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dc.contributor.authorHall, Sam Gilchrist
dc.date.accessioned2022-02-15T13:15:45Z
dc.date.available2022-02-15T13:15:45Z
dc.date.issued2021
dc.identifier.urihttp://hdl.handle.net/20.500.11956/171331
dc.language.isoencs
dc.publisherUniverzita Karlova, Filozofická fakultacs
dc.subjectTroilus and Cressidacs
dc.subjectIliadcs
dc.subjectShakespearecs
dc.subjectChaucercs
dc.subjectrumourcs
dc.subjecthistorycs
dc.titleA “notable foundation of hearsay”: Creative Appropriations of Troy in Chaucer, Chapman, and Shakespearecs
dc.typeVědecký článekcs
dcterms.accessRightsopenAccess
dcterms.licensehttp://creativecommons.org/licenses/by-nc-nd/2.0/
uk.abstract.enAn extended and precociously brilliant exercise in “parodic intertextuality,” Shakespeare’s Troilus and Cressida (1602) mangles its two main sources, George Chapman’s translation of the Iliad and Chaucer’s courtly romance, Troilus and Criseyde (ca. 1385). The play ruthlessly debunks rose-tinted representations of the Trojan war by dramatizing it as beset by gossip, venality and hypocrisy. It not only suggests that the fall of Troy was just the first awful misfortune in the endless series of atrocities that constitute history, but it also undermines the authority of Tudor histories that commonly held Britain was founded by a Trojan, Brut. Shakespeare thereby implies that the idea of a unitary British identity stretching back to the noble days of yore – a form of primordialism that has resurfaced in recent years – is built on nothing other than a “notable foundation of hearsay.”cs
dc.publisher.publicationPlacePrahacs
uk.internal-typeuk_publication
dc.identifier.doi10.14712/2571452X.2021.62.3
dc.description.startPage36cs
dc.description.endPage53cs
dcterms.isPartOf.nameLitteraria Pragensia
dcterms.isPartOf.journalYear2021
dcterms.isPartOf.journalVolume2021
dcterms.isPartOf.journalIssue62
dcterms.isPartOf.issn2571-452X
dc.relation.isPartOfUrlhttp://litteraria-pragensia.ff.cuni.cz


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