Anthem World Epic and Romance – serie

Did Spanish explorers really discover the sunken city of Atlantis or one of the lost tribes of Israel in Aztec México? Did classical writers foretell the discovery of America? Were faeries and Amazons hiding in Guiana, and where was the fabled golden city, El Dorado? Who was more powerful, Apollo or Diana, and which claimant nation, Spain or England, would win the game of empire? These were some of the questions English writers, historians, and polemicists asked through their engagement with Spanish romance. By exploring England’s fanatical consumption of these tales of love and arms as reflected in the works of Edmund Spenser, William Shakespeare, John Dryden, Ben Jonson, and Peter Heylyn, this book shows how the idea of English empire took root in and through literature, and how these circumstances primed the success of Miguel de Cervantes's Don Quixote of la Mancha in England.

Focusing on two foundational Turkic epics, the Kyrgyz Manas and the Anatolian Köroğlu, this study offers a comparative analysis of masculine ideals and generational authority and the uses to which they were put by nation-builders and rebels.

This book tells the story of the epic Ramayan through photographs of Ramlila, an annual Hindu theatre festival, in which community groups across North India enact the story of the Hindu god Ram. It also includes narrative that explains the story and its staging.

According to Vālmīki’s Sanskrit Rāmāyaṇa (early centuries CE), Śambūka was practicing severe acts of austerity to enter heaven. In engaging in these acts as a Śūdra, Śambūka was in violation of class- and caste-based societal norms prescribed exclusively by the ruling and religious elite. Rāma, the hero of the Rāmāyaṇa epic, is dispatched to kill Śambūka, whose transgression is said to be the cause of a young Brahmin’s death. The gods rejoice upon the Śūdra’s death and restore the life of the Brahmin. Subsequent Rāmāyaṇa poets almost instantly recognized this incident as a blemish on Rāma’s character and they began problematizing this earliest version of the story. They adjusted and updated the story to suit the expectations of their audiences. The works surveyed in this study include numerous works originating in Hindu, Jain, Dalit and non-Brahmin communities while spanning the period from Śambūka’s first appearance in the Vālmīki Rāmāyaṇa through to the present day. The book follows the Śambūka episode chronologically across its entire history—approximately two millennia—to illuminate the social, religious, legal, and artistic connections that span the entire range of the Rāmāyaṇa’s influence and its place throughout various phases of Indian history and social revolution.

Did Spanish explorers really discover the sunken city of Atlantis or one of the lost tribes of Israel in Aztec México? Did classical writers foretell the discovery of America? Were faeries and Amazons hiding in Guiana, and where was the fabled golden city, El Dorado? Who was more powerful, Apollo or Diana, and which claimant nation, Spain or England, would win the game of empire? These were some of the questions English writers, historians, and polemicists asked through their engagement with Spanish romance. By exploring England’s fanatical consumption of these tales of love and arms as reflected in the works of Edmund Spenser, William Shakespeare, John Dryden, Ben Jonson, and Peter Heylyn, this book shows how the idea of English empire took root in and through literature, and how these circumstances primed the success of Miguel de Cervantes's Don Quixote of la Mancha in England.

Epic Ambitions in Modern Times explores how artists in varied genres and media have aimed for, in Milton’s phrase, ”things unattempted yet” in epic creation. Starting with the last books of Paradise Lostas a farewell to the ancient tradition of epic and extending to an assessment of four twenty-first-century women writers retelling canonical epics in the voices of marginalized characters, the book’s intervening chapters consider epic in the forms of an epistolary novel, a work of history, a poetic autobiography, an opera, a silent film, a series of paintings, two literary fantasies, three poems set in the future and a play.

Joint winner of The Literary Encyclopedia book prize 2024, category ‘Literatures written in languages other than English'Winner of the Nancy Staub Publications Award 2024Winner of the AATI Book Award 2024 for Literary, Critical Theory, and Cultural Studies- Sicilian puppet theater is a unique nineteenth- and twentieth-century popular theatrical tradition based on the masterpieces of medieval and Renaissance chivalric literature. It flourished not only in southern Italy and Sicily, but also in the diasporic Italian urban communities of North and South America and North Africa, bringing immigrants together for nightly performances of the same deeply cherished chivalric stories. Even though this art form was designated by UNESCO as an “intangible cultural heritage of humanity” in 2001, it remains largely unknown today because by the late 1950s Sicilian puppet theater companies had ceased to perform the full Paladins of France cycle that used to extend nightly for well over a year. Thus, the only means we have left to explore the substance of this once widely enjoyed cultural phenomenon are the scripts dating from opera dei pupi’s heyday. Most of these invaluable documents, however, have been lost, while the few sets still in existence are either privately owned by the remaining puppeteer families and collectors or tucked away in the archives of Italian institutions. Thanks to the newly accessible scripts of the preeminent Catanese-American puppeteer Agrippino Manteo (1884–1947), whose career stretched from Sicily to Argentina to New York, students, scholars, and the general public can now explore the cycle of chivalric narratives staged during the golden age of Sicilian puppet theater.- The many delicate hand-written notebooks containing Agrippino Manteo’s dramatic repertory are not only of interest for their historical and aesthetic value. These masterfully executed theatrical adaptations invite readers into a chivalric world featuring knights and damsels from across the globe – from Europe to Africa to East Asia – who share the stage with a host of wizards, fairies, giants, and monsters, in alternating episodes of love, enchantment, adventure, and warfare. The concerns with which they engage, such as justice, identity, duty, love, freedom, and virtue, transcend the categories of elite and folk, local and global, medieval and modern, interrogating what it means to be human.- This book provides the most comprehensive history to date of the Manteo Family's Sicilian Marionette Theater across three generations and brings to light for the first time the contents of Agrippino Manteo’s extensive Sicilian puppet theater scripts, including translations of 8 selected plays and 270 extant play summaries of the famous Paladins of France cycle. Accompanying comparative analyses uncover the creative process of adaptation from Italian Renaissance masterpieces of chivalric poetry to nineteenth-century prose compilations to Agrippino’s opera dei pupi scripts.

Epic Ambitions in Modern Times explores how artists in varied genres and media have aimed for, in Milton’s phrase, ”things unattempted yet” in epic creation. Starting with the last books of Paradise Lostas a farewell to the ancient tradition of epic and extending to an assessment of four twenty-first-century women writers retelling canonical epics in the voices of marginalized characters, the book’s intervening chapters consider epic in the forms of an epistolary novel, a work of history, a poetic autobiography, an opera, a silent film, a series of paintings, two literary fantasies, three poems set in the future and a play.

Joint winner of The Literary Encyclopedia book prize 2024, category ‘Literatures written in languages other than English'Winner of the Nancy Staub Publications Award 2024Winner of the AATI Book Award 2024 for Literary, Critical Theory, and Cultural Studies- Sicilian puppet theater is a unique nineteenth- and twentieth-century popular theatrical tradition based on the masterpieces of medieval and Renaissance chivalric literature. It flourished not only in southern Italy and Sicily, but also in the diasporic Italian urban communities of North and South America and North Africa, bringing immigrants together for nightly performances of the same deeply cherished chivalric stories. Even though this art form was designated by UNESCO as an “intangible cultural heritage of humanity” in 2001, it remains largely unknown today because by the late 1950s Sicilian puppet theater companies had ceased to perform the full Paladins of France cycle that used to extend nightly for well over a year. Thus, the only means we have left to explore the substance of this once widely enjoyed cultural phenomenon are the scripts dating from opera dei pupi’s heyday. Most of these invaluable documents, however, have been lost, while the few sets still in existence are either privately owned by the remaining puppeteer families and collectors or tucked away in the archives of Italian institutions. Thanks to the newly accessible scripts of the preeminent Catanese-American puppeteer Agrippino Manteo (1884–1947), whose career stretched from Sicily to Argentina to New York, students, scholars, and the general public can now explore the cycle of chivalric narratives staged during the golden age of Sicilian puppet theater.- The many delicate hand-written notebooks containing Agrippino Manteo’s dramatic repertory are not only of interest for their historical and aesthetic value. These masterfully executed theatrical adaptations invite readers into a chivalric world featuring knights and damsels from across the globe – from Europe to Africa to East Asia – who share the stage with a host of wizards, fairies, giants, and monsters, in alternating episodes of love, enchantment, adventure, and warfare. The concerns with which they engage, such as justice, identity, duty, love, freedom, and virtue, transcend the categories of elite and folk, local and global, medieval and modern, interrogating what it means to be human.- This book provides the most comprehensive history to date of the Manteo Family's Sicilian Marionette Theater across three generations and brings to light for the first time the contents of Agrippino Manteo’s extensive Sicilian puppet theater scripts, including translations of 8 selected plays and 270 extant play summaries of the famous Paladins of France cycle. Accompanying comparative analyses uncover the creative process of adaptation from Italian Renaissance masterpieces of chivalric poetry to nineteenth-century prose compilations to Agrippino’s opera dei pupi scripts.

According to Vālmīki’s Sanskrit Rāmāyaṇa (early centuries CE), Śambūka was practicing severe acts of austerity to enter heaven. In engaging in these acts as a Śūdra, Śambūka was in violation of class- and caste-based societal norms prescribed exclusively by the ruling and religious elite. Rāma, the hero of the Rāmāyaṇa epic, is dispatched to kill Śambūka, whose transgression is said to be the cause of a young Brahmin’s death. The gods rejoice upon the Śūdra’s death and restore the life of the Brahmin. Subsequent Rāmāyaṇa poets almost instantly recognized this incident as a blemish on Rāma’s character and they began problematizing this earliest version of the story. They adjusted and updated the story to suit the expectations of their audiences. The works surveyed in this study include numerous works originating in Hindu, Jain, Dalit and non-Brahmin communities while spanning the period from Śambūka’s first appearance in the Vālmīki Rāmāyaṇa through to the present day. The book follows the Śambūka episode chronologically across its entire history—approximately two millennia—to illuminate the social, religious, legal, and artistic connections that span the entire range of the Rāmāyaṇa’s influence and its place throughout various phases of Indian history and social revolution.