Natalia Agapiou
Born in Athens, Greece, in 1960.
Studied French language and literature as well as Prehistoric and Classical Archeology, and obtained a Master's degree in French literature and linguistics (University of Thessaloniki, Greece) in 1982.
Completed a Maîtrise and a D.E.A. in French and Comparative Literature (on Gustave Flaubert's "Voyage en Grèce" | Paris 7-Jussieu, France) in 1983 and 1984, respectively.
Worked as a journalist from 1989-1993.
Became member of E.U. staff in 1993.
Obtained a PhD in Comparative Literature (on the myth of Endymion in the Renaissance | University of Thessaloniki, Greece), with an Alexander S. Onassis Public Benefit Foundation scholarship in 1999.
In 2009 elected lecturer in Art History, to teach Renaissance and Baroque Art (National and Kapodistrian University of Athens, Greece), but quit for family reasons.
Worked at the European Economic and Social Committee (EESC) as linguistic administrator, and later at the European Parliament's Research Service (EPRS) as policy analyst on digital issues, and at the EESC's Section for Employment, Social Affairs and Citizenship (SOC) as administrator on Education, Skills, and Culture issues.
Since July 2019, conducting independent research on Renaissance topics.
Studied French language and literature as well as Prehistoric and Classical Archeology, and obtained a Master's degree in French literature and linguistics (University of Thessaloniki, Greece) in 1982.
Completed a Maîtrise and a D.E.A. in French and Comparative Literature (on Gustave Flaubert's "Voyage en Grèce" | Paris 7-Jussieu, France) in 1983 and 1984, respectively.
Worked as a journalist from 1989-1993.
Became member of E.U. staff in 1993.
Obtained a PhD in Comparative Literature (on the myth of Endymion in the Renaissance | University of Thessaloniki, Greece), with an Alexander S. Onassis Public Benefit Foundation scholarship in 1999.
In 2009 elected lecturer in Art History, to teach Renaissance and Baroque Art (National and Kapodistrian University of Athens, Greece), but quit for family reasons.
Worked at the European Economic and Social Committee (EESC) as linguistic administrator, and later at the European Parliament's Research Service (EPRS) as policy analyst on digital issues, and at the EESC's Section for Employment, Social Affairs and Citizenship (SOC) as administrator on Education, Skills, and Culture issues.
Since July 2019, conducting independent research on Renaissance topics.
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Books by Natalia Agapiou
Natalia AGAPIOU, Hermann Walter /
Bibliografia Hermann Walter /
Tabula gratulatoria /
Marco BALLARINI, La figura della passione nel capolavoro del Pulci. Astolfo, Morante e Orlando /
Yvonne BELLENGER, Montaigne et l’Allemagne /
Ferruccio BERTINI (†), Ancora sugli “Amores” di Ovidio /
Sandro BOLDRINI, Il lupo e l’agnello. Il tempo dell’incontro /
Franco BUZZI, Como illustre. I due Plinio nei tre Giovio /
Jean-Louis CHARLET, Les sibylles. Varron, Lactance, Servius, Tortelli et Perotti /
Béatrice CHARLET-MESDJIAN, La poésie familiale dans l’œuvre élégiaque de T. V. Strozzi /
Gaetano CHIAPPINI (†), Il “privado” secondo Francisco de Quevedo. Fra Seneca e Giobbe, ossia, le cinque e piú verità /
Edoardo FUMAGALLI, Il lauro e il mirto. Osservazioni e dubbi sullo Stazio di Dante /
Alessandro GHISALBERTI, Medioevo al futuro. Radici medievali del pensiero moderno /
Alberto GRILLI (†), Su due frammenti tragici di Ennio (LXVIII e CLXXX Jo.) /
Hans-Jürgen HORN, Die Leier des Orpheus. Zum orphischen Hintergrund von Goethes “Urworten. Orphisch” /
Gerlinde HUBER-REBENICH, Homerische Anagnorismen in Vergils “Aeneis” /
Klara PAJORIN, Symposiaka Germanica. Janus Cornarius sulla parità tra gli antichi greci e i “germani” /
Luciano PATETTA, L’architettura del Rinascimento eguaglia e talvolta supera quella degli antichi /
Marco PETOLETTI, Il coro tragico di Giovanni Manzini della Motta /
Michel POPOFF, Le rhinocéros dans l’héraldique /
Ludovica RADIF, Miti affioranti dalla “Fabula Penia” /
Udo REINHARDT, Griechische Mythen in der Malerei des dritten Reichs /
Luisa SECCHI-TARUGI, Alcuni principi del ben vivere nel “De remediis utriusque fortunae” di Francesco Petrarca
The myth woven around Selene's love for the handsome sleeping shepherd Endymion enjoyed considerable popularity during the Renaissance. This myth deprived of intrigue owes its vitality above all to the mythopoetic potential of lunar symbolism. Thus, despite its static character, it was used, in the works of the various authors who treated it (il Cariteo, Giulio Camillo Delminio, John Lyly, Michael Drayton, Francis Bacon, Giambattista Marino and Jean Ogier de Gombauld) and artists who illustrated it (Cima da Conegliano, Annibale Carracci, Nicolas Poussin, il Guercino, the emblematists) as a representation of each one the three components of the “vita triplex”: life under the empire of Venus (“vita voluptuosa”), under the empire of Juno (“vita activa”) and under the empire of Minerva (“vita contemplativa”).
FR
Le mythe formé autour de l'amour que Séléné voua au beau berger endormi Endymion, connut une vogue considérable durant la Renaissance. Ce mythe privé d'intrigue doit surtout sa vitalité au potentiel mythopoétique du symbolisme lunaire. Ainsi, malgré son caractère statique, il fut appelé, dans les œuvres des différents auteurs qui le traitèrent (il Cariteo, Giulio Camillo Delminio, John Lyly, Michael Drayton, Francis Bacon, Giambattista Marino et Jean Ogier de Gombauld) et des artistes qui l'illustrèrent (Cima da Conegliano, Annibale Carracci, Nicolas Poussin, il Guercino, les emblématistes), à représenter chacune des trois composantes de la “triplex vita”: la vie sous l'empire de Vénus (“vita voluptuosa”), sous l'empire de Junon (“vita activa”) et sous l'empire de Minerve (“vita contemplativa”).
Translation & Annotation by Natalia Agapiou
Papers by Natalia Agapiou
This is a correct version of the text that was published in the volume of the acts with very serious typographical errors.
Book-Reviews by Natalia Agapiou
Natalia AGAPIOU, Hermann Walter /
Bibliografia Hermann Walter /
Tabula gratulatoria /
Marco BALLARINI, La figura della passione nel capolavoro del Pulci. Astolfo, Morante e Orlando /
Yvonne BELLENGER, Montaigne et l’Allemagne /
Ferruccio BERTINI (†), Ancora sugli “Amores” di Ovidio /
Sandro BOLDRINI, Il lupo e l’agnello. Il tempo dell’incontro /
Franco BUZZI, Como illustre. I due Plinio nei tre Giovio /
Jean-Louis CHARLET, Les sibylles. Varron, Lactance, Servius, Tortelli et Perotti /
Béatrice CHARLET-MESDJIAN, La poésie familiale dans l’œuvre élégiaque de T. V. Strozzi /
Gaetano CHIAPPINI (†), Il “privado” secondo Francisco de Quevedo. Fra Seneca e Giobbe, ossia, le cinque e piú verità /
Edoardo FUMAGALLI, Il lauro e il mirto. Osservazioni e dubbi sullo Stazio di Dante /
Alessandro GHISALBERTI, Medioevo al futuro. Radici medievali del pensiero moderno /
Alberto GRILLI (†), Su due frammenti tragici di Ennio (LXVIII e CLXXX Jo.) /
Hans-Jürgen HORN, Die Leier des Orpheus. Zum orphischen Hintergrund von Goethes “Urworten. Orphisch” /
Gerlinde HUBER-REBENICH, Homerische Anagnorismen in Vergils “Aeneis” /
Klara PAJORIN, Symposiaka Germanica. Janus Cornarius sulla parità tra gli antichi greci e i “germani” /
Luciano PATETTA, L’architettura del Rinascimento eguaglia e talvolta supera quella degli antichi /
Marco PETOLETTI, Il coro tragico di Giovanni Manzini della Motta /
Michel POPOFF, Le rhinocéros dans l’héraldique /
Ludovica RADIF, Miti affioranti dalla “Fabula Penia” /
Udo REINHARDT, Griechische Mythen in der Malerei des dritten Reichs /
Luisa SECCHI-TARUGI, Alcuni principi del ben vivere nel “De remediis utriusque fortunae” di Francesco Petrarca
The myth woven around Selene's love for the handsome sleeping shepherd Endymion enjoyed considerable popularity during the Renaissance. This myth deprived of intrigue owes its vitality above all to the mythopoetic potential of lunar symbolism. Thus, despite its static character, it was used, in the works of the various authors who treated it (il Cariteo, Giulio Camillo Delminio, John Lyly, Michael Drayton, Francis Bacon, Giambattista Marino and Jean Ogier de Gombauld) and artists who illustrated it (Cima da Conegliano, Annibale Carracci, Nicolas Poussin, il Guercino, the emblematists) as a representation of each one the three components of the “vita triplex”: life under the empire of Venus (“vita voluptuosa”), under the empire of Juno (“vita activa”) and under the empire of Minerva (“vita contemplativa”).
FR
Le mythe formé autour de l'amour que Séléné voua au beau berger endormi Endymion, connut une vogue considérable durant la Renaissance. Ce mythe privé d'intrigue doit surtout sa vitalité au potentiel mythopoétique du symbolisme lunaire. Ainsi, malgré son caractère statique, il fut appelé, dans les œuvres des différents auteurs qui le traitèrent (il Cariteo, Giulio Camillo Delminio, John Lyly, Michael Drayton, Francis Bacon, Giambattista Marino et Jean Ogier de Gombauld) et des artistes qui l'illustrèrent (Cima da Conegliano, Annibale Carracci, Nicolas Poussin, il Guercino, les emblématistes), à représenter chacune des trois composantes de la “triplex vita”: la vie sous l'empire de Vénus (“vita voluptuosa”), sous l'empire de Junon (“vita activa”) et sous l'empire de Minerve (“vita contemplativa”).
This is a correct version of the text that was published in the volume of the acts with very serious typographical errors.