Chichen Itza, the legendary capital and trading hub of the late Maya civilization, continues to fascinate visitors and researchers with unanswered questions about its people, rulers, rituals, and politics. Addressing many of these current debates, Landscapes of the Itza asks when the city's construction was completed, what the purposes of its famous pyramid and other buildings were, how the city's influence was felt in smaller neighboring settlements, and whether the city maintained strict territorial borders. Special attention is given to the site's visual culture, including its architecture, ceramics, sculptures, and murals. This volume is a much-needed update on recent archaeological and art historical work being done at Chichen Itza, offering new ways of understanding the site and its role in the Yucatan landscape.

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.