; 5. Reception. Section 1 is by Krista Sue-Lo Twu; section 2 is by Krista Sue-Lo Twu with additions by Lindsey Simon-Jones; sections 3 and 4 are by Derrick Pitard with additions by Lindsey Simon-Jones; section 5 is by Lindsey Simon-Jones.

Lik Antigone v predmoderni literaturi

Razprava tematizira lik Antigone v evropski literaturi, in sicer od antike do konca srednjega veka. Po obdobju klasične grške tragedije (Ajshil, Sofokles, Evripid) je Antigona kot literarna figura doživela najizrazitejšo predelavo v rimski dobi, v Senekovi tragediji Feničanke in Stacijevem epu Tebaida. V obeh delih je Antigona kljub dokaj aktivni vlogi zaznamovana s stoiškim determinizmom. V srednjem veku je Antigona precej marginalen literarni lik. Nanjo naletimo predvsem v bolj ali manj svobodnih adaptacijah Stacijeve Tebaide, kot sta srednjeveško irsko prozno delo Togail na Tebe (Uničenje Teb) in francoska epska pesnitev Roman de Thèbes (Roman o Tebah). Na sporadične omembe Antigone pa naletimo tudi pri Danteju, Boccacciu in Christine de Pizan. Razprava ugotavlja, da gre v srednjeveški literaturi pri tematizaciji Antigone pogosto za preplet dveh mitoloških likov (in izročil), tebanske in (veliko manj znane) trojanske Antigone. Takšna literarna contaminatio (kontaminacija) obeh Antigon je najvidnejša v Chaucerjevi epski pesnitvi Troilus and Criseyde (Troil in Kresida). Razprava se na koncu dotakne tudi humanistične recepcije Antigone in opozori na hermenevtični problem literarne recepcije Antigone na splošno.