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The Parthenon Enigma
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Audible Audiobook
Listening Length: 12 hours and 10 minutes
Program Type: Audiobook
Version: Unabridged
Publisher: Audible Studios
Audible.com Release Date: September 15, 2014
Language: English, English
ASIN: B00NLJ3LZI
Amazon Best Sellers Rank:
In perhaps one of every 20 academic books I read, I find a very very good crossover that will also appeal to a popular audience. Prof. Connelly not only offers a new interpretation of the Parthenon, but she explains Athenian culture and politics with an extraordinary and exciting lucidity. I felt like I was re-discovering Periklean Athens all over again: it was fresh, brilliant, and original.The object in question is the Parthenon, which is supposed to represent the birth of the West and the concept of democracy, according to its Enlightenment interpreters. It combines form with sculptural representation, though no one really knows what exactly most of the sculptures are supposed portray or even what the true purpose was. Many have assumed that the statues depicted recent events.Connelly begins with the assertion that - unlike monotheistic cultures that have a single, sacred text as an irrefutable canonic reference - the Classical Athenians turned to local ritual and architecture to embody the essence of the city state's culture, ideology, and narrative. As such, the Athenians (and the others of classical Graeco-Roman world) lived in a more ambiguous world, where collective interpretations left much implied but unsaid, in part secret, in part assumed in conventions that remain mysterious to us. What Connelly does in this masterful book is offer an interpretation of this gestalt, as expressed in the Parthenon. (Keep in mind that Athens, and possibly Sparta, is only one of exemplar of a vast culture that was spread through the entire Mediterranean. It's enough to leave one awestruck - it's why I majored in classical civilization in college, so this book is a return to my youthful inspiration.)According to Connelly, the sculptures begin by depicting King Erechtheus and Queen Praxithea, whose sacrifice of their daughters helped to found Athens as legitimate in the eyes of the Olympian Gods, a unique entity that sprung from the soil in mythic time. Also portrayed, Athena and Poseidon competed for the patronage of Athens, which the former won, creating a jealous enemy in Poseidon. They also sprung from the seed of Hephaestus, as scraped off of Athena's thoroughly uninterested thigh. Unique by this mandate, the Athenians went on to do great things: they believed in themselves, in their unique origin as spawn from the earth around Athens.Connelly develops this narrative into an interpretation of the experience of Athenians, who reinforced their sense of solidarity through rituals and celebratory festivals connected to the Parthenon. In her scheme, religion was inseparable from the politics and ideology of Athens, a sense of superiority that enabled them to dominate their allies in the Delian League and finance colossal expenditures on their behalf to beautify Athens, i.e. a repressive democracy based on unique privilege and naked self interest. If this sounds contradictory, it indicates how completely different the conception of democracy and citizenship was then: it was less about individual rights than contributing to the well being of an elite city that was destined to dominate its brothers in the Greek diaspora. Democracy was a duty to serve the community, which excluded outsiders by its very nature and sense of uniqueness.A narrative thread through the book is the steps of discovery that Connelly took, including a manuscript fragment by Euripedes to very technical archaeological excavations that demonstrated the use of paint on the statues. You get the story of the Elgin marbles, complete with the current controversy regarding their return to Greece. I found it a dazzling example of how classicists reason.Nonetheless, I have some caveats to add. First, like all classicists who focus exclusively on the West, Connelly takes for granted that it was superior. I would have like more context and comparisons with the other great empires, e.g. Persia and Egypt, whose architecture the Parthenon has been accused of copying. Second, many of her colleagues have criticized her new interpretation; perhaps it is too early, but I would like to hear her rebuttals.Recommended with the greatest enthusiasm. The text is pretty much at the undergraduate level.
A breakthrough book by one of the finest authors working today in the archeology field. Connelly is also author of "Portrait of a Priestess"--if you don't already have it, find a copy, as it similarly reevaluates an area of ancient studies that was in need of a thoroughly unique analysis. Connelly, in both of these texts, reinterprets long-standing beliefs about Athenian thought. In addition to the "Parthenon Enigma" being an engrossing read, it becomes a sweeping look at the ancient Mediterranean world.I read it front to back in about 10 days, finishing it would a small "Wow." I'm currently rereading the book. Highly recommended.
A total eye-opener, this book brings ancient Athenian spirituality back to life in a way I haven't experienced since Roger Lipsey's "Have You Been to Delphi?" Connelly writes so lucidly, you can vividly feel yourself strolling through the Parthenon 2500 years ago. (Such skill in taking readers on a journey into the past is regrettably rare in archeological writing!) Connelly's insights into the foundation myth of Athens are amazing and thoroughly convincing. Fascinating, readable, revelatory.
A bit slow here and there but ESSENTIAL for anyone going to Athens (as I was when I read this) who intends to go to the Parthenon and the new and fabulous Parthenon museum.The subject is the meaning of the band of decorative sculpture that used to surround the building -- so high up it was not easily visible from the ground. But that set of sculptural panels is now wonderfully displayed in the museum and you can look at it and really consider Connelly's argument. Her view is that it depicts the preparations for the sacrifice of the young daughter of an early (and possibly mythical) king of Athens--to ensure victory in a critical battle. This is not how we like to think of the "rational" Greeks but she persuasively argues they were a far more superstitious and "Gods-fearing" people than we learn about in middle school. Friends in the field tell me her view is still very controversial but it really made my visit much more interesting.
A book overturning centuries of orthodoxy about one of the great works of Greek art was, for me, also a great introduction to how to see and understand Greek Sculpture generally. I am not an academic or an art or ancient history scholar but they are not the primary audience for this book. I don't know what they made of it, but I feel like I have a much more accurate understanding of how and why Greek and Roman sculpture far beyond just the Parthenon looks the way they do.I knew very little about the subject before this book, but Connelly writes clearly and directly. She gives enough history and context to root her story in something solid, but she is remarkable making the importance of historical detail clear. She never once goes off on a digression into the minutiae that makes scholars' hearts palpitate but leaves non-specialists at a total loss that ruin books of this sort.What I liked most is that it never felt like she was making an argument against an orthodox position. It was not strident nor contentious. Nor was she stacking facts into straight rows and dry, tidy piles.She was telling a story, and telling it well and I am leaping deeper into the academic murk, more confident having read this first.
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