<<The>> politics of viewing in Xenophon's historical narratives

This book considers cultural identity and power relations in early fourth-century BCE Greece through a reading of Xenophon’s historical narratives, the Hellenica, Anabasis and Cyropaedia. These texts depict conflicts between Greek states, conflicts between Greeks and non-Greeks, and relations between the elite individual and society. In all three texts, politically significant moments are imagined in visual terms. We witness spectacles of Spartan military victory, vistas of Asian landscape or displays of Persian imperial pomp, and historical protagonists are presented as spectators viewing and responding to events. Through this visual form of narration, the reader is encouraged imaginatively to place themselves in the position of the historical protagonists. In viewing events from different perspectives, and therefore occupying multiple, often conflicting political positions, the reader not only experiences the problems faced by historical actors, but becomes engaged in the political conflicts acted out in the narratives. The reader is prompted to take pleasure in the sight of Panhellenic achievement, but also to witness the divisions and conflicts between Greeks on class and ethnic lines. Similarly the reader is invited to identify with spectacular Greek and non-Greek figures of power as emblems of Greek imperial potential, but also to see through the eyes of those communities subjugated at their hands. The depiction of spectacles and spectators draws the reader into an active participation in the ideological contradictions of their time, in a period when Panhellenic aspiration co-existed with hegemonic competition between Greek states, and when Greeks could be both beneficiaries and victims of imperialism. This book considers cultural identity and power in early fourth-century BCE Greece through a reading of Xenophon’s historical narratives, the Hellenica, Anabasis and Cyropaedia. These texts depict conflicts between Greek states, conflicts between Greeks and non-Greeks, and relations between the elite individual and society. In all three texts, politically significant moments are imagined in visual terms. We witness spectacles of Spartan military victory, vistas of Asian landscape or displays of Persian imperial pomp, and historical protagonists are presented as spectators viewing and responding to events. Through this visual form of narration, the reader is encouraged imaginatively to place themselves in the position of the historical protagonists. In viewing events from different perspectives, and therefore occupying multiple, often conflicting political positions, the reader not only experiences the problems faced by historical actors, but becomes engaged in the political conflicts acted out in the narratives. The reader is encouraged to take pleasure in the sight of Panhellenic achievement but also to witness the divisions and conflicts between Greeks on class and ethnic lines. Similarly the reader is invited to identify with spectacular Greek and non-Greek figures of power as emblems of Greek imperial potential, but also to see through the eyes of those communities subjugated at their hands. The depiction of spectacles and spectators draws the reader into an active participation in the ideological contradictions of their time, in a period when Panhellenic aspiration co-existed with hegemonic competition between Greek states, and when Greeks could be both beneficiaries and victims of imperialism. "This book considers problems of cultural identity and power in the context of the competing imperialisms of the early 4th century BC through a reading of Xenophon's works of narrative history, the Hellenica , Anabasis and Cyropaedia . These texts deal with highly contentious subject matter: the representation of conflicts between Greek states, conflicts between Greeks and non-Greeks, especially Persia, and relations between the elite individual and society. In all three texts, politically significant moments are imagined in highly visual terms. We are shown spectacles of Spartan military victory, vistas of Asian landscape or displays of Persian imperial pomp, and historical protagonists are presented as spectators viewing and responding to events. Through this visual form of narration, which is also used, with slightly different emphasis, by Xenophon's historiographical predecessors Herodotus and Thucydides, the reader is encouraged imaginatively to place themself in the position of the historical protagonists. Through being allowed to view events from different perspectives, and therefore to occupy multiple, often conflicting political positions in close sequence or even simultaneously, the reader not only experiences the problems faced by historical actors, but becomes engaged in the political conflicts acted out in the narratives. The depiction of spectacles and spectators draws the reader into an active participation in the ideological contradictions of their time, in a period when Panhellenic aspiration co-existed with hegemonic competition between Greek states, and when Greeks could be both beneficiaries and victims of imperialism. Through offering an often contradictory and conflictual reading experience, Xenophon's Hellenica , Anabasis and Cyropaedia both reveal and enact conflicts within elite Greek political self-consciousness in the late Classical period"-- Provided by publisher