The popularity of the musical, Hamilton, featuring the death of Alexander Hamilton in a duel with Aaron Burr, then Vice President of the United States, has revived interest in duelling, but also aroused incredulity that such events could ever have occurred. Where did the custom originate, and why did it spread so quickly all over Europe and the Americas? Duelling was once commonplace. Prime ministers and poets, artists and journalists, and even some ladies went out to the 'field of honour'. Casanova fought with a Polish nobleman in Warsaw, the Duke of Wellington duelled with an English earl in Hyde Park and the Russian poet Pushkin died in a duel in St Petersburg. There were many enigmas associated with the phenomenon. As well as displaying skills with the sword or the pistol, a duellist had to silence problems of conscience. Could duelling be squared with the commandment against killing one's neighbour? Did the fact that both parties were inspired by a gentlemanly code of Honour make the duel superior to a vulgar brawl? The moral justification of duelling intrigued thinkers and intellectuals. Dr Johnson returned to the issue several times, while Rousseau was baffled by the question. Duels added drama to mediocre novels or plays, but featured in the theatre of Shakespeare and later in the work of such masters as Walter Scott, Conrad, Chekhov and Pirandello. Duelling has been too long regarded as an embarrassing sideline in western culture, but for centuries it was an integral part of history. Joseph Farrell attempts to clarify what the duel actually was and why men ever behaved that way. Exploring the social and cultural forces that encouraged what now seems an extraordinary anachronism, he traces the international evolution of the duel - and its many representations in literature and art - from Renaissance Italy to the whole of Europe, including Britain, and onto the US.

A major new interpretation of Vergil's epic poem as a struggle between two incompatible versions of the Homeric hero This compelling book offers an entirely new way of understanding the Aeneid. Many scholars regard Vergil's poem as an attempt to combine Homer’s Iliad and Odyssey into a single epic. Joseph Farrell challenges this view, revealing how the Aeneid stages an epic contest to determine which kind of story it will tell—and what kind of hero Aeneas will be. Farrell shows how this contest is provoked by the transgressive goddess Juno, who challenges Vergil for the soul of his hero and poem. Her goal is to transform the poem into an Iliad of continuous Trojan persecution instead of an Odyssey of successful homecoming. Farrell discusses how ancient critics considered the flexible Odysseus the model of a good leader but censured the hero of the Iliad, the intransigent Achilles, as a bad one. He describes how the battle over which kind of leader Aeneas will prove to be continues throughout the poem, and explores how this struggle reflects in very different ways on the ethical legitimacy of Rome’s emperor, Caesar Augustus. By reframing the Aeneid in this way, Farrell demonstrates how the purpose of the poem is to confront the reader with an urgent decision between incompatible possibilities and provoke uncertainty about whether the poem is a celebration of Augustus or a melancholy reflection on the discontents of a troubled age.

In the context of recent challenges to long-standing assumptions about the nature of Ennius' Annals and the editorial methods appropriate to the poem's fragmentary remains, this volume seeks to move Ennian studies forward on three axes. First, a re-evaluation of the literary and historical precedents for and building blocks of Ennius' poem in order to revise the history of early Latin literature. Second, a cross-fertilization of recent critical approaches to the fields of poetry and historiography. Third, reflection on the tools and methods that will best serve future literary and historical research on the Annals and its reception. Adopting different approaches to these broad topics, the fourteen papers in this volume illustrate how much can be said about Ennius' poem and its place in literary history independent of any commitment to inevitably speculative totalizing interpretations.

With the aim of providing a comprehensive history of Italian drama from its origins to the time of its publication in 2006, this book treats theatre in its widest sense, discussing the impact of all the elements and figures integral to the collaborative process of theatre-making. The impact of designers, actors, directors and impresarios as well as of playwrights is subjected to critical scrutiny, while individual chapters examine the changes in technology and shifts in the cultural climate which have influenced theatre. No other approach would be acceptable for Italian theatre, where from the days of commedia dell'arte, the central figure has often been the actor rather than the playwright. The important writers, such as Carlo Goldoni and Luigi Pirandello, receive detailed critical treatment, as do the 'great actors' of nineteenth-century theatre or the directors of our own time, but the focus is always on the bigger picture.

Primo Levi has been identified in the public mind as the supreme witness to the barbarism that was the Nazi Holocaust but he was ambivalent about having that role thrust upon him. He also wished to be judged as a writer who, in addition to the autobiographical works on his experiences in the death camps, wrote poetry, produced volumes of sci-fi stories, authored novels and contributed critical essays to newspapers on a range of topics and writers. No one has the right to ignore or downplay the 'testimony' Primo Levi offered, but it is time to examine the wider vision inherent in his work and to explore the tradition in which he operated. Levi was one of the great wisdom writers of his age, whose ethical authority, somewhat to his own embarrassment, was accepted in many fields. Several contributors to this collection of essays see him as a proponent of Enlightenment values, or as heir to a longer Humanist tradition. Even after enduring Auschwitz, he held fast to a notion of the dignity of the human person, and no man did more to reestablish, however quizzically, the secular basis for such beliefs. His overall standing as writer is the subject of this book.

The Latin language is popularly imagined in a number of specific ways: as a masculine language, an imperial language, a classical language, a dead language. This book considers the sources of these metaphors and analyzes their effect on how Latin literature is read. By reading with and more commonly against these metaphors, the book offers a different view of Latin as a language and as a vehicle for cultural practice. The argument ranges over a variety of texts in Latin and texts about Latin from antiquity to the twentieth century.

A major new interpretation of Vergil's epic poem as a struggle between two incompatible versions of the Homeric hero This compelling book offers an entirely new way of understanding the Aeneid. Many scholars regard Vergil's poem as an attempt to combine Homer's Iliad and Odyssey into a single epic. Joseph Farrell challenges this view, revealing how the Aeneid stages an epic contest to determine which kind of story it will tell-and what kind of hero Aeneas will be. Farrell shows how this contest is provoked by the transgressive goddess Juno, who challenges Vergil for the soul of his hero and poem. Her goal is to transform the poem into an Iliad of continuous Trojan persecution instead of an Odyssey of successful homecoming. Farrell discusses how ancient critics considered the flexible Odysseus the model of a good leader but censured the hero of the Iliad, the intransigent Achilles, as a bad one. He describes how the battle over which kind of leader Aeneas will prove to be continues throughout the poem, and explores how this struggle reflects in very different ways on the ethical legitimacy of Rome's emperor, Caesar Augustus. By reframing the Aeneid in this way, Farrell demonstrates how the purpose of the poem is to confront the reader with an urgent decision between incompatible possibilities and provoke uncertainty about whether the poem is a celebration of Augustus or a melancholy reflection on the discontents of a troubled age.

In the context of recent challenges to long-standing assumptions about the nature of Ennius' Annals and the editorial methods appropriate to the poem's fragmentary remains, this volume seeks to move Ennian studies forward on three axes. First, a re-evaluation of the literary and historical precedents for and building blocks of Ennius' poem in order to revise the history of early Latin literature. Second, a cross-fertilization of recent critical approaches to the fields of poetry and historiography. Third, reflection on the tools and methods that will best serve future literary and historical research on the Annals and its reception. Adopting different approaches to these broad topics, the fourteen papers in this volume illustrate how much can be said about Ennius' poem and its place in literary history independent of any commitment to inevitably speculative totalizing interpretations.

With the aim of providing a comprehensive history of Italian drama from its origins to the time of its publication in 2006, this book treats theatre in its widest sense, discussing the impact of all the elements and figures integral to the collaborative process of theatre-making. The impact of designers, actors, directors and impresarios as well as of playwrights is subjected to critical scrutiny, while individual chapters examine the changes in technology and shifts in the cultural climate which have influenced theatre. No other approach would be acceptable for Italian theatre, where from the days of commedia dell'arte, the central figure has often been the actor rather than the playwright. The important writers, such as Carlo Goldoni and Luigi Pirandello, receive detailed critical treatment, as do the 'great actors' of nineteenth-century theatre or the directors of our own time, but the focus is always on the bigger picture.

The Economics of Information Technology is a concise and accessible review of some of the important economic factors affecting information technology industries. These industries are characterized by high fixed costs and low marginal costs of production, large switching costs for users, and strong network effects. These factors combine to produce some unique behavior. The book consists of two parts. In the first part, Professor Varian outlines the basic economics of these industries. In the second part, Professors Farrell and Shapiro describe the impact of these factors on competition policy. The clarity of the analysis and exposition makes this an ideal introduction for undergraduate and graduate students in economics, business strategy, law and related areas.

The Economics of Information Technology is a concise and accessible review of some of the important economic factors affecting information technology industries. These industries are characterized by high fixed costs and low marginal costs of production, large switching costs for users, and strong network effects. These factors combine to produce some unique behavior. The book consists of two parts. In the first part, Professor Varian outlines the basic economics of these industries. In the second part, Professors Farrell and Shapiro describe the impact of these factors on competition policy. The clarity of the analysis and exposition makes this an ideal introduction for undergraduate and graduate students in economics, business strategy, law and related areas.

Dario Fo (1926-2016), actor, playwright, theatre director, stage designer, political activist, artist and author who, having attained international fame in theatre, produced the first of his six novels at the age of 88 - was there any limit to his versatile genius? He was awarded the Nobel Prize for Literature in 1997, and works such as Accidental Death of an Anarchist or Can't Pay? Won't Pay secured his reputation as the outstanding political playwright of his age. Unlike other writers of a similar mind, Fo's chosen genre was farce, so his drama is a uniquely engaging mixture of laughter and anger. In 1954 he married Franca Rame (1929-2013), a member of a family-company of touring players. The personal and professional partnership of the two over sixty years was probably unique in theatre history. Her inherited, instinctive knowledge of stagecraft was invaluable to him, but although she was always recognised as an actor of considerable talent, her contribution to the writing of the plays was long undervalued. With the emergence of the feminist movement she increasingly asserted herself, notably with a series of one-woman works she wrote and performed. She became one of Italy's and Europe's leading feminist campaigners, and as such a target for right-wing terrorist groups. In 1973, she was kidnapped and raped by neo-Fascist thugs. Although the subjects of their plays, with their fearless attacks on corruption and satire of Popes and politicians, were often taken from the headlines of the day, their theatre was deeply rooted in theatrical tradition. The Nobel Prize citation stated that Fo 'emulated the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden', but this political campaigning came at a cost. The couple's militant reputation meant that they were for many years barred from Italian television and banned from entering the USA, but their plays were staged from London to Tokyo and they themselves were acclaimed wherever they toured. Joseph Farrell translated many of their works and knew Dario and Franca well. His biography is a complete account of the various activities and multifaceted lives of two extraordinary individuals.

'The quality that makes Fo uniquely powerful ...[is] the ability to wring wild laughter out of insidious corruption' Guardian 'Simon Nye's witty translation updates and relocates the play ...suitably close to contemporary England. Fo is that rare thing, a far-left playwright with a popular, comic touch. And his stinging attack upon the black arts of government cover-up, manipulation and mendacity could not be more timely' Evening Standard In its first two years of production, Dario Fo's controversial farce, Accidental Death of an Anarchist, was seen by over half a million people. It has since been performed all over the world and is widely recognised as a classic of modern drama. A sharp and hilarious satire on political corruption, it concerns the case of an anarchist railway worker who, in 1969, 'fell' to his death from a police headquarters window. This version of the play was premiered at the Donmar Warehouse, London, in February 2003. Commentary and notes by Joseph Farrell.

Augustan Poetry and the Roman Republic explores the liminal status of the Augustan period, with its inherent tensions between a rhetoric based on the idea of res publica restituta and the expression of the need for a radical renewal of the Roman political system. It attempts to examine some of the ways in which the Augustan poets dealt with these and other related issues by discussing the many ways in which individual texts handle the idea of the Roman Republic. Focusing on the works of the major Augustan poets, Vergil, Horace, Propertius, and Ovid, the contributions in this collection look at the under-studied aspect of their poetry, namely the way in which they constructed and investigated images of the Roman Republic and the Roman past.

Italy's Maigret returns in another smouldering noir from a master of the police procedural "A master storyteller" Barry Forshaw, Independent Parma is blanketed in snow, but this pristine, white veneer cannot mask the stench of corruption. Its officials are no longer working for its people - only for themselves - crime is out of control and resentment festers in every district. Commissario Soneri remains at heart an idealist, so the state of Parma wounds him more than most. And now he is presented with three mysteries at once, each more impenetrable than the last. In a river creek on the outskirts of the city, tipped off by a local, he finds a mobile phone that rings through the night but holds no data; an elderly patient with senile dementia is reported missing from a hospice; and the mayor of Parma, who was reported as taking a holiday on the ski slopes, has disappeared off the face of the earth - just when he seemed certain to be implicated in a seismic corruption scandal at city hall.

It is 1978. Corrado Dusa is head of Italy's Christian Democrat Party and the country's Senior Minister. He is also considered to be the key figure in resolving the crisis of dissent and violence that permeates political life. But Dusa has been kidnapped and now his son, Bernardo, a member of a militant extremist group, has disappeared. The press is aghast while the family sense disaster. Can Dusa's release be negotiated? Under what conditions? And - most importantly - with what results? First published in 1981 (The Bodley Head Press) Massie's stylish and enthralling thriller won a Scottish Arts Council Award: exploring America's influence on Europe and the causes of terrorism, The Death of Men is sure to have an arresting affect on readers today.

Rain falls relentlessly on the Po valley in northern Italy, and the river is swollen to its limits. A huge barge leaves its moorings, steering an erratic course downstream and away into the foggy night. When finally it runs aground hours later, the bargeman is nowhere to be found. That same evening, Commissario Soneri is summoned to investigate the apparent suicide of a man in nearby Parma. He and the bargeman were brothers, and when the detective discovers that they served together in the fascist militia fifty years earlier, the incidents seem likely to be linked. Resentments dating from the savage civil strife between Fascists and Partisans in the closing years of the war still weigh heavily, and as the flood waters begin to ebb, the river yields up its secrets: tales of past brutality, bitter rivalry and revenge. Valerio Varesi is a penetrating analyst of his country's dark and undigested history.