Agis Marinis
Agis Marinis is Associate Professor of Greek Philology and Drama at the University of Patras (Greece). He studied Classics in Athens and Cambridge (BA, MPhil.) and received his PhD from the University of Cambridge in 2008. He is working on Pindaric poetry, on Greek tragedy with an emphasis on Aeschylus’ Seven against Thebes, as well as on the presence of Theban myth in Greek and Roman poetry.
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Books by Agis Marinis
Among key themes analysed are narrative patterns, strategies or type-scenes that appear to derive from tragedy, the Aristotelian notions of hamartia and anagnorisis, human and divine causation, the ‘transfer’ of individual characters from tragedy to epic, as well as instances of tragic language and imagery.
The volume at hand showcases an array of methodological approaches to the question of the presence of tragic elements in epic. Hence, it will be of interest to scholars and students in the area of Classics or Literary Studies focusing on such intergeneric and intertextual connections; it will be also of interest to scholars working on Flavian epic or on the ancient reception of Greek and Roman tragedy.
Papers by Agis Marinis
μεστὸν θεματοποιείται και φωτίζεται πολύπλευρα η οπλιτική τιμή και
η οφειλή προς τη γενέθλια γη. Στην πολυπρισματική αισχύλεια δραμα-
τική πραγμάτευση η αποσταθεροποίηση των αξιών και των σταθερών
που διέπουν τη ζωή της πόλης, καθώς αναφερόμαστε (άραγε μόνο;) στη
Θήβα των κληρονόμων του Οιδίποδα, συνδυάζεται με επανειλημμένη
εστίαση στο θέμα της πολεμικής αρετής και της κλήσης στο αμυντικό
καθήκον. Η πολυφωνία και πολυτροπία αυτή κατοχυρώνουν, σε τελι-
κή ανάλυση, τη διαχρονική αξία και την αέναη ερμηνευτική πρόκληση
που ενσαρκώνουν οι Επτά επί Θήβας.
ancient Greek comic mask and its use, in both Old and New Comedy, as well
as of the corresponding employment of the mask in Commedia dell’Arte.
Ancient Greek comedy, via its impact on Roman comedy, certainly exercised
influence on the development of the Italian theatre of the Renaissance.
However, our study, which forms part of a developing research programme,
will not focus exclusively on issues of influence, which are also not readily
confirmable, but rather, importantly, on the foregrounding of key parallel
traits, as well as divergences, between the two theatrical traditions. Such an
endeavour will hopefully be able to shed light on both traditions from the
point of view of theatrical practice, with special emphasis on the methodology
of acting.