A dynamic new study in literary and dramatic influence,
Misreading Shakespeare defines and explores the relation between
two modern plays-Edward Bond's Lear and Tom Stoppard's Rosencrantz
and Guildenstern Are Dead-and Shakespeare's King Lear and Hamlet.
While some see the modern plays as derivative, others claim that
they are as original as the Shakespearean plays. The effort to
define and explore this relationship is a challenge for critics and
readers alike. Here, Wagdi Zeid, a playwright and professor of
Shakespeare and drama, puts forth a theoretical perspective derived
from W. Jackson Bate and Harold Bloom's theories of influence.
Zeid's study manages to defi ne and explore not only this
intriguing and ambiguous relationship but the concept of
originality itself. Furthermore, while theorists like Bate and
Bloom are wholly concerned with just general statements and
concepts, Misreading Shakespeare goes inside the dramatic texts
themselves, and this practical aspect makes a big difference. Also,
neither Bate nor Bloom has tried to apply his theory to dramatic
texts.
Misreading Shakespeare offers readers both theory and practice.
Misreading Shakespeare was written for an eclectic audience,
including scholars of drama, theatre, Shakespeare, and literary
theory and criticism; playwrights and other writers striving for
originality; and theatrical artists and audiences alike.
General
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