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The Parthenon Enigma
Built in the fifth century b.c., the Parthenon has been venerated for more than two millennia as the West’s ultimate paragon of beauty and proportion. Since the Enlightenment, it has also come to represent our political ideals, the lavish temple to the goddess Athena serving as the model for our most hallowed civic architecture. But how much do the values of those who built the Parthenon truly correspond with our own? And apart from the significance with which we have invested it, what exactly did this marvel of human hands mean to those who made it?
In this revolutionary book, Joan Breton Connelly challenges our most basic assumptions about the Parthenon and the ancient Athenians. Beginning with the natural environment and its rich mythic associations, she re-creates the development of the Acropolis—the Sacred Rock at the heart of the city-state—from its prehistoric origins to its Periklean glory days as a constellation of temples among which the Parthenon stood supreme. In particular, she probes the Parthenon’s legendary frieze: the 525-foot-long relief sculpture that originally encircled the upper reaches before it was partially destroyed by Venetian cannon fire (in the seventeenth century) and most of what remained was shipped off to Britain (in the nineteenth century) among the Elgin marbles. The frieze’s vast enigmatic procession—a dazzling pageant of cavalrymen and elders, musicians and maidens—has for more than two hundred years been thought to represent a scene of annual civic celebration in the birthplace of democracy. But thanks to a once-lost play by Euripides (the discovery of which, in the wrappings of a Hellenistic Egyptian mummy, is only one of this book’s intriguing adventures), Connelly has uncovered a long-buried meaning, a story of human sacrifice set during the city’s mythic founding. In a society startlingly preoccupied with cult ritual, this story was at the core of what it meant to be Athenian. Connelly reveals a world that beggars our popular notions of Athens as a city of staid philosophers, rationalists, and rhetoricians, a world in which our modern secular conception of democracy would have been simply incomprehensible.
The Parthenon’s full significance has been obscured until now owing in no small part, Connelly argues, to the frieze’s dismemberment. And so her investigation concludes with a call to reunite the pieces, in order that what is perhaps the greatest single work of art surviving from antiquity may be viewed more nearly as its makers intended. Marshalling a breathtaking range of textual and visual evidence, full of fresh insights woven into a thrilling narrative that brings the distant past to life, The Parthenon Enigma is sure to become a landmark in our understanding of the civilization from which we claim cultural descent.
In this revolutionary book, Joan Breton Connelly challenges our most basic assumptions about the Parthenon and the ancient Athenians. Beginning with the natural environment and its rich mythic associations, she re-creates the development of the Acropolis—the Sacred Rock at the heart of the city-state—from its prehistoric origins to its Periklean glory days as a constellation of temples among which the Parthenon stood supreme. In particular, she probes the Parthenon’s legendary frieze: the 525-foot-long relief sculpture that originally encircled the upper reaches before it was partially destroyed by Venetian cannon fire (in the seventeenth century) and most of what remained was shipped off to Britain (in the nineteenth century) among the Elgin marbles. The frieze’s vast enigmatic procession—a dazzling pageant of cavalrymen and elders, musicians and maidens—has for more than two hundred years been thought to represent a scene of annual civic celebration in the birthplace of democracy. But thanks to a once-lost play by Euripides (the discovery of which, in the wrappings of a Hellenistic Egyptian mummy, is only one of this book’s intriguing adventures), Connelly has uncovered a long-buried meaning, a story of human sacrifice set during the city’s mythic founding. In a society startlingly preoccupied with cult ritual, this story was at the core of what it meant to be Athenian. Connelly reveals a world that beggars our popular notions of Athens as a city of staid philosophers, rationalists, and rhetoricians, a world in which our modern secular conception of democracy would have been simply incomprehensible.
The Parthenon’s full significance has been obscured until now owing in no small part, Connelly argues, to the frieze’s dismemberment. And so her investigation concludes with a call to reunite the pieces, in order that what is perhaps the greatest single work of art surviving from antiquity may be viewed more nearly as its makers intended. Marshalling a breathtaking range of textual and visual evidence, full of fresh insights woven into a thrilling narrative that brings the distant past to life, The Parthenon Enigma is sure to become a landmark in our understanding of the civilization from which we claim cultural descent.
512 pages, Hardcover
First published January 1, 2014
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1142 people want to read
About the author
Joan Breton Connelly
3 books9 followersJoan Breton Connelly is an American classical archaeologist and Professor of Classics and Art History at New York University. She is Director of the Yeronisos Island Excavations and Field School in Cyprus. Connelly was awarded a MacArthur Fellowship in 1996. She received the Archaeological Institute of America Excellence in Undergraduate Teaching Award in 2007 and held the Lillian Vernon Chair for Teaching Excellence at New York University from 2002 to 2004.
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Displaying 1 - 30 of 68 reviews
December 19, 2015
This was one of the best nonfictions I've read in awhile!!! I was reading slowly to retain anything. The information was fascinating and the author's style not complicated. Supplementary material and both b&w and color illustrations were outstanding.
It described Athens in antiquity: geography, topography, natural surroundings, why this particular location of Acropolis chosen. The Acropolis was a sacred space. To ancient Greeks mythology = history; religion was not separate. An aside: ancient Greeks had a Deluge myth like that of Sumerians and Hebrews; their "Noah" and wife were Deukalion and Pyrrha.
I learned a new word, only who knows when I'll use it: Catasterization [change into constellations] of some mythological figures, e.g., Drako, Hydra by some of the gods.
Persians in the Greco-Persian War destroyed much of the pre-Periklean Acropolis temples. Perikles began a massive rebuilding project, including the Parthenon and Erechtheon. Then followed an extensive description. The Parthenon friezes all around the upper wall and pediments were a retelling of the Erechtheus myth and the sacrifice of his virgin daughter [perhaps named Pandora--a different girl from the one who opened the box] for the good of the city. Erechtheus was considered the primordial father of Athens. Her sisters also died. The author feels the Parthenon ["place of the maidens"] is in honor of these young ladies, in spite of a statue of Athena. These buildings memorialized dead heroes--the dead shaped sacred spaces. Reason for the name Parthenon is not so much Athena as the virgin daughter of Erechtheus, who was sacrificed for good of the city. Explanation of Panathenaion and that of Hyakinthia follow. I've always wondered about the latter when I was reading about Sparta. The author mentions influences from those days on several modern customs. The book closes with the polychromy controversies, repair and cleaning efforts, some not so successful; modern ones are trying to undo old efforts and restoring with more modern methods. The author hopes the Elgin Marbles [60% of the frieze taken to the British Museum and other European countries] will be returned since the Greeks built a spanking new Acropolis Museum in 2009.
Most highly recommended for anyone who is interested in archaeology, mythology, or antiquities.
It described Athens in antiquity: geography, topography, natural surroundings, why this particular location of Acropolis chosen. The Acropolis was a sacred space. To ancient Greeks mythology = history; religion was not separate. An aside: ancient Greeks had a Deluge myth like that of Sumerians and Hebrews; their "Noah" and wife were Deukalion and Pyrrha.
I learned a new word, only who knows when I'll use it: Catasterization [change into constellations] of some mythological figures, e.g., Drako, Hydra by some of the gods.
Persians in the Greco-Persian War destroyed much of the pre-Periklean Acropolis temples. Perikles began a massive rebuilding project, including the Parthenon and Erechtheon. Then followed an extensive description. The Parthenon friezes all around the upper wall and pediments were a retelling of the Erechtheus myth and the sacrifice of his virgin daughter [perhaps named Pandora--a different girl from the one who opened the box] for the good of the city. Erechtheus was considered the primordial father of Athens. Her sisters also died. The author feels the Parthenon ["place of the maidens"] is in honor of these young ladies, in spite of a statue of Athena. These buildings memorialized dead heroes--the dead shaped sacred spaces. Reason for the name Parthenon is not so much Athena as the virgin daughter of Erechtheus, who was sacrificed for good of the city. Explanation of Panathenaion and that of Hyakinthia follow. I've always wondered about the latter when I was reading about Sparta. The author mentions influences from those days on several modern customs. The book closes with the polychromy controversies, repair and cleaning efforts, some not so successful; modern ones are trying to undo old efforts and restoring with more modern methods. The author hopes the Elgin Marbles [60% of the frieze taken to the British Museum and other European countries] will be returned since the Greeks built a spanking new Acropolis Museum in 2009.
Most highly recommended for anyone who is interested in archaeology, mythology, or antiquities.
November 19, 2020
The discovery of a substantial portion of Euripides' "Erechtheus" has led author Connelly to reevaluate the Parthenon and its meaning to the ancient Athenians. In the course of so doing she also traces some of the history of its understanding by more modern populations. She concludes with an appeal for the restoration of the temple's scattered fragments.
This is not always an easy text. Previous acquaintance with the history of classical Athens and with Greek mythologies will pay off.
This is not always an easy text. Previous acquaintance with the history of classical Athens and with Greek mythologies will pay off.
December 3, 2015
This was a 2.5/3 borderline book for me.
This book suffered, I thought, from advancing a very tenuous, academically complex thesis within the framework of a pop history; these two sides of the book felt somewhat at odds.
As a major Erectheus/Creusa/Ion enthusiast, Connelly's thesis was enormously appealing to me, but I did not feel myself quite persuaded, and wanted a more detailed analysis of her sources. At the same time, the reception history (the polychrome controversy!) was fascinating and engagingly described.
Ultimately, the tipping point for my rating was Connelly's pervasive references to the rapes of Creusa and Auge as "seductions" or "making love".
This book suffered, I thought, from advancing a very tenuous, academically complex thesis within the framework of a pop history; these two sides of the book felt somewhat at odds.
As a major Erectheus/Creusa/Ion enthusiast, Connelly's thesis was enormously appealing to me, but I did not feel myself quite persuaded, and wanted a more detailed analysis of her sources. At the same time, the reception history (the polychrome controversy!) was fascinating and engagingly described.
Ultimately, the tipping point for my rating was Connelly's pervasive references to the rapes of Creusa and Auge as "seductions" or "making love".
April 30, 2014
The author used her expertise to shed fresh light on a very bold subject.
The Parthenon once known as the “palace of the maidens” and “the temple” is a magnificent example of Greek architecture with majestic columns built primarily of marble in 477-466 BC. To comprehend the structure’s iconic significance as a major symbol of Greek society one must strip back the layers of time to focus upon the ancient Greek cult myths and the multitude of gods and goddesses such as Apollo, Artemis, Poseidon, Aphrodite, and most of all Athena the daughter of Zeus. Thereafter proceed forward to Pericles rule with the fascinating birthplace of democracy.
This book is not a complete history of the Parthenon as I wished it had delved further into the time when it was used as a Christian church and later in the 15th Century when the Ottoman Empire turned it into a mosque. The period during WWII when the German flag flew beside the Parthenon was not mentioned. Still the book was quite interesting covering in great detail: 1) the Parthenon and its sculptured frieze, 2) the Acropolis, the elevated terrain that the Parthenon rests upon including other surrounding man-made projects, 3) an in-depth background of the goddess Athena for whom the city of Athens is named after.
I would love to visit the Parthenon once again and find a moment in the evening to reflect upon days past by viewing the constellations.
The Parthenon once known as the “palace of the maidens” and “the temple” is a magnificent example of Greek architecture with majestic columns built primarily of marble in 477-466 BC. To comprehend the structure’s iconic significance as a major symbol of Greek society one must strip back the layers of time to focus upon the ancient Greek cult myths and the multitude of gods and goddesses such as Apollo, Artemis, Poseidon, Aphrodite, and most of all Athena the daughter of Zeus. Thereafter proceed forward to Pericles rule with the fascinating birthplace of democracy.
This book is not a complete history of the Parthenon as I wished it had delved further into the time when it was used as a Christian church and later in the 15th Century when the Ottoman Empire turned it into a mosque. The period during WWII when the German flag flew beside the Parthenon was not mentioned. Still the book was quite interesting covering in great detail: 1) the Parthenon and its sculptured frieze, 2) the Acropolis, the elevated terrain that the Parthenon rests upon including other surrounding man-made projects, 3) an in-depth background of the goddess Athena for whom the city of Athens is named after.
I would love to visit the Parthenon once again and find a moment in the evening to reflect upon days past by viewing the constellations.
March 12, 2014
This was an amazingly good book. I am a fan of Classical Greek culture with some background, having taught an interdisciplinary course on The Classical Age 9 times over a period of 20 years at Virginia Tech. I know a good deal about Classical sculpture and architecture, and was pleased to find that I haven't been misleading my students about anything, except…the Parthenon frieze. While this book is incredibly wide-ranging, its real contribution to scholarship is a reinterpretation of the frieze. It is traditionally thought to represent the Panathenaic Procession, an annual event (though more significant every 4 years) staged for several centuries from the 5th Century BCE until a Roman emperor outlawed pagan celebrations in the 4th Century CE. The author does a very respectable job of questioning and marshaling evidence for interpretations. Her theory is that the frieze represents the sacrifice of the daughter of Erechtheus, required by the Oracle at Delphi for an Athenian victory pitting Athena and her allies against Poseidon and his allies (who had wanted to be the local god). This general conflict between Athena and Poseidon is known from the West Pediment. The story of the family of Erechtheus and his daughters is only known from a fragmentary play by Euripides named "Erechtheus." She apparently first put forward this hypothesis over 20 years ago, and has been building her case ever since. That mythical event was apparently the origin of the Panathenaic Procession, so the traditional interpretation is not wildly off. But she argues, for instance, that the Procession was a contemporary event, and no other art on the Parthenon (or really anywhere on temples) depicted contemporary events. I had always assumed (because tradition had always assumed) that the Parthenon was so named after the Virgin (Parthenos) Athena. But it turns out that Parthenon is plural, meaning of the Virgins. In the story the sacrificed daughter had 2 sisters and they had once agreed that if one had to die, all would die, so it is really 3 virgins who are commemorated by the building and in the frieze. There is a lot in the book, covering broad sweeps of Greek history and culture. (The 80 pages of end notes insure that this is not meant as a popularization, but a scholarly work. Yet is does not read like a scholarly work.)
Not being an expert on these matters, I'll be interested to know what the scholarly reaction is. She marshals considerable evidence for all her claims, but I can't really know if she is "cherry-picking" evidence, and ignoring counter-evidence. It does seem odd (here is one objection) that the mythical story behind the frieze could be so little-known that it appears in only one fragmentary play. It seems that something so important to the Athenians would have had wider distribution. We, eons later, are of course at the mercy of historical contingencies that affect what documents and artifacts from the ancient world survive to our times. But it just seems surprising that it could have worked out this way and been so hard to discover. Another issue (perhaps another objection) is her use of the term "democracy." She takes the frieze and much of Athenian culture to reinforce the democratic spirit of self-sacrifice for the good of the whole community. This is a fine goal, but it is not specifically democratic. In the late 5th Century there was an on-going political conflict between democratic and oligarchic rule in Athens. Plato specifically enrolled himself among the enemies of democracy. But that in no way undermined his support for self-sacrifice for the good of the community. So I'd say her use of democracy is misleading.
Not being an expert on these matters, I'll be interested to know what the scholarly reaction is. She marshals considerable evidence for all her claims, but I can't really know if she is "cherry-picking" evidence, and ignoring counter-evidence. It does seem odd (here is one objection) that the mythical story behind the frieze could be so little-known that it appears in only one fragmentary play. It seems that something so important to the Athenians would have had wider distribution. We, eons later, are of course at the mercy of historical contingencies that affect what documents and artifacts from the ancient world survive to our times. But it just seems surprising that it could have worked out this way and been so hard to discover. Another issue (perhaps another objection) is her use of the term "democracy." She takes the frieze and much of Athenian culture to reinforce the democratic spirit of self-sacrifice for the good of the whole community. This is a fine goal, but it is not specifically democratic. In the late 5th Century there was an on-going political conflict between democratic and oligarchic rule in Athens. Plato specifically enrolled himself among the enemies of democracy. But that in no way undermined his support for self-sacrifice for the good of the community. So I'd say her use of democracy is misleading.
April 22, 2014
Connelly, Joan Breton. The Parthenon Enigma: A New Understanding of the West’s Most Iconic Building and the People Who Made It, Alfred A. Knopf, New York, 2014
(485pp. $35)
The glory of Periclean Greece is best exemplified by the Parthenon, Athens’ famous temple, lavishly reconstructed after the Persians destroyed a prior temple in 480 B.C. during the culmination of a decades-long war between the Persian Empire and a loose confederation of Greek city states. A large, flat-topped hunk of rock, the Acropolis (“the high place of the city”), had always been the site of the holiest places of the city, notably a shrine to Erechtheus, one of Athens’ mythical founding kings, and Athena, the goddess and patroness of the city. When the Persians burned the old shrines, they also killed countless citizens, priests and slaves, toppling all the sacred statues.
Joan Connelly’s new book about the Parthenon argues that this technically astonishing and ornately decorated temple, completed in 438 B.C. at Athens’ height of influence and power, was actually designed to commemorate human sacrifice. This controversial thesis is one of many that have been advanced over the years. Connelly is an influential classical archaeologist, MacArthur Fellow, and a member of a number of distinguished institutions, including the Institute for Advanced Study at Princeton. She holds a professorship in classics and art history at New York University.
The focus of this new book is on an interpretation of the friezes that garland the Parthenon. The friezes represent an enormous spectacle featuring more than six hundred participants, cavalrymen, parade marshals, elderly dignitaries, maidens, musicians playing their instruments and many others. For years, there has been a lively scholarly debate about the meaning and function of these sculptures. Classicists have long agreed that the friezes represent a grand ceremonial procession. The question has always been---what kind of procession? Theories abound about the friezes and include the notion that the panels represent victory parades celebrating battles and wars, that they celebrate the Panathenaea (a parade involved in “games” undertaken every four years), and, given the preponderance of horsemen, a celebration of the new cavalry units created by Pericles during the temple’s construction.
Based on fragments of a long lost play by Euripides called “Erechtheus”, Connolly concludes that the frieze represents the mythical founding king’s sacrifice of one of his two daughters, a sacrifice to propitiate the gods and sanctify the city. Following this argument along, Connelly concludes that the one rear room of the Parthenon was a tomb for the sacrificed daughter.
Needless to say, the argument has caused considerable controversy, arousing skepticism and doubt among scholars. Lavishly produced and beautifully written, the book also contains some difficult sledding for lay readers. On the other hand, some chapters contain dotingly beautiful descriptions of the art and architecture of the building, the religious and life habits of the Athenians, construction methods, and the cost and the political significance of the building through time. It is, thus, a challenging book, but one that will pay the dedicated reader enormous benefits
(485pp. $35)
The glory of Periclean Greece is best exemplified by the Parthenon, Athens’ famous temple, lavishly reconstructed after the Persians destroyed a prior temple in 480 B.C. during the culmination of a decades-long war between the Persian Empire and a loose confederation of Greek city states. A large, flat-topped hunk of rock, the Acropolis (“the high place of the city”), had always been the site of the holiest places of the city, notably a shrine to Erechtheus, one of Athens’ mythical founding kings, and Athena, the goddess and patroness of the city. When the Persians burned the old shrines, they also killed countless citizens, priests and slaves, toppling all the sacred statues.
Joan Connelly’s new book about the Parthenon argues that this technically astonishing and ornately decorated temple, completed in 438 B.C. at Athens’ height of influence and power, was actually designed to commemorate human sacrifice. This controversial thesis is one of many that have been advanced over the years. Connelly is an influential classical archaeologist, MacArthur Fellow, and a member of a number of distinguished institutions, including the Institute for Advanced Study at Princeton. She holds a professorship in classics and art history at New York University.
The focus of this new book is on an interpretation of the friezes that garland the Parthenon. The friezes represent an enormous spectacle featuring more than six hundred participants, cavalrymen, parade marshals, elderly dignitaries, maidens, musicians playing their instruments and many others. For years, there has been a lively scholarly debate about the meaning and function of these sculptures. Classicists have long agreed that the friezes represent a grand ceremonial procession. The question has always been---what kind of procession? Theories abound about the friezes and include the notion that the panels represent victory parades celebrating battles and wars, that they celebrate the Panathenaea (a parade involved in “games” undertaken every four years), and, given the preponderance of horsemen, a celebration of the new cavalry units created by Pericles during the temple’s construction.
Based on fragments of a long lost play by Euripides called “Erechtheus”, Connolly concludes that the frieze represents the mythical founding king’s sacrifice of one of his two daughters, a sacrifice to propitiate the gods and sanctify the city. Following this argument along, Connelly concludes that the one rear room of the Parthenon was a tomb for the sacrificed daughter.
Needless to say, the argument has caused considerable controversy, arousing skepticism and doubt among scholars. Lavishly produced and beautifully written, the book also contains some difficult sledding for lay readers. On the other hand, some chapters contain dotingly beautiful descriptions of the art and architecture of the building, the religious and life habits of the Athenians, construction methods, and the cost and the political significance of the building through time. It is, thus, a challenging book, but one that will pay the dedicated reader enormous benefits
June 21, 2014
In 2007 I went to Greece to celebrate my 60th birthday (ugh - it needed something special!). Like almost anyone who has seen it I was blown away and could not get enough of it. But frankly, while I know something of Greek theatre history I did not/do not know as much as I'd like about other aspects.
For the most part I very much enjoyed Ms Connelly's book, as it enlightened me on several subjects, in fact it aided my knowledge of theatre history because much of her argument - what is the meaning of the Parthenon, and particularly the figures on the frieze's metopes - depends in large part to the discovery of much more of a 125 line fragment of Erechtheus by Euripides, discovered and painstakingly rescued in the 1950s.
In the mid-90s the author came out with a revolutionary theory about what the frieze is about, and as one might expect in the fierce ego-ridden world of academe, was poo-poo-ed by many traditionalists. I understand that this book has not changed the minds of many of her critics, but whatever you believe the book in part makes for a really good read. She begins each chapter not unlike popular historian Ross King, with an attention-grabbing story, but unlike his writing the brunt of each chapter is very detailed research, backed up by source after source in the endnotes, which I, as a scholar, feel the need to check out.
The research is so thorough and detailed that it can become very tedious - and it did so for me. But it is ABOUT history - what IS it, really? and about one of the most iconic artistic structures in the world, and I think it a must-read for people who have any interest in ancient Greece, the Parthenon and contemporary historical/archeological research. It also made me want to get back to Athens, for if no other reason than to re-visit that great monument but also to see the new Acropolis Museum (completed 2009, two years after my visit). I am beginning to plan that trip now - a journey that will take me to Istanbul/Byzantium/Constantinople and probably Pergamon and Ephesus - maybe even Crete. So I think Ms Connelly for that.
Oh! Don't miss the epilogue, longer than most, which sums up much of what she's written and then launches into a strong and reasoned plea to return those damned "Elgin" marbles to Athens, with which I am in complete agreement!
For the most part I very much enjoyed Ms Connelly's book, as it enlightened me on several subjects, in fact it aided my knowledge of theatre history because much of her argument - what is the meaning of the Parthenon, and particularly the figures on the frieze's metopes - depends in large part to the discovery of much more of a 125 line fragment of Erechtheus by Euripides, discovered and painstakingly rescued in the 1950s.
In the mid-90s the author came out with a revolutionary theory about what the frieze is about, and as one might expect in the fierce ego-ridden world of academe, was poo-poo-ed by many traditionalists. I understand that this book has not changed the minds of many of her critics, but whatever you believe the book in part makes for a really good read. She begins each chapter not unlike popular historian Ross King, with an attention-grabbing story, but unlike his writing the brunt of each chapter is very detailed research, backed up by source after source in the endnotes, which I, as a scholar, feel the need to check out.
The research is so thorough and detailed that it can become very tedious - and it did so for me. But it is ABOUT history - what IS it, really? and about one of the most iconic artistic structures in the world, and I think it a must-read for people who have any interest in ancient Greece, the Parthenon and contemporary historical/archeological research. It also made me want to get back to Athens, for if no other reason than to re-visit that great monument but also to see the new Acropolis Museum (completed 2009, two years after my visit). I am beginning to plan that trip now - a journey that will take me to Istanbul/Byzantium/Constantinople and probably Pergamon and Ephesus - maybe even Crete. So I think Ms Connelly for that.
Oh! Don't miss the epilogue, longer than most, which sums up much of what she's written and then launches into a strong and reasoned plea to return those damned "Elgin" marbles to Athens, with which I am in complete agreement!
January 22, 2020
2020 Pop Sugar Reading Challenge-a book that takes place in a city that has hosted the Olympics.
This was really interesting. I learned a lot that I didn't know or hadn't even thought about. Packed full of information presented in an interesting format. Totally recommend to any interested in archaeology, Greek myth or classical art.
This was really interesting. I learned a lot that I didn't know or hadn't even thought about. Packed full of information presented in an interesting format. Totally recommend to any interested in archaeology, Greek myth or classical art.
April 15, 2017
Very good research and presentation of all the aspects associated with the Parthenon.
March 15, 2019
Probably 4.5 stars. Overall, this was exquisitely researched, and the tone stayed consistent throughout. Connelly clearly decided to write for a more scholarly audience and managed to maintain that during the course of the entire book, which seems to be difficult for many authors when tackling subjects like these.
The presentation of her material was one of the most thorough I've seen in a long time. It's clear that this is Connelly's raison d'etre if you will, a book 20 years in the making, and it shows. Connelly manages to take her reader through concepts that are largely ignored by other historians in exquisite detail, such as the topography of Athens. While most authors might have been content to provide a general overview or even simply a map, Connelly devotes an entire chapter to it. (This can drag at times, which I've found common in scholarly work that supplies an overabundance of details.) The astronomy of the time and how it relates to the overarching narrative is also something to which Connelly pays a great deal of attention.
Overall, I found the arguments presented in this compelling. There's always been a certain about of ambiguity surrounding the Parthenon and especially the frieze, but Connelly manages to tie absolutely every thread of her narrative together into a coherent whole. Of course, it's impossible to know anything with 100% certainty, but Connelly's arguments are certainly more compelling than many previous arguments. (Somewhat ironically, I remember being taught about both the frieze and the Parthenon in some of my classes, and the more conventional roads of scholarship were presented as fact even though there's obvious gaps and failings in them, i.e., a general scene of sacrifice or a contemporaneous description.)
I'm not going to lie, I enjoyed the scathing commentary on the so-called Elgin Marbles and their continued residence in the British Museum in the epilogue immensely as well, and I say this as someone who has had the good fortune to see the marbles in the British Museum.
To me, this represented the best of scholarship. It was exquisitely researched--the notes contained articles in six different languages--and comprehensive but also contained a certain awareness of the changes in the world that scholars often lack.
The presentation of her material was one of the most thorough I've seen in a long time. It's clear that this is Connelly's raison d'etre if you will, a book 20 years in the making, and it shows. Connelly manages to take her reader through concepts that are largely ignored by other historians in exquisite detail, such as the topography of Athens. While most authors might have been content to provide a general overview or even simply a map, Connelly devotes an entire chapter to it. (This can drag at times, which I've found common in scholarly work that supplies an overabundance of details.) The astronomy of the time and how it relates to the overarching narrative is also something to which Connelly pays a great deal of attention.
Overall, I found the arguments presented in this compelling. There's always been a certain about of ambiguity surrounding the Parthenon and especially the frieze, but Connelly manages to tie absolutely every thread of her narrative together into a coherent whole. Of course, it's impossible to know anything with 100% certainty, but Connelly's arguments are certainly more compelling than many previous arguments. (Somewhat ironically, I remember being taught about both the frieze and the Parthenon in some of my classes, and the more conventional roads of scholarship were presented as fact even though there's obvious gaps and failings in them, i.e., a general scene of sacrifice or a contemporaneous description.)
I'm not going to lie, I enjoyed the scathing commentary on the so-called Elgin Marbles and their continued residence in the British Museum in the epilogue immensely as well, and I say this as someone who has had the good fortune to see the marbles in the British Museum.
To me, this represented the best of scholarship. It was exquisitely researched--the notes contained articles in six different languages--and comprehensive but also contained a certain awareness of the changes in the world that scholars often lack.
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August 23, 2016While it may be general knowledge that ancient Athenians built the Parthenon as a temple, Joan Breton Connelly leads readers to a much deeper understanding of what that means. American democracy was founded on separation of church and state, but not Athenian: Connelly shows how religion and myth were central to ancient Greek culture. Using a 1960s transcription of papyrus fragments containing the Erechtheus play by Euripides as key evidence, Connelly argues that the Parthenon and other structures on the Acropolis celebrate the founding myth of Athens, involving the sacrifice of King Erechtheus’ daughters. Photographs, drawings, and maps are clearly cross-referenced in the text, and extensive endnotes reflect thorough research. Many chapters begin in narrative mode, encouraging readers to imagine human lives in the past rather than imposing modern values. Connelly’s concern for general readers also comes through in her explanations of Greek words and provision of historical background. She resolutely avoids discussing Lord Elgin’s removal of the frieze to London until the Epilogue, where she makes a reasoned argument for the “reunification” of the sculptures. A rewarding read.
November 24, 2018
The Parthenon, the building atop the Athenian Acropolis that has become the very symbol of the Western world, is often understood little more than it being the product of the old Hellenic religion and as a monument dedicated to the victory against the expansionist Achaemenid dynasty of Persia. Joan Breton Connelly takes us beyond the realm of human history and into the semi- and mythical points in history as viewed by the Athenians. Cosmic battles between the gods, devastating deluges and epic battles were seen as the boundary points of history by the Athenians just as we have divided history today according to eras such as the Bronze and Iron Ages. The collective Athenian conscious preserved via oral means the events of the Titanomachy, the 10-year war between the original Titans and their young Olympian counterparts, the Gigantomachy, a similar war of succession between the Olympian gods and other divine contestants, the wars with the Amazons, Centaurs, Trojans and lastly, the Thracians. These narratives established Athena as the city’s patron goddess and linked the genealogy of the Athenians with the gods. The final war with the Thracians saw the citizens consulting with the oracle of Delphi, only to be told that king Erechthion’s youngest daughter, the virgin, or maiden (Greek: Parthenos), must be sacrificed lest the entire city perish. Queen Praxithea’s agreement is recorded in fragments of Euripedes’ lost play “Erectheus”;
‘’I hate women who choose life for their children rather than the common good, or urge cowardice. Sons, if they die in battle, share a common tomb with the many others and equal glory. But my daughter will be awarded one crown all to herself when she dies on behalf of this city… If this city is destroyed, what share in my children’s lives will I then have? Is it not better that the whole be saved by one of us doing our part?”
Unbeknownst to the royal couple, their three daughters had sworn an oath to each other too, that if one was to die the others would commit suicide. The loss was magnified by threefold and was followed by the death of Erecthion at the hands of Poseidon. Athena consecrated Praxithea as her priestess and ordered that the girls be buried on the acropolis for a new temple to be erected above and a special cult to be established for the king also, to be known as Erecthion-Poseidon in honour of the man and his killer.
Modern democracy is generally viewed to be greater as the divide between church and state increases but in the birthplace of democracy there was no such thing. Democracy and the reforms of Solon were based on the social solidarity woven by a shared Athenian identity. Pericles’ reforms ultimately transformed Athens into an autochthonous city-state, limiting citizenship to those born of Athenian fathers and mothers and easing the burden of the less well-off. Although inequality in terms of wealth existed, the free citizens of Athens were equal in terms of noble descent.
Religion, war and politics were interwoven flawlessly in all parts of the Hellenic world. The Olympic Games, a modern global sporting competition pitting nations of dynamic contrasts against each other, is traced back to religious origins just like democracy. The Panhellenic Games which took place on alternating years at alternating locations, Olympia, Delphi, Nemea and Isthmia, were ethnically homogenous tournaments which celebrated the strength of the warriors and honoured the local cult of Zeus, Apollo, Heracles or Poseidon. This was demonstrated at Delphi where the Athenians or Spartans would dedicate war booty in remembrance of their victories similar to how shields were hung on the exterior lintels of the Parthenon. The tradition continued well past the age of Athenian hegemony when Alexander achieved his first victory against the Persians near Troy and sent back captured shields to be hung on the Parthenon. Another aspect of these games is the 3-month truce between all warring Greek states in order to permit safe passage and participation in the religious event, similar to the temporary truces of World War I around Christmas where Germans and Britons alike would come together to celebrate their shared Christian faith. The Great Panathenaia was Athens’ own version and is posited by the author as the real life version of the legendary one depicted on the friezes of the Parthenon, culminating in the sacrifice of Erecthion’s family and the establishment of the city’s cult.
The book gives us a timeline of the Parthenon and the events leading to its ruin including the Frankish occupation which transformed it into a cathedral, then an orthodox church since the 5th century, and afterwards a mosque by the Ottoman invaders. Perhaps the greatest act of sacrilege was the conversion of the Erechtion into a harem for the Turkish commander. Here was a religious complex dedicated to the virgin goddess Athena, her virgin maiden Pandora and the rest of the city’s legendary history being transformed into a whore house for men of a foreign religion and stock. The failed Ottoman advance into Europe resulted in a Christian coalition under the Venetians attempting to take back lands lost to the Ottomans centuries before. Parts of Greece were taken but the stubborn Ottomans fortified themselves atop the Acropolis under siege from Venetian cannon fire, one of which struck the Parthenon, a munitions cache at the time, and disfiguring it. Fast-forward a few centuries and you have Thomas Bruce, Earl of Elgin, further scarring the sacred temple by removing its friezes and statues and shipping them back to England to adorn his house and fill the museum. These artworks formed a life-like tapestry but their dissection has relegated them to relic status. Portions of Athena and Poseidon are in the UK, central Europe and Greece as if a jigsaw puzzle waiting to be assembled. In a world that has made the idea of democracy universal, the British Museum and its staffers continue to contradict this message by refusing to reunite the Elgin Marbles even temporarily.
‘’I hate women who choose life for their children rather than the common good, or urge cowardice. Sons, if they die in battle, share a common tomb with the many others and equal glory. But my daughter will be awarded one crown all to herself when she dies on behalf of this city… If this city is destroyed, what share in my children’s lives will I then have? Is it not better that the whole be saved by one of us doing our part?”
Unbeknownst to the royal couple, their three daughters had sworn an oath to each other too, that if one was to die the others would commit suicide. The loss was magnified by threefold and was followed by the death of Erecthion at the hands of Poseidon. Athena consecrated Praxithea as her priestess and ordered that the girls be buried on the acropolis for a new temple to be erected above and a special cult to be established for the king also, to be known as Erecthion-Poseidon in honour of the man and his killer.
Modern democracy is generally viewed to be greater as the divide between church and state increases but in the birthplace of democracy there was no such thing. Democracy and the reforms of Solon were based on the social solidarity woven by a shared Athenian identity. Pericles’ reforms ultimately transformed Athens into an autochthonous city-state, limiting citizenship to those born of Athenian fathers and mothers and easing the burden of the less well-off. Although inequality in terms of wealth existed, the free citizens of Athens were equal in terms of noble descent.
Religion, war and politics were interwoven flawlessly in all parts of the Hellenic world. The Olympic Games, a modern global sporting competition pitting nations of dynamic contrasts against each other, is traced back to religious origins just like democracy. The Panhellenic Games which took place on alternating years at alternating locations, Olympia, Delphi, Nemea and Isthmia, were ethnically homogenous tournaments which celebrated the strength of the warriors and honoured the local cult of Zeus, Apollo, Heracles or Poseidon. This was demonstrated at Delphi where the Athenians or Spartans would dedicate war booty in remembrance of their victories similar to how shields were hung on the exterior lintels of the Parthenon. The tradition continued well past the age of Athenian hegemony when Alexander achieved his first victory against the Persians near Troy and sent back captured shields to be hung on the Parthenon. Another aspect of these games is the 3-month truce between all warring Greek states in order to permit safe passage and participation in the religious event, similar to the temporary truces of World War I around Christmas where Germans and Britons alike would come together to celebrate their shared Christian faith. The Great Panathenaia was Athens’ own version and is posited by the author as the real life version of the legendary one depicted on the friezes of the Parthenon, culminating in the sacrifice of Erecthion’s family and the establishment of the city’s cult.
The book gives us a timeline of the Parthenon and the events leading to its ruin including the Frankish occupation which transformed it into a cathedral, then an orthodox church since the 5th century, and afterwards a mosque by the Ottoman invaders. Perhaps the greatest act of sacrilege was the conversion of the Erechtion into a harem for the Turkish commander. Here was a religious complex dedicated to the virgin goddess Athena, her virgin maiden Pandora and the rest of the city’s legendary history being transformed into a whore house for men of a foreign religion and stock. The failed Ottoman advance into Europe resulted in a Christian coalition under the Venetians attempting to take back lands lost to the Ottomans centuries before. Parts of Greece were taken but the stubborn Ottomans fortified themselves atop the Acropolis under siege from Venetian cannon fire, one of which struck the Parthenon, a munitions cache at the time, and disfiguring it. Fast-forward a few centuries and you have Thomas Bruce, Earl of Elgin, further scarring the sacred temple by removing its friezes and statues and shipping them back to England to adorn his house and fill the museum. These artworks formed a life-like tapestry but their dissection has relegated them to relic status. Portions of Athena and Poseidon are in the UK, central Europe and Greece as if a jigsaw puzzle waiting to be assembled. In a world that has made the idea of democracy universal, the British Museum and its staffers continue to contradict this message by refusing to reunite the Elgin Marbles even temporarily.
May 9, 2014
Exceptionally interesting reading, the fact that Connelly has caused a flap amid the dustier and more self-assured sort of classicist is an indication of its value. Connelly's new interpretation of the Parthenon frieze - not really so new, it turns out, just unaccepted - is actually a minor part of the book; the entirety takes the recent restoration work on the Parthenon and the most up to date scholarship and gives us a fresh look at this most grand of Greek temples and many of the topics surrounding it. Her concluding chapter,discussing the reasons why the Elgin marbles should go home to Greece, is convincing and changed my mind on the subject. Overall a very solid book, well illustrated, with useful endnotes for those who wish to pursue certain topics further.
December 27, 2016
This is a large book on a relatively small subject - that the friezes tell the story of the virgin sacrifice of Erechtheus' daughter (1) or daughters (3). It is a theme that the Greeks, at least from Herodotos on, deemed barbaric. But is "justified" by the notion that the only way women could achieve kleos (undying fame), such as men could by death in battle, was to become sacrifices like Iphigenia before the Greek fleet sailed for Troy or like these daughters of the great-hearted Erechtheus. The author brave tries to bring this disconcerting truth to light while trying to preserve the image of an "iconic" Parthenon and a marmorealized Athenian democracy.
January 22, 2014
Sheer brilliance! A book finally worthy of that most iconic building in the western world--by my most distinguished Princeton contemporary now in academe, who previously--and not surprisingly-- won a MacArthur 'Genius Grant' for her work on the Parthenon. Join her on this memorable arm-chair journey through the ancient world toward delightful enlightenment: Parthen-Onward!
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May 13, 2014What a fabulous book! I have to chuckle because I remember when we were working on the "Religion in American Life" project, and our standard joke was, "Mine's a religion; yours is a mythology." Oh my...
February 21, 2024
最初在書訊上看到貓頭鷹要出這本《帕德嫩之謎》(《The Parthenon Enigma》)時，是頗為驚喜。台灣在這方面的書確實是相對少的多，看到這本最近幾年剛在歐美出版，又是頗受好評的作品能引進，翻看內容簡介後，就決定買一本回來拜讀。
作者Joan Breton Connelly是美國紐約大學古典學跟藝術史教授，本身也是考古學家。這本書是她在研究帕德嫩神殿後，提出的新論點。Connelly認為，一般傳統的看法：帕德嫩神廟是雅典民主的最高理讚，是希臘理性的最佳代表，只是十八世紀後的歐美學者將自己的理想投射在其上的誤解。她建議讀者應該要用“希臘人的眼睛”去觀察跟感受希臘人的文化氛圍，其實雅典比我們想像中還要“宗教”。
在書中，她先向讀者介紹了雅典的周遭自然環境，讓大家明白其影響，然後又訴說了衛城的前世今生，最後再開始借用希臘悲劇詩人歐里庇德斯的悲劇《厄瑞克透斯》殘篇，重新解讀神廟上最關鍵性的東段橫飾帶，認為這不是雅典人民在泛雅典娜節遊行後，獻給守護神雅典娜新的聖衣，而是活人祭祀的原始宗教行為，是雅典國王厄瑞克透斯無私犧牲女兒的愛國心。Connelly強調，這種集體至上，追求公益不惜一切的精神，才是雅典民主政治的真諦，而不是我們拿了現代人所熟悉的制度而強加其上的那種意義。
Connelly的觀點並沒有立刻得到學界的全面承認，相反的，質疑的聲音鋪天蓋地而來，個人在這方面是門外漢，不敢多作評論，但就作者書中所言提出一點讀後感想。
首先，關於帕德嫩神殿被賦予了錯誤的價值跟觀感，這點倒是不令人意外。正如著名史家克羅齊評論的：「一切史都是當代史。」這座神殿經歷了千年風霜，曾經一度是基督教堂、清真寺，到現在變成西方民主的聖域，每個時代都把帕德嫩打扮成自己所需的模樣。只是那位雅典最著名的領導人伯里克利如果復生，不知道是否會驚駭莫名。畢竟雖然同樣號為“民主”，但我們如今所熟悉的，在政治學上是定義為“代議制”，這跟雅典人實際上所奉行的“直接民主”並非一回事。對於古代希臘人來說，政治與切身利益更有關的事務，古典學家芬利在他的《古代民主與現代民主》中曾論述過，古代的政治是一種“面對面”的活動，當他們提到“國家利益”時，是隨時可能影響到人民生活的。他們追求一種個人與公眾利益的平衡，甚至將所有公民的福祉置於最重要的一端，並要求大家犧牲奉獻。而相對於此，城邦也會對所有付出提供最好的回饋，大家不分貴賤貧富，互助互賴，一同為了國家及大家的幸福而奮鬥。雅典努力的打造出真正的共同體，它們用帕德嫩神殿做為精神的象徵，而這正是恰恰被現代學者所誤解扭曲的地方。這也是現在的政治體制不能，甚至是被濫用之處。(有興趣的朋友可以拿納粹德國跟他們的國家社會主義來比一比)
而對史家來講更不能接受的是，Connelly指出神廟上最關鍵性的東段橫飾帶上所講的故事是一段活人殉祭，這跟他們心中理性的雅典人不合啊！作者說，這就是一種錯誤投射造成的價值觀混亂，現代人把自己所想要看到的，強加在古代人身上，才自我掩蓋了真實的面貌而不能置信。固然，活人獻祭是一個令人厭惡的行為，但我們必須認識到，人類文明發展過程中，基本上都是經過這個歷程。我們在指責瑪雅、印加文明的同時，不要忘記殷商王朝的種種人祭的考古證據，甚至，直到明朝，依然有要後宮妃子替皇帝殉死的規定！作者更是坦率的指明，耶穌不也是為了洗清人類的罪孽，而甘願被釘死在十字架上嗎？那麼，雅典人透過這樣的神話故事，來建立一個核心精神又何足為奇呢？這種誤解，就是Connelly一再強調的：「要用希臘人的眼睛去看希臘人的世界。」
最後談到的也同樣是個有趣的話題。在十九世紀的帝國主義時代，帕德嫩神廟流失了很多文物，至今仍然放置在那個不該被放置的地方。是的，就是大英博物館，某些人眼中的“贓物收藏地”，至今仍然拒絕歸還。如果說，過去他們的理由是對方不能好好的善待文物的話，這個理由似乎是越來越薄弱。作者指出，如今衛城博物館的水平並不遜色於任何一個頂級同行，事實上也早就證明他們有能力保護自己的文物。希臘政府甚至已經放棄訴諸民族意識的方法來向英方索取，國際也有許多聲援，但遲遲就是不見下文。我們可以理解此例一開，對於博物館方的為難，不過Connelly亦指出，博物館肩負保護人類文明的重責，應該要以普世為己任，不該拘泥於區域國家而是一種共享。當然，我們也知道這都是漂亮話，利益面前都是白搭。帕德嫩神殿要“一家團圓”看來仍是遙遙無期。
起初，我本來以為這是本以政治史為主論調的書，但不然。作者從文化史的角度，輔以神話、考古等，加上充分的圖片，可以說是無死角的介紹了帕德嫩神殿的方方面面。不論是希臘史的愛好者，還是文化研究者、建築史，甚至是想要去雅典旅行的，都該看看這本出色的作品。而譯者水平出色，整體閱讀起來相當流暢，感覺不太出什麼問題，值得讚許。總之，個人是非常推薦這部作品，應該是今年內台灣推出的優秀翻譯書之一。
作者Joan Breton Connelly是美國紐約大學古典學跟藝術史教授，本身也是考古學家。這本書是她在研究帕德嫩神殿後，提出的新論點。Connelly認為，一般傳統的看法：帕德嫩神廟是雅典民主的最高理讚，是希臘理性的最佳代表，只是十八世紀後的歐美學者將自己的理想投射在其上的誤解。她建議讀者應該要用“希臘人的眼睛”去觀察跟感受希臘人的文化氛圍，其實雅典比我們想像中還要“宗教”。
在書中，她先向讀者介紹了雅典的周遭自然環境，讓大家明白其影響，然後又訴說了衛城的前世今生，最後再開始借用希臘悲劇詩人歐里庇德斯的悲劇《厄瑞克透斯》殘篇，重新解讀神廟上最關鍵性的東段橫飾帶，認為這不是雅典人民在泛雅典娜節遊行後，獻給守護神雅典娜新的聖衣，而是活人祭祀的原始宗教行為，是雅典國王厄瑞克透斯無私犧牲女兒的愛國心。Connelly強調，這種集體至上，追求公益不惜一切的精神，才是雅典民主政治的真諦，而不是我們拿了現代人所熟悉的制度而強加其上的那種意義。
Connelly的觀點並沒有立刻得到學界的全面承認，相反的，質疑的聲音鋪天蓋地而來，個人在這方面是門外漢，不敢多作評論，但就作者書中所言提出一點讀後感想。
首先，關於帕德嫩神殿被賦予了錯誤的價值跟觀感，這點倒是不令人意外。正如著名史家克羅齊評論的：「一切史都是當代史。」這座神殿經歷了千年風霜，曾經一度是基督教堂、清真寺，到現在變成西方民主的聖域，每個時代都把帕德嫩打扮成自己所需的模樣。只是那位雅典最著名的領導人伯里克利如果復生，不知道是否會驚駭莫名。畢竟雖然同樣號為“民主”，但我們如今所熟悉的，在政治學上是定義為“代議制”，這跟雅典人實際上所奉行的“直接民主”並非一回事。對於古代希臘人來說，政治與切身利益更有關的事務，古典學家芬利在他的《古代民主與現代民主》中曾論述過，古代的政治是一種“面對面”的活動，當他們提到“國家利益”時，是隨時可能影響到人民生活的。他們追求一種個人與公眾利益的平衡，甚至將所有公民的福祉置於最重要的一端，並要求大家犧牲奉獻。而相對於此，城邦也會對所有付出提供最好的回饋，大家不分貴賤貧富，互助互賴，一同為了國家及大家的幸福而奮鬥。雅典努力的打造出真正的共同體，它們用帕德嫩神殿做為精神的象徵，而這正是恰恰被現代學者所誤解扭曲的地方。這也是現在的政治體制不能，甚至是被濫用之處。(有興趣的朋友可以拿納粹德國跟他們的國家社會主義來比一比)
而對史家來講更不能接受的是，Connelly指出神廟上最關鍵性的東段橫飾帶上所講的故事是一段活人殉祭，這跟他們心中理性的雅典人不合啊！作者說，這就是一種錯誤投射造成的價值觀混亂，現代人把自己所想要看到的，強加在古代人身上，才自我掩蓋了真實的面貌而不能置信。固然，活人獻祭是一個令人厭惡的行為，但我們必須認識到，人類文明發展過程中，基本上都是經過這個歷程。我們在指責瑪雅、印加文明的同時，不要忘記殷商王朝的種種人祭的考古證據，甚至，直到明朝，依然有要後宮妃子替皇帝殉死的規定！作者更是坦率的指明，耶穌不也是為了洗清人類的罪孽，而甘願被釘死在十字架上嗎？那麼，雅典人透過這樣的神話故事，來建立一個核心精神又何足為奇呢？這種誤解，就是Connelly一再強調的：「要用希臘人的眼睛去看希臘人的世界。」
最後談到的也同樣是個有趣的話題。在十九世紀的帝國主義時代，帕德嫩神廟流失了很多文物，至今仍然放置在那個不該被放置的地方。是的，就是大英博物館，某些人眼中的“贓物收藏地”，至今仍然拒絕歸還。如果說，過去他們的理由是對方不能好好的善待文物的話，這個理由似乎是越來越薄弱。作者指出，如今衛城博物館的水平並不遜色於任何一個頂級同行，事實上也早就證明他們有能力保護自己的文物。希臘政府甚至已經放棄訴諸民族意識的方法來向英方索取，國際也有許多聲援，但遲遲就是不見下文。我們可以理解此例一開，對於博物館方的為難，不過Connelly亦指出，博物館肩負保護人類文明的重責，應該要以普世為己任，不該拘泥於區域國家而是一種共享。當然，我們也知道這都是漂亮話，利益面前都是白搭。帕德嫩神殿要“一家團圓”看來仍是遙遙無期。
起初，我本來以為這是本以政治史為主論調的書，但不然。作者從文化史的角度，輔以神話、考古等，加上充分的圖片，可以說是無死角的介紹了帕德嫩神殿的方方面面。不論是希臘史的愛好者，還是文化研究者、建築史，甚至是想要去雅典旅行的，都該看看這本出色的作品。而譯者水平出色，整體閱讀起來相當流暢，感覺不太出什麼問題，值得讚許。總之，個人是非常推薦這部作品，應該是今年內台灣推出的優秀翻譯書之一。
December 20, 2022
If you’re into Ancient civilizations or history, read this.
If you’re interested in democracy, its history, its goals, its limitations, and its challenges in a modern world, read this.
If you’re interested in cognition, perception, and identity, read this.
Just read it. It’s a spectacular achievement in archeological study that absolutely blows the mind. Much like Neil Price does with the Viking mind, Joan Breton Connelly forces us to take a long hard look at our assumptions about ‘the noble ancient Greeks’ and, after having pointed out exactly how much our idealistic biases limit our ability to study ancient societies, takes us on an insane, absolutely riveting rollercoaster ride. The mind, beliefs and identity-building of pre-historic societies and ancient Athenians as they struggle between primitivity and civilization deserve nothing less. Bye, Donald Kagan and Mary Beard.
What I found most mind-blowing were the discussions on how myth and the landscape were intertwined in the ancient Athenian mind (and how that makes concepts like democracy work), and how societies outgrow their gods (labelling them as the enemy, usually cruel and primitive) and replace them with more civilized ones (who are in turn outgrown too; does that sound familiar?). It’s a fascinating re-framing of the ‘purpose’ of mythology, religion, and superstition as extremely intricate processes of self-knowledge/self-reflection and a means of at least marking what is unknown and uncontrollable.
One of my biggest interests is the philosophy of knowledge and enquiry, and this challenge of our biases towards ancient thought is absolutely priceless. It re-grounds our understanding of superstition and mythology as key steps and parts of the evolution of thought. In some ways, superstition and mythology really are the way to reach what we nowadays take for granted in empiricism (and arguably is just a continuation of, but that’s a discussion for elsewhere).
In the end, the study of archaeology is less about trying to figure out the past as it is about trying to figure out how to get the hell out of our own way when studying the past. Without supreme self-awareness of our own biases, comfort zones, and assumptions, we can never hope to glean a glimpse of ancient societies and minds. This is exactly where Joan Breton Connelly’s achievements are: she does a fantastic job of showing us exactly how much of a safety blanket we’ve been clinging to, manages to take it away, and then introduces us to a crazy, cruel, primitive, and stunningly magical world of the ancient Greek mind. All of this in supremely readable and enjoyable prose. Seriously, she makes the landscape and its historical figures come alive without taking liberties.
So, to shamelessly repeat reiterate my earlier hint: if you’ve read any of Mary Beard’s or Donald Kagan’s stuff... Read this instead now. It’s time to move on from them because, damn, their work has not aged gracefully. You’ll see why when you compare their transparency and traceability of argument to Breton Connelly’s (or Price’s, for another good example of what archeological scholarship should read like).
If you’re interested in democracy, its history, its goals, its limitations, and its challenges in a modern world, read this.
If you’re interested in cognition, perception, and identity, read this.
Just read it. It’s a spectacular achievement in archeological study that absolutely blows the mind. Much like Neil Price does with the Viking mind, Joan Breton Connelly forces us to take a long hard look at our assumptions about ‘the noble ancient Greeks’ and, after having pointed out exactly how much our idealistic biases limit our ability to study ancient societies, takes us on an insane, absolutely riveting rollercoaster ride. The mind, beliefs and identity-building of pre-historic societies and ancient Athenians as they struggle between primitivity and civilization deserve nothing less. Bye, Donald Kagan and Mary Beard.
What I found most mind-blowing were the discussions on how myth and the landscape were intertwined in the ancient Athenian mind (and how that makes concepts like democracy work), and how societies outgrow their gods (labelling them as the enemy, usually cruel and primitive) and replace them with more civilized ones (who are in turn outgrown too; does that sound familiar?). It’s a fascinating re-framing of the ‘purpose’ of mythology, religion, and superstition as extremely intricate processes of self-knowledge/self-reflection and a means of at least marking what is unknown and uncontrollable.
One of my biggest interests is the philosophy of knowledge and enquiry, and this challenge of our biases towards ancient thought is absolutely priceless. It re-grounds our understanding of superstition and mythology as key steps and parts of the evolution of thought. In some ways, superstition and mythology really are the way to reach what we nowadays take for granted in empiricism (and arguably is just a continuation of, but that’s a discussion for elsewhere).
In the end, the study of archaeology is less about trying to figure out the past as it is about trying to figure out how to get the hell out of our own way when studying the past. Without supreme self-awareness of our own biases, comfort zones, and assumptions, we can never hope to glean a glimpse of ancient societies and minds. This is exactly where Joan Breton Connelly’s achievements are: she does a fantastic job of showing us exactly how much of a safety blanket we’ve been clinging to, manages to take it away, and then introduces us to a crazy, cruel, primitive, and stunningly magical world of the ancient Greek mind. All of this in supremely readable and enjoyable prose. Seriously, she makes the landscape and its historical figures come alive without taking liberties.
So, to shamelessly repeat reiterate my earlier hint: if you’ve read any of Mary Beard’s or Donald Kagan’s stuff... Read this instead now. It’s time to move on from them because, damn, their work has not aged gracefully. You’ll see why when you compare their transparency and traceability of argument to Breton Connelly’s (or Price’s, for another good example of what archeological scholarship should read like).
September 26, 2018
I bought this book for the architecture, but gained much more in culture. I have to admit to remaining lost in all the Greek gods, giants, invaders, and kings who sacrificed their daughters. However, as I read, this book enlightened me regarding the commonalities of religious experience and the use of art, design, ritual, and festival to instruct the masses in shared values. I almost put it down numerous times, lost in who did what to whom, but the next day I would return to push my way past that to understanding the why of the explanations. It was well worth the effort, not in entertainment, but in understanding. Understanding of how we have misappropriated a valuable asset in history to our own ends, understanding much better the context of religions based in the Middle East, and understanding how the visual arts can communicate values of a culture.
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July 22, 2025my prof who assigned this book wasn't fully on board but i've been convinced! i love how much connelly really tried to put you in the mindset of people in ancient athens, especially concerning religion and athenian patriotism. i didn't know much about it when i went in high school, and i hope someday soon i can go back to the acropolis in light of everything i've learned from this book! the idea that the most important site in a deeply misogynistic culture was dedicated to women is so awesome. also of course i loved the last chapter about the return of the parthenon marbles because fuck the british museum!! hopefully someday the marbles will all be returned, along with everything else the british museum stole
August 7, 2025
I liked this book, I loved the idea of if. It is 100% dedicated to the Parthenon and acropolis yet something was missing. The author didn't tell a story. It was a lot of disjointed facts and mini stories thrown together. It felt very academic in nature which I normally don't have a problem with but this book was a little hard for me to follow. But I will keep it and use it as a guide book prior to going back to Athens again.
July 10, 2020
While I really enjoyed this and learned from it, all the Greek names, words and town got really confusing. There is no way around this, its the topic of the book and for the most part I could follow along but every so often I found myself with no idea what was what.
Overall an interesting view of the Parthenon and Ancient Greece
Overall an interesting view of the Parthenon and Ancient Greece
December 17, 2020
I've taught the history of ancient Greek architecture for forty-nine years. Having read Connelly's book, I can never teach it that way again. Her interpretation of the Parthenon is astounding, especially since the "answers" were hiding in plain sight.
August 6, 2024
No matter if you end up agreeing with the author's main argument or not, I believe this book is worth reading if you wish to dive into the ancient city of Athens and the significance of its history up to today.
November 29, 2017
Extraordinary, well-researched, revision of the conventional thinking about the Parthenon.
September 11, 2020
Well researched, informative, introducing a new read on enigmatic Parthenon Frieze. Must reading for cultural history, architecture, art and archeology afficionados.
January 21, 2022
Extremely impressive new interpretation of the Parthenon; the rigor of academics like Connelly amazes me.
December 3, 2023
No recuerdo mucho de este libro, pero sé que quería tener la versión impresa para poder seguir las ideas más facilmente.
This entire review has been hidden because of spoilers.
January 12, 2025
An argument for the significance of the Parthenon.
January 20, 2025
This book will completely change the way you look at the Parthenon. It will become a richer and less enigmatic structure than the ruin you obligingly go see when you visit Athens.
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