This article argues that Shakespeare’s Troilus and Cressida demonstrates how the (historical or geographical) Other is performatively created—and, simultaneously, subverted—in the way the two opposing parties are drawn. While Troy represents a medieval world of chivalry, honesty, and humility, the Greek camp, set in binary opposition, appears as a Renaissance world of cynicism, dissimulation, and arrogance. They are also attached to different literary modes of expressions: poetry and drama. Especially the two archetypal heroes of their parties, Hector and Achilles, form a complementary unit up to the point where they become indistinguishable: in the scene of Hector and Achilles’ final encounter on the battlefield, the dichotomy that had been established throughout the play collapses when, in a sonnet-like sequence that aligns the two with the loving couple of Romeo and Juliet and a corresponding scene in that play, the lines of demarcation collapse and the two opposites, paradoxically, become one.

中文翻译：

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“与恨有关，但更多与爱有关”：特洛伊罗斯和克瑞西达的时间关系

这篇文章认为，莎士比亚的《特洛伊罗斯和克瑞西达》展示了（历史或地理上的）他者是如何以两种对立的方式被表演性地创造——同时，被颠覆了。特洛伊代表了中世纪骑士精神、诚实和谦逊的世界，而希腊阵营则以二元对立的形式出现，表现为愤世嫉俗、伪装和傲慢的文艺复兴时期的世界。它们还依附于不同的文学表达方式：诗歌和戏剧。尤其是他们队伍中的两位原型英雄赫克托尔和阿喀琉斯，形成了一个互补的单元，直到他们变得难以区分：在赫克托尔和阿喀琉斯在战场上最后相遇的场景中，贯穿全剧的二分法崩溃了什么时候，