In a lively re-examination of the British collectors who bankrupted themselves to possess antique marble statues, Owning the Past chronicles a story of pride, rivalry, snobbery, and myopic obsession with posterity and possession. Analyzing the motives that drove "Marble Mania" in England from the 17th through the early 19th century, Ruth Guilding examines how the trend of collecting antique sculpture entrenches the ideals of connoisseurship and taste, exacerbates socioeconomic inequities, and serves nationalist propaganda. Even today, for the individuals or regimes that possess them, classical statuary performs as a symbol of authority or as the trophies of a "civilized" power. From Adolf Hitler posing for the press beside an ancient copy of Myron's Discobolus to the 2002 sale of the Newby Venus for a record price of about $13 million to the Emir of Qatar, marble mania remains unabated. With insider access to private collections, Guilding writes with verve and searing insight into this absorbing fixation. Published for the Paul Mellon Centre for Studies in British Art

What are the political usesÑand misusesÑof archaeology in the Middle East? In answering this question, the contributors to this volume lend their regional expertise to a variety of case studies, including the TalibanÕs destruction of Buddhas in Afghanistan, the commercialization of archaeology in Israel, the training of Egyptian archaeology inspectors, and the debate over Turkish identity sparked by the film Troy, among other provocative subjects. Other chapters question the ethical justifications of archaeology in places that have Òalternative engagements with the material past.Ó In the process, they form various views of the role of the archaeologist, from steward of the historical record to agent of social change. The diverse contributions to this volume share a common framework in which the political use of the past is viewed as a process of social discourse. According to this model, political appropriations are seen as acts of social communication designed to accrue benefits to particular groups. Thus the contributors pay special attention to competing social visions and the filters these impose on archaeological data. But they are also attentive to the potential consequences of their own work. Indeed, as the editors remind us, ÒpeopleÕs lives may be affected, sometimes dramatically, because of the material remains that surround them.Ó Rounding out this important volume are critiques by two top scholars who summarize and synthesize the preceding chapters.

Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in Who Owns Antiquity?, one of the world's leading museum directors vigorously challenges this nationalistic position, arguing that it is damaging and often disingenuous. "Antiquities," James Cuno argues, "are the cultural property of all humankind," "evidence of the world's ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders." Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. Antiquities need to be protected from looting but also from nationalistic identity politics. To do this, Cuno calls for measures to broaden rather than restrict international access to antiquities. He advocates restoration of the system under which source countries would share newly discovered artifacts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities. Cuno explains how partage broadened access to our ancient heritage and helped create national museums in Cairo, Baghdad, and Kabul. The first extended defense of the side of museums in the struggle over antiquities, Who Owns Antiquity? is sure to be as important as it is controversial. Some images inside the book are unavailable due to digital copyright restrictions.

This “important and timely” (Drew Faust, Harvard Magazine) #1 New York Times bestseller examines the legacy of slavery in America—and how both history and memory continue to shape our everyday lives. Beginning in his hometown of New Orleans, Clint Smith leads the reader on an unforgettable tour of monuments and landmarks—those that are honest about the past and those that are not—that offer an intergenerational story of how slavery has been central in shaping our nation's collective history, and ourselves. It is the story of the Monticello Plantation in Virginia, the estate where Thomas Jefferson wrote letters espousing the urgent need for liberty while enslaving more than four hundred people. It is the story of the Whitney Plantation, one of the only former plantations devoted to preserving the experience of the enslaved people whose lives and work sustained it. It is the story of Angola, a former plantation-turned-maximum-security prison in Louisiana that is filled with Black men who work across the 18,000-acre land for virtually no pay. And it is the story of Blandford Cemetery, the final resting place of tens of thousands of Confederate soldiers. A deeply researched and transporting exploration of the legacy of slavery and its imprint on centuries of American history, How the Word Is Passed illustrates how some of our country's most essential stories are hidden in plain view—whether in places we might drive by on our way to work, holidays such as Juneteenth, or entire neighborhoods like downtown Manhattan, where the brutal history of the trade in enslaved men, women, and children has been deeply imprinted. Informed by scholarship and brought to life by the story of people living today, Smith's debut work of nonfiction is a landmark of reflection and insight that offers a new understanding of the hopeful role that memory and history can play in making sense of our country and how it has come to be. Winner of the National Book Critics Circle Award for Nonfiction Winner of the Stowe Prize Winner of 2022 Hillman Prize for Book Journalism A New York Times 10 Best Books of 2021

One of The Telegraph's Best Music Books 2011 We live in a pop age gone loco for retro and crazy for commemoration. Band re-formations and reunion tours, expanded reissues of classic albums and outtake-crammed box sets, remakes and sequels, tribute albums and mash-ups . . . But what happens when we run out of past? Are we heading toward a sort of culturalecological catastrophe where the archival stream of pop history has been exhausted? Simon Reynolds, one of the finest music writers of his generation, argues that we have indeed reached a tipping point, and that although earlier eras had their own obsessions with antiquity—the Renaissance with its admiration for Roman and Greek classicism, the Gothic movement's invocations of medievalism—never has there been a society so obsessed with the cultural artifacts of its own immediate past. Retromania is the first book to examine the retro industry and ask the question: Is this retromania a death knell for any originality and distinctiveness of our own?

The Past Leads a Life of Its Own is a compelling collection of stories centered around one boy's childhood in the rural midwest in the 1950s, his love of nature, his family, and their often nomadic existence. "Going through these pages quickly would be like chug-a-lugging a jar of honey fresh from the comb, or wolfing down a slow-cured, hickory-smoked country ham. It is a rich and complexly flavored work of fiction, a book to be savored."--Harper Barnes, St. Louis Post-Dispatch "Set against the rhythms of nature, Fields's 16 luminous, interrelated stories celebrate a boy's coming-of-age. . . . The beauty of these deeply felt stories lies in their spare, ear-perfect language and in quiet epiphanies."--Publishers Weekly "[A] beautifully subtle work. . . . Here are a series of vignettes, each capturing some moment in nature, poetic and ethereal. . . . [They] are like stones skipping on water, capturing the struggles of a family leaving one way of life behind for another, Fields remembers the feeling of a time and a place gone forever."--Library Journal

An ethnographic exploration of the presentation of history at Colonial Williamsburg. It examines the packaging of American history, and the consumerism and the manufacturing of cultural beliefs.

The way you parent, the clothes you buy, your relationships with your boss and your daughter, your attitude to money and sex, are, to an extraordinary extent, defined by the era into which you were born. Parents, the church, teachers and employers think they understand youngsters because they, too, were young once. But adults no longer live in the world that existed when they were teenagers. We may occupy the same space, home, classroom or office but we live in different worlds. And these worlds often collide. We've moved in one century from a 'built to last' to a 'throwaway' society. No wonder age differences are so vast. In this book you will discover your generation and those of the people who make up your life. Once you understand what makes them, and you, tick, the 'gen gap' begins to shrink. Fasten your seatbelt for a generational roller coaster ride - you may never think the same way again! In this book you'll understand why: your boss insists on endless meetings and conferences; your 20-something student doesn't want a 50-something computer teacher; you're in your 40s but still trying to prove yourself to Mom and Dad; your teacher should be learning from you.