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    Spanish Romance in the Battle for Global Supremacy: Tudor and Stuart Black Legends
    Epic Ambitions in Modern Times: From Paradise Lost to the New Millennium
    The Sicilian Puppet Theater of Agrippino Manteo (1884-1947): The Paladins of France in America
    Ebook series4 titles

    Anthem World Epic and Romance Series

    By Victoria Muñoz, Robert Crossley, Jo Ann Cavallo and Aaron Sherraden

    ()

    About this series

    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. 

    LanguageEnglish
    PublisherAnthem Press
    Release dateJun 13, 2023
    Spanish Romance in the Battle for Global Supremacy: Tudor and Stuart Black Legends
    Epic Ambitions in Modern Times: From Paradise Lost to the New Millennium
    The Sicilian Puppet Theater of Agrippino Manteo (1884-1947): The Paladins of France in America

    Titles in the series (4)

    • 1

      The Sicilian Puppet Theater of Agrippino Manteo (1884-1947): The Paladins of France in America
      The Sicilian Puppet Theater of Agrippino Manteo (1884-1947): The Paladins of France in America

      The Sicilian Puppet Theater of Agrippino Manteo (1884-1947): The Paladins of France in America

      Jo Ann Cavallo
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      Sicilian puppet theater was the predominant form of cultural expression for working-class southern Italians and Sicilians from the early 1800s until the proliferation of television in the 1950s. This form of dramatic prose theater also flourished in diasporic Italian urban communities, bringing immigrants together for nightly performances of the same deeply cherished chivalric stories. Agrippino Manteo’s scripts, examined for the first time in this study, are testimony to the rich substance of the Paladins of France narratives dramatized on the traditional opera dei pupi stage. Even beyond their historical and aesthetic value, the alternating episodes of love, enchantment, adventure, and warfare invite us to relive the passion, heartbreak, excitement, and magic of knights and damsels from around the globe – from Europe to North Africa to East Asia – who share the stage with a host of wizards, fairies, giants, and monsters. This study reconstructs the history of the Manteo family marionette theater in New York City across seven decades and three generations, provides translations of eight selected plays and 270 extant summaries, and offers comparative analyses uncovering the creative process of adaptation from Italian Renaissance masterpieces of chivalric poetry to nineteenth-century prose compilations to Agrippino Manteo’s opera dei pupi dramatizations.

      Sicilian puppet theater was the predominant form of cultural expression for working-class southern Italians and Sicilians from the early 1800s until the proliferation of television in the 1950s. This form of dramatic prose theater also flourished in diasporic Italian urban communities, bringing immigrants together for nightly performances of the same deeply cherished chivalric stories. Agrippino Manteo’s scripts, examined for the first time in this study, are testimony to the rich substance of the Paladins of France narratives dramatized on the traditional opera dei pupi stage. Even beyond their historical and aesthetic value, the alternating episodes of love, enchantment, adventure, and warfare invite us to relive the passion, heartbreak, excitement, and magic of knights and damsels from around the globe – from Europe to North Africa to East Asia – who share the stage with a host of wizards, fairies, giants, and monsters. This study reconstructs the history of the Manteo family marionette theater in New York City across seven decades and three generations, provides translations of eight selected plays and 270 extant summaries, and offers comparative analyses uncovering the creative process of adaptation from Italian Renaissance masterpieces of chivalric poetry to nineteenth-century prose compilations to Agrippino Manteo’s opera dei pupi dramatizations.

    • Spanish Romance in the Battle for Global Supremacy: Tudor and Stuart Black Legends
      Spanish Romance in the Battle for Global Supremacy: Tudor and Stuart Black Legends

      Spanish Romance in the Battle for Global Supremacy: Tudor and Stuart Black Legends

      Victoria Muñoz
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      0 ratings

      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.

      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: From Paradise Lost to the New Millennium
      Epic Ambitions in Modern Times: From Paradise Lost to the New Millennium

      Epic Ambitions in Modern Times: From Paradise Lost to the New Millennium

      Robert Crossley
      0 ratings
      0 ratings

      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.

      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.

    • Śambūka and the Rāmāyaṇa Tradition: A History of Motifs and Motives in South Asia
      Śambūka and the Rāmāyaṇa Tradition: A History of Motifs and Motives in South Asia

      Śambūka and the Rāmāyaṇa Tradition: A History of Motifs and Motives in South Asia

      Aaron Sherraden
      0 ratings
      0 ratings

      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. 

      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. 

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