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Boundaries. --- Casa Grande Ruins National Monument (Ariz.) --- Arizona --- Boundaries.

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Excavations (Archaeology) --- Archaeological digs --- Archaeological excavations --- Digs (Archaeology) --- Excavation sites (Archaeology) --- Ruins --- Sites, Excavation (Archaeology) --- Archaeology

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The past is what happened. History is what we remember and write about that past, the narratives we craft to make sense out of our memories and their sources. But what does it mean to look at the past and to remember that "nothing happened"? Why might we feel as if "nothing is the way it was"? This book transforms these utterly ordinary observations and redefines "Nothing" as something we have known and can remember. "Nothing" has been a catch-all term for everything that is supposedly uninteresting or is just not there. It will take some-possibly considerable-mental adjustment before we can see Nothing as Susan A. Crane does here, with a capital "n." But Nothing has actually been happening all along. As Crane shows in her witty and provocative discussion, Nothing is nothing less than fascinating. When Nothing has changed but we think that it should have, we might call that injustice; when Nothing has happened over a long, slow period of time, we might call that boring. Justice and boredom have histories. So too does being relieved or disappointed when Nothing happens-for instance, when a forecasted end of the world does not occur, and millennial movements have to regroup. By paying attention to how we understand Nothing to be happening in the present, what it means to "know Nothing" or to "do Nothing," we can begin to ask how those experiences will be remembered. Susan A. Crane moves effortlessly between different modes of seeing Nothing, drawing on visual analysis and cultural studies to suggest a new way of thinking about history. By remembering how Nothing happened, or how Nothing is the way it was, or how Nothing has changed, we can recover histories that were there all along.

Collective memory. --- History --- Philosophy. --- Nothing. --- historical consciousness. --- injustice. --- memory. --- photographs. --- puns. --- ruins. --- visual culture.

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"In Byblos in the Late Bronze Age, Marwan Kilani reconstructs the "biography" of the city of Byblos during the Late Bronze Age. Commonly described simply as a centre for the trade of wood, the city appears here as a dynamic actor involved in multiple aspects of the regional geopolitical reality. By combining the information provided by written sources and by a fresh reanalysis of the archaeological evidence, the author explores the development of the city during the Late Bronze Age, showing how the evolution of a wide range of geopolitical, economic and ideological factors resulted in periods of prosperity and decline. .

Excavations (Archaeology) --- Archaeological digs --- Archaeological excavations --- Digs (Archaeology) --- Excavation sites (Archaeology) --- Ruins --- Sites, Excavation (Archaeology) --- Archaeology --- Byblos (Extinct city) --- Antiquities.

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Il n'existe pas plus d'hommes sans mémoire que de sociétés sans ruines. Cette Histoire universelle des ruines vise à élucider le rapport indissoluble que chaque civilisation entretient avec elles. L'Egypte ancienne confie la mémoire de ses souverains à des monuments gigantesques et à des inscriptions imposantes. D'autres sociétés préfèrent pactiser avec le temps, comme les Mésopotamiens, conscients de la vulnérabilité de leurs palais de briques crues, qui enterrent dans le sol leurs inscriptions commémoratives. Les Chinois de l'Antiquité et du Moyen Âge remettent le souvenir de leurs rois et de leurs grands hommes à des inscriptions sur pierre et sur bronze dont les antiquaires scrupuleux collectent les estampages. D'autres encore, les Japonais du sanctuaire d'Isé,détruisent puis reconstruisent à l'identique, en un cycle infini, leurs architectures de bois et de chaume. Ailleurs, dans le monde celtique et en Scandinavie, comme dans le monde arabo-musulman , ce sont les poètes ou les bardes qui ont la charge d'entretenir la mémoire. Les Grecs et les Romains considèrent les ruines comme un mal nécessaire qu'il faut apprendre à interpréter pour les maîtriser. Le monde médiéval occidental affrontera l'héritage antique avec une admiration fortement teintée de répulsion. Face à cette tradition, la Renaissance entreprend un retour d'un type nouveau à l'Antiquité, considérée comme un modèle du présent qu'il faut imiter pour mieux le dépasser. Les Lumières enfin bâtissent une conscience universelle des ruines qui s'est imposée à noous comme le "culte moderne des monuments" : un dialogue avec les ruines qui se veutu niversel et dont ce livre porte témoignage. Passant d'une civilisation l'autre, Alain Schnapp s'appuie autant sur des sources archéologiques que sur la poésie. Magnifiquement illustrée, cette somme est l'oeuvre d'une vie.

Lost architecture --- Architecture and society --- Historic sites in art --- Historic sites in literature --- History --- Ruines --- Ruined buildings --- Histoire. --- History. --- Mémoire --- Ruines (esthétique) --- Civilisation classique. --- Mouvement des Lumières. --- Civilisations précolombiennes. --- Architecture and society. --- Historic sites in art. --- Historic sites in literature. --- Lost architecture. --- Ruins --- Ruins in art --- Ruins in literature --- Cultural property --- Collective memory --- Social aspects. --- Conservation and restoration. --- Destruction and pillage --- Ruine --- Lost architecture - History