Classicists have long wondered what everyday life was like in ancient Greece and Rome. How, for example, did the slaves, visitors, inhabitants or owners experience the same home differently? And how did owners manipulate the spaces of their homes to demonstrate control or social hierarchy? To answer these questions, Hannah Platts draws on a diverse range of evidence and an innovative amalgamation of methodological approaches to explore multisensory experience – auditory, olfactory, tactile, gustatory and visual – in domestic environments in Rome, Pompeii and Herculaneum for the first time, from the first century BCE to the second century CE. Moving between social registers and locations, from non-elite urban dwellings to lavish country villas, each chapter takes the reader through a different type of room and offers insights into the reasons, emotions and cultural factors behind perception, recording and control of bodily senses in the home, as well as their sociological implications. Multisensory Living in Ancient Rome will appeal to all students and researchers interested in Roman daily life and domestic architecture.

Winner, Association for Latin American Art-Arvey Foundation Book Award, 2022 More than a thousand years ago on the north coast of Peru, Indigenous Moche artists created a large and significant corpus of sexually explicit ceramic works of art. They depicted a diversity of sex organs and sex acts, and an array of solitary and interconnected human and nonhuman bodies. To the modern eye, these Moche "sex pots," as Mary Weismantel calls them, are lively and provocative but also enigmatic creations whose import to their original owners seems impossible to grasp. In Playing with Things, Weismantel shows that there is much to be learned from these ancient artifacts, not merely as inert objects from a long-dead past but as vibrant Indigenous things, alive in their own inhuman temporality. From a new materialist perspective, she fills the gaps left by other analyses of the sex pots in pre-Columbian studies, where sexuality remains marginalized, and in sexuality studies, where non-Western art is largely absent. Taking a decolonial approach toward an archaeology of sexuality and breaking with long-dominant iconographic traditions, this book explores how the pots "play jokes," "make babies," "give power," and "hold water," considering the sex pots as actual ceramic bodies that interact with fleshly bodies, now and in the ancient past. A beautifully written study that will be welcomed by students as well as specialists, Playing with Things is a model for archaeological and art historical engagement with the liberating power of queer theory and Indigenous studies.

Ancient Athenians were known to reuse stone artifacts, architectural blocks, and public statuary in the creation of new buildings and monuments. However, these construction decisions went beyond mere pragmatics: they were often a visible mechanism for shaping communal memory, especially in periods of profound and challenging social or political transformation. Sarah Rous develops the concept of upcycling to refer to this meaningful reclamation, the intentionality of reemploying each particular object for its specific new context. The upcycling approach drives innovative reinterpretations of diverse cases, including column drums built into fortification walls, recut inscriptions, monument renovations, and the wholesale relocation of buildings. Using archaeological, literary, and epigraphic evidence from more than eight centuries of Athenian history, Rous's investigation connects seemingly disparate instances of the reuse of building materials. She focuses on agency, offering an alternative to the traditional discourse on spolia. Reset in Stone illuminates a vital practice through which Athenians shaped social memory in the physical realm, literally building their past into their city.

The Roman Empire had a rich and multifaceted visual culture, which was often variegated due to the sprawling geography of its provinces. In this remarkable work of scholarship, a group of international scholars has come together to find alternative ways to discuss the nature and development of the art and archaeology of the Roman provinces. The result is a collection of nineteen compelling essays-accompanied by carefully curated visual documentation, seven detailed maps, and an extensive bibliography-and organized around the four major themes of provincial contexts, tradition and innovation, networks and movements, and local accents in an imperial context. Easy assumptions about provincial life in Rome-from what makes a province to how they interacted with metropolises-give way to more complicated stories. Similarities and divergences in local and regional responses to Rome appear, but not always in predictable places and in far from predictable patterns.The authors dismiss entrenched barriers between art and archaeology, center and provinces, even "good art" and "bad art," extending their observations well beyond the empire's boundaries, and examining phenomena, sites, and monuments not often found in books about Roman art history or archaeology. The book thus functions to encourage continued critical engagement with how scholars study the material past of the Roman Empire and, indeed, of imperial systems in general.

This beautifully illustrated volume presents new ways of thinking about the concept of "being Roman"--with a particular emphasis on the way people in the provinces and on the periphery of the empire reacted to the state of being a Roman subject. Accompanying an exhibition at the Yale University Art Gallery and the McMullen Museum of Art at Boston College, the book presents material that is both chronologically and geographically distant from imperial Rome, the better to characterize and understand local responses and identities within the provinces as they were expressed through material culture.