Bibliographic Essay

General surveys of Roman representational art include the following: D. Kleiner, Roman Sculpture (New Haven, CT: Yale University Press, 1992); R. Ling, Roman Painting (Cambridge: Cambridge University Press, 1991); K.

Dunbabin, Mosaics of the Greek and Roman World (Cambridge: Cambridge University Press, 1999). The significance of style in pictorial art is addressed by T. Holscher, The Language of Images in Roman Art (Cambridge: Cambridge University Press, 2004), in which the author examines Hellenistic and Roman battle imagery. The portrayal of war across a variety of media can be found in S. Dillon and K. Welch (eds.), Representations of War in Ancient Rome (Cambridge: Cambridge University Press, 2006). Noteworthy studies concerning Roman battle scenes and iconography are as follows: S. Faust, Schlachtenbilder der romischen Kaiserzeit (Rahden: Verlag Marie Leidorf, 2012); G.-C. Picard, ‘L'Ideologie de la guerre et ses monuments dans l'Empire romain', Revue Archeologique 1 (1992), 111-41; T. Schäfer, ‘Romischer Schlachtenbilder', Madrider Mitteilungen 27 (1986), 345-64. The development of war iconography and triumphal display is discussed in the following: P. Holliday, The Origins of Roman Historical Commemoration in the Visual Arts (Cambridge: Cambridge University Press, 2002); M. Beard, The Roman Triumph (Cambridge, MA: Harvard University Press, 2009); I. Ostenberg, Staging the World: Spoils, Captives, and Representations in the Roman Triumphal Procession (Oxford: Oxford University Press, 2009).

Sources on Roman attitudes towards gladiatorial combat are gathered and discussed in M. Wistrand, Entertainment and Violence in Ancient Rome: The Attitudes of Roman Writers in the First Century CE (Goteborg: Acta Universitatis Gothoburgensis, 1992). Studies of gladiatorial images in funerary and domestic contexts are offered by M. Flecker, Romische Gladiatorenbilder (Wiesbaden: Ludwig Reichert Verlag, 2015) and M.

Papini, Il Mondo delle immagini deigladiatori (Rome: Accademia Nazionale dei Lincei, 2004). Mosaics of gladiatorial combat in domestic settings are addressed by S. Brown, ‘Death as Decoration: Scenes from the Arena on Roman Domestic Mosaics', in A. Richlin (ed.), Pornography and Representation in Greece and Rome (Oxford: Oxford University Press, 1992), pp. 180-211, and K. Dunbabin, The Mosaics of Roman North Africa (Oxford: Oxford University Press, 1978).

Representations of violence as a cultural phenomenon within the Second Sophistic are dealt with in the following: H. Morales, ‘The Torturer's Apprentice: Parrhasius and the Limits of Art', in J. Elsner (ed.), Art and Text in Roman Culture (Cambridge: Cambridge University Press, 1996), pp. 182-209; H. von den Hoff, ‘Horror and Amazement: Colossal Mythological Statue Groups and the New Rhetoric of Images in Late Second and Early Third Century Rome', in B. Borg (ed.), Paideia: The World of the Second Sophistic (Berlin: De Gruyter, 2004), pp. 105-29; Z. Newby, ‘The Aesthetics of Violence: Myth and Danger in Roman Domestic Landscapes', Classical Antiquity 31.2 (2012), 349-89, which also treats violent myth scenes in Pompeian painting. For more on violent scenes in Pompeian painting, see D. Frederick, ‘Beyond the Atrium to Ariadne: Erotic Painting and Visual Pleasure in the Roman House', Classical Antiquity 14.2 (1995), 266-88; A. Koloski-Ostrow, ‘Violent Stages in Two Pompeian Houses: Imperial Taste, Aristocratic Response, and Messages of Male Control', in A. Koloski-Ostrow and C. Lyons (eds.), Naked Truths: Women, Sexuality, and Gender in Classical Art and Archaeology (London: Routledge, 1997), pp. 243-66; B. Severy-Hoven, ‘Master Narratives and the Wall Painting of the House of the Vettii, Pompeii', Gender & History 24.3 (2012), 540-80, with an excellent summary of the use of feminist theory and film criticism in scholarship on Roman painting since the publication of L. Mulvey's Visual and Other Pleasures (London: Palgrave Macmillan, 1989).Finally, violent myth scenes on sarcophagi are catalogued and discussed in P. Zanker and C. Ewald, Living with Myths (Oxford: Oxford University Press, 2012), while the specific meaning of the Medea myth is analysed in G. Gessert, ‘Myth as Consolatio: Medea on Roman Sarcophagi', Greece & Rome 51.2 (2004), 217-49.

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Source: Fagan Garrett G., Fibiger Linda, Hudson Mark, Trundle Matthew (eds.). The Cambridge World History of Violence. Volume 1: The Prehistoric and Ancient Worlds. Cambridge University Press,2020. — 756 p.. 2020

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