This book examines the various ways ancient Athenians purposefully reused stone artifacts, objects, and buildings in order to shape their own and their descendants' collective ideas about their community's past and its bearing on the present and future. The book introduces the concept of "upcycling" to refer to this intentionally meaningful reuse, where evidence is preserved of an intentionality behind the decision to re-employ a particular object in a particular new context, often with implications for the shared memory of a group. Utilizing archaeological, literary, and epigraphic evidence, this investigation connects seemingly disparate cases of upcycling over eight centuries of Athenian history, treating the city as a continuously evolving cultural community. In establishin g upcycling as a distinct phenomenon of intentionally meaningful reuse, this study offers a process- and agency-focused alternative to the traditional discourses on spolia and reuse, while also making a substantial contribution to the growing field of memory studies by identifying a crucial component within the overall "work of memory" within a community. Through an original interdisciplinary approach, the book illuminates a vital practice through which Athenians shaped social memory in the physical realm, literally building their history into their city.

This book examines the various ways ancient Athenians purposefully reused stone artifacts, objects, and buildings in order to shape their own and their descendants' collective ideas about their community's past and its bearing on the present and future. The book introduces the concept of "upcycling" to refer to this intentionally meaningful reuse, where evidence is preserved of an intentionality behind the decision to re-employ a particular object in a particular new context, often with implications for the shared memory of a group. Utilizing archaeological, literary, and epigraphic evidence, this investigation connects seemingly disparate cases of upcycling over eight centuries of Athenian history, treating the city as a continuously evolving cultural community. In establishin g upcycling as a distinct phenomenon of intentionally meaningful reuse, this study offers a process- and agency-focused alternative to the traditional discourses on spolia and reuse, while also making a substantial contribution to the growing field of memory studies by identifying a crucial component within the overall "work of memory" within a community. Through an original interdisciplinary approach, the book illuminates a vital practice through which Athenians shaped social memory in the physical realm, literally building their history into their city.

A Graveyard Preservation Primer has proven itself to be a time-tested resource for those who are seeking information regarding the protection and preservation of historic graveyards. It was first written to help stewards of early burial grounds responsibly and effectively preserve their graveyards. Much information found in the first edition of the book remains valid today. Still, much has changed in the twenty-five years since its first publication, and the new edition reflects these changes. Attitudes and the understanding of historic graveyards as an important cultural resource have grown and developed over the years. Likewise, changes in treatments have also taken place. Perhaps the most dramatic change in burial ground preservation is in the world of technology. Changes in computers and the way we use them have also changed preservation practices in historic graveyards. Discussion of technological changes in the new edition includes those in mapping, surveying, photography, archaeology, and other areas of evaluation and planning. Consideration is given, too, to maintenance and conservation treatments, including both traditional and newer treatments for stone, concrete, and metals. Metals were not discussed in the earlier editions, and protection and preservation of the landscape as it relates to graveyards is an expanded focus of this book. The historic preservation of cemeteries and burial grounds is an aspect within the discipline of historic preservation that is unknown to many. Those whose responsibility is the care of these historic sites may be unfamiliar with appropriate approaches to such areas as documentation, planning, maintenance, and conservation. Unwitting personnel can do irreparable harm to these important cultural resources. The Primer is an effort to protect historic cultural resources by breaching the gap between maintenance staff, cemetery boards, friends’ groups, and graveyard preservation professionals by offering readily available, responsible information regarding graveyard protection and preservation. It is also designed to assist those who would undertake a preservation project in the reclaiming of a neglected or abandoned historic cemetery. The book is generously illustrated with diagrams and photos illustrating procedures and gravemarker and graveyard forms, styles, and materials. The appendix section is completely updated and expanded, offering a worthwhile resource in itself.

Includes the Report of the Mississippi River Commission, 1881-19 .

An exploration of how the ancient Maya engaged with their history by using, altering, and burying stone sculptures. For the ancient Maya, monumental stone sculptures were infused with agency. As they were used, reused, altered, and buried, such sculptures retained ceremonial meaning. In Memory in Fragments, Megan E. O'Neil explores how ancient Maya people engaged with history through these sculptures, as well as how they interacted with the stones themselves over the course of the sculptures’ long “lives.” Considering Maya religious practices, historiography, and conceptions of materials and things, O’Neil explores how Maya viewers perceived sculptures that were fragmented, scarred, burned, damaged by enemies, or set in unusual locations. In each case, she demonstrates how different human interactions, amid dynamic religious, political, and historical contexts, led to new episodes in the sculptures' lives. A rare example of cross-temporal and geographical work in this field, Memory in Fragments both compares sculptures within ancient Maya culture across Honduras, Guatemala, Mexico, and Belize over hundreds of years and reveals how memory may accrue around and be evoked in material remains.