Virgin Sacrifice in Classical Art

Anthony F. Mangieri is Associate Professor of Art History and Coordinator of the Women, Gender, and Sexuality Studies program at Salve Regina University in Newport, Rhode Island, USA. He holds a Ph.D. in Greek and Roman art from Emory University. Mangieri has lectured widely and published articles on Greek art.

"This refreshing, multi-faceted approach to analyzing visual representations of a most intriguing topic is a powerful argument for using myth, depicted both in art and literature, as a means for understanding how women and men in the classical Mediterranean world saw themselves and each other."- Keely Elizabeth Heuer, State University of New York at New Paltz

• Table of ContentsAcknowledgements List of Figures List of Abbreviations Chapter 1: Introduction: Virgin Sacrifice in Classical Art and SocietyJust a Man’s World? The Patriarchal, Monolithic Male GazeThe Public and Private ‘Lives’ of Iphigeneia and PolyxenaOrganization of the StudyChapter 2: What Makes a Virgin Sacrifice?Towards a Definition of Virgin SacrificeKilling a Woman: Terminology and Relation to Animal SacrificeTraditions of Human Sacrifice in the Near EastJephthah’s Daughter: Virgin Sacrifice in the BibleChapter 3: The Sacrifice of IphigeneiaIphigeneia in Greek ArtIphigeneia in Etruscan ArtIphigeneia in Roman ArtChapter 4: The Sacrifice of PolyxenaPolyxena in Greek ArtPolyxena in Etruscan ArtPolyxena in Roman Art Chapter 5: War and Womanhood: Virgin Sacrifice and the Trojan WarThe Sacrificial Virgins and Helen of TroyThe Brygos Painter’s Louvre Iliupersis CupIconographic Ambiguity: Who is Represented?Between Sisters: Kassandra and PolyxenaThe Sacrificial Virgin in Iliupersis TableauxPolyxena and TroilosThe Heroines Pyxis in London: The Art of Pairing WomenThe Trojan War on Italian Soil: Resonances in the Roman WorldVirgin Bodies: Framing The Trojan WarBeyond the Trojan War: The Defiant AntigoneMythological Women, Representation, and WomanhoodChapter 6: The Sacrificial Virgins and Female AgencyConsent, Resistance, and the Measure of a MaidenAgency and Context in Etruscan and Roman ArtPolyxena the Aristocrat: Agency, War, and TripodsVictims and Rebels: Recovering Ancient Women’s ResistanceChapter 7: Conclusion: The Princess and the KnifeThe "Afterlives" of Iphigeneia and Polyxena: Their LegacyAfter the Sacrifice and Further QuestionsConclusionBibliographyCatalogue of Representations of Iphigeneia and Polyxena in Greek, Etruscan, and Roman ArtGeneral Index