About

Joseph Farrell is a professor associated with the University of Pennsylvania's School of Arts and Sciences, specifically within the Penn LPS (College of Liberal and Professional Studies). The page provides a comprehensive overview of the various programs and courses offered by the institution, including applied geosciences, public administration, criminology, economics, psychology, environmental studies, and more, but does not include specific details about Farrell's research focus, background, or key contributions. Therefore, based on the provided page text, there is no detailed biographical information available about Joseph Farrell.

Research topics

• Political Science
• Economics
• Computer Science
• Business
• History
• Industrial organization
• International economics
• Art
• Engineering
• Aesthetics
• Law
• Ancient history
• Law and economics
• Microeconomics
• Market economy

Selected publications

• Affairs of state

  Manchester University Press eBooks · 2024-07-30

  book-chapter1st authorCorresponding

  The Commissione parlamentare antimafia presented in 1993 a report entitled Mafia e Politica, the first time this theme had ever been examined by an official government body. The report examines the factors in the history of the post-war Italy which gave the mafia some political 'legitimacy', and identifies the successive phases of the evolution of its relationship with the Italian state. Salvatore Giuliano (1922-50) a bandit leader who started as an opponent of the mafia, but ended being manipulated by them. His men allied themselves with the separatist movement in the hope of gaining a pardon from a new government.

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• Business and finance

  Manchester University Press eBooks · 2024-07-30

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  There are now mafia-controlled companies competing with perfectly legal undertakings, but enjoying advantages over them, such as access to investment capital from suspect sources. The new mafia operates in a grey area, concerning itself with the laundering of 'dirty money' as well as with productivity, but it does represent a model different in kind from the purely parasitic mafia of the past. Mafia companies, far from conforming to the laws of peaceful competition, have introduced an element of violence into the marketplace. Catanzaro examines the ownership and objectives of such companies, drawing attention to the sectors in which they operate and to their need to serve such purposes as the recycling of money derived from criminal enterprises.

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• The Theater of Narration: From the Peripheries of History to the Main Stages of Italy by Juliet Guzzetta, and: Il teatro di narrazione: dalle periferie della storia ai grandi teatri italiani by Juliet Guzzetta (review)

  The Modern Language Review · 2024-03-30

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  Reviewed by: The Theater of Narration: From the Peripheries of History to the Main Stages of Italy by Juliet Guzzetta, and: Il teatro di narrazione: dalle periferie della storia ai grandi teatri italiani by Juliet Guzzetta Joseph Farrell The Theater of Narration: From the Peripheries of History to the Main Stages of Italy. By Juliet Guzzetta. Evanston, IL: Northwestern University Press. 2021. xvi+239 pp. $99.95 (pbk $34.95). ISBN 978–0–8101–4387–6 (pbk 978–0–8101–4386–9). Il teatro di narrazione: dalle periferie della storia ai grandi teatri italiani. By Juliet Guzzetta. Trans. by Francesco Bianchi and Monica Capuani. Turin: Accademia University Press. 2023. xxi+354 pp. €24. ISBN 979–1–2550– 0022–8. In his introduction to Sei personaggi in cerca d'autore, Pirandello distinguished between those playwrights who write for the pleasure of narrating a tale and those who, like him, were propelled by a deeper need to search for some meaning in the events narrated. In some ways, the writers and performers, often the same person, of the genre subjected to incisively intelligent and excellently documented analysis in Juliet Guzzetta's study are motivated by both aims, by the wish to recount a historical, social, or political event and by the need to seek beneath the surface to locate its dynamics, its motivations, and its logic, however distorted. While storytellers, be they jesters, minstrels, giullari, or stand-up comedians, have featured at every stage of performance history, Guzzetta places the emergence of a new style of 'theatre of narration' in the 1970s, partly as a response to the turbulent politics of that time, which, it was felt, required a new style of theatrical expression. In her wide-ranging first chapter she identifies three elements which distinguished this new trend—political engagement, an autobiographical component, and a focus on a specific community (p. 4). The recognized parents, or perhaps grandparents, were undoubtedly Dario Fo and Franca Rame, especially after their own much-discussed break with commercial theatre in 1968. A further development for them was the decision made by Fo, and later by Rame, to stage one-person pieces, most notably Mistero buffo, which were both narrative and politically committed. Franca Rame is often sidelined in this context, but Guzzetta is meticulous in insisting on her role and achievements with her one-woman pieces on the dilemmas facing, and injustices endured by, women in modern society. One of the most intriguing works, and most explicit statements of indebtedness, is Laura Curino's play Passione (1995), in which she portrays herself as a young woman watching Mistero buffo before going on to perform one of Rame's monologues. Fo's notion of their own work as 'living newspapers' encouraged a rethinking of ideas of impegno. The new generation of theatrical narrators can also be regarded as a fresh expression of the actor-author, a figure which has been central to the Italian tradition of theatre. The Fo–Rame couple themselves did not focus on a specific community, but their example galvanized the new generation who were rooted in their own communities. However, their work also found a resonance with audiences elsewhere. Plainly, these writer-performers were not uncritical followers of Fo and Rame, nor were they the only sources of inspiration, as Guzzetta makes clear. Such figures [End Page 278] in experimental theatre as Jerzy Grotowski with his theories of Poor Theatre, and Eugenio Barba with his notions of theatre anthropology, each contributed to the new aesthetic and mindset, as did less precisely defined ideas current in the 1970s. Such notions would include issues of subjectivity, of acceptable styles of acting and staging, of language versus dialect, of authorship, of ownership of history in the official or popular mind, and of the reliability of memory itself as it becomes ossified into dogma. Guzzetta discusses this problem in relation to Ascanio Celestini's Radio clandestina (2000), an unpicking of the facts and fictions relating to the partisan attack on German soldiers in Rome in 1944 and the barbaric reprisals wreaked on arbitrarily chosen Roman civilians in the massacre in the Ardeatine Caves. Guzzetta even suggests there were...

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• Further reading

  Manchester University Press eBooks · 2024-07-30

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  Royal successions will prompt observers of all kinds to look back at the reign that has passed, and also forward to that which is dawning. This book represents both the breadth and the quality of succession literature across the Stuart era (1603-1714). It includes at least one example of each significant kind of writing: a proclamation announcing a change of reign, diary entries, sermons, a newspaper report, two speeches by incoming monarchs and so forth. But there is also a consistent focus on poetry. Proclamations of Lord King James to the Crown (1603), his speech delivered in the Parliament (1604), the poems of Sir John Davies (1603) are among those featured in the first part of the book. Part II includes an anonymously authored news report details the royal marriage of King Charles and Lady Henrietta Maria (1625). Following this, the book presents the newsbook, Mercurius Politicus (December 1653), which provides an account of Oliver's inauguration as Protector and offers a wealth of detail about ceremonial proceedings. Part IV has a diary entry of Samuel Pepys recounting the return of Stuart brothers and describing the ceremonies that greeted Charles at Dover, and providing details arising from Pepys's proximity to unfolding events. The fifth part includes a coronation sermon (April 1685), presenting extracts from Francis Turner's discussion of Solomon's title and his consideration of the relationship between Solomon and the nation of Israel. The Observator's response on William's death (April 1702), penned by John Tutchin, is also featured in the book.

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• Code and culture

  Manchester University Press eBooks · 2024-07-30

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  The mafia has, in the purely anthropological sense of the term, a culture with rules and beliefs which dictate aspects of its conduct. This culture has been adapted and altered in history but, while studying the contemporary mafia, Pino Arlacchi found it of value to examine the code which contemporary mafiosi had inherited from their own past. Tommaso Buscetta is the most important mafioso to have defected, although his accounts of the mafia cannot be accepted uncritically. It has been pointed out that he was under mafia sentence of death when he turned state evidence, and that he has never given information which would incriminate his own side. He also tends to romanticise an 'old mafia', as distinct from the degenerate mafia of recent times. From his discussions with Tommaso Buscetta, the magistrate Giovanni Falcone gained an unrivalled knowledge of the outlook of the mafioso.

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• Introduction: Ovid, Death and Transfiguration

  2023-03-28

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• We Have Never Been Ancient

  American book review/˜The œAmerican book review · 2023-09-01

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  We Have Never Been Ancient Joseph Farrell (bio) One of William Faulkner's most famous epigrams tells us that "The past is never dead. It's not even past." But those who repeat or paraphrase Faulkner, and even Faulkner himself, are usually concerned with a past that is not very deep. It's really just a matter of a few generations. On the other hand, "that's ancient history," a tediously common phrase that refers to a deeper antiquity, is used to dismiss something as utterly unimportant and irrelevant. This attitude is in no way exclusive to the uneducated or the anti-intellectual. A shallow view of the past is officially embraced by the history department of my own university, which requires undergraduate majors to take as few as one course that includes some material earlier than the nineteenth century. Nor is it unusual in this. The entire structure of all academic institutions, not to mention many other pillars of our society, seems dedicated to the proposition that the deep past is not very important. To those who study a culture that thrived not two hundred but two thousand years ago and more, it isn't obvious that this is a good thing. That's why it might be surprising to realize that our own discipline is part of the problem. Classics as an academic discipline was shaped in the late eighteenth and early nineteenth centuries by the same forces that reshaped entire universities, promoted the nation-state as the ideal political structure, and distinguished firmly between the categories of "ancient" and "modern." This distinction is fundamental to the way most people today view human history over the longue durée. So familiar is it that it seems almost natural. That is why it is so shocking to realize that it amounts to little more than a rhetorical gambit. The most daring use of this gambit was by Friedrich Schiller in an influential essay "On Naïve and Sentimental Poetry" (1795–96). Like many contemporaries, Schiller felt vividly aware that he was living in a brave new world, a "modern" one different from any that had existed before. His purpose in this essay was to articulate the aesthetic principles of that world, specifically with reference to its most characteristic form, the novel. But how to accomplish that? Even today the novel continues to resist efforts to define it in terms of [End Page 60] form, essence, or any other quality. Schiller faced the difficulty of defining it as a reflection of the rapidly developing, heterogeneous character of the contemporary world in which the genre was becoming so prominent. But how to define anything that is defined mainly by indeterminacy? Schiller's great stroke of genius was to define the novel, and modernity itself, not per se but in contrast to some putatively simpler conceptual opposite. This he found in the most characteristic literary genre of antiquity, which is (he said) the epic. Here he made two key moves. First, he drew a parallel between epic and novel as characteristic, respectively, of the ancient and modern worlds. At the same time, he drew a contrast between the two genres and the worlds they represent. To live in antiquity, according to Schiller, was like living in an epic poem: such a life was simple, obvious, ceremonial, and well ordered. To live in the modern world is, ex hypothesi, the direct opposite of all that. By this brilliant piece of argumentative hocus pocus, the need to define modernity and the novel disappeared at once. Their ineffable complexity and indeterminacy needn't be defined or described. It could merely be suggested by comparison with their much simpler, more easily grasped opposites, antiquity and the epic. Very few classicists today would recognize Schiller's ideas about antiquity and the epic as being at all adequate. But Schiller's contemporaries who invented the discipline of Classics held very similar views. For men like Wilhelm von Humboldt, Friedrich August Wolf, and August Böckh, the civilizations of Greece and Rome possessed a unity, coherence, and importance that earlier and contemporary civilizations lacked. For generations, classicists would continue to hold such views. But to accept this perspective on...

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• Ovid, Death and Transfiguration

  2023-04-11 · 2 citations

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  Death, the ultimate change, is an unexpected Leitmotiv of Ovid’s career and reception. The eighteen contributions collected in this volume explore the theme of death and transfiguration in Ovid’s own career and his posthumous reception, revealing a unity in diversity that has not been appreciated in these terms before now.

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• Preliminary Material

  2023-03-28

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• The Canonization of Cicero in Ancient Commentaries

  2023-05-22 · 1 citations

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Frequent coauthors

• B. K. McFarland

  56 shared

• P. H. Bucksbaum

  54 shared

• Limor S. Spector

  Migal - Galilee Technology Center

  43 shared

• Carl Shapiro

  University of California, Berkeley

  36 shared

• Markus Gühr

  Universität Hamburg

  29 shared

• Robert E. Hall

  27 shared

• Jonathan Gruber

  Massachusetts Institute of Technology

  27 shared

• Gordon Hanson

  27 shared