Nineteenth-century outlaw Ned Kelly is perhaps Australia's most famous historical figure. Ever since he went on the run in 1878 his story has been repeated time and again, in every conceivable medium. Although the value of his memory has been hotly contested – and arguably because of this – he remains perhaps the main national icon of Australia. Kelly's flamboyant crimes turned him into a popular hero for many Australians during his lifetime and far beyond: a symbol of freedom, anti authoritarianism, anti imperialism; a Robin Hood, a Jesse James, a Che Guevara. Others have portrayed him as a villain, a gangster, a terrorist. His latest incarnation has been as WikiLeaks founder and fellow Australian "cyber outlaw" Julian Assange. Despite the huge number of representations of Kelly – from rampant newspaper reporting of the events, to the iconic Sidney Nolan paintings, to a movie starring Mick Jagger, to contemporary urban street art – this is the first work to take this corpus of material itself as a subject of analysis. The fascinating case of this young outlaw provides an important opportunity to further our understanding of the dynamics of cultural memory. The book explains the processes by which the cultural memory of Ned Kelly was made and has developed over time, and how it has related to formations and negotiations of national identity. It breaks new ground in memory studies in the first place by showing that cultural memories are formed and develop through tangles of relations, what Basu terms memory dispositifs. In introducing the concept of the memory dispositif, this volume brings together and develops the work of Foucault, Deleuze, and Agamben on the dispositif, along with relevant concepts from the field of memory studies such as allochronism, colonial aphasia, and multidirectionality, the memory site – especially as developed by Ann Rigney – and Jan Assmann's figure of memory. Secondly, this work makes important headway in our understanding of the relationships between cultural memory and national identity, at a time when matters of identity appear to be more urgent and fraught than ever. In doing so, it shows that national identities are never purely national but are always sub- and transnational. The Ned Kelly memory dispositif has made complex and conflicting contributions to constructions of national identity. Ever since his outlawry, the identities invested in Kelly and those invested in the Australian nation have, in a two-way dynamic, fused into and strengthened each other, so that Kelly is in many ways a symbol for the national identity. Kelly has come to stand for an anti-establishment, working class, subaltern, Irish-inflected national identity. At the same time he has come to represent and enforce the whiteness, hyper-heterosexual masculinity and violence of "Australianness". Basu shows that Kelly has therefore always functioned in both radical and conservative ways, often both at once: a turbulent, Janus-faced figure.

The specific concern of this collection is linking the use of media to the larger socio-cultural processes involved in collective memory-making. The focus rests in particular on two aspects of media use: the basic dynamics of mediation and remediation. The key questions are: What role do media play in the production and circulation of cultural memories? How do mediation, remediation and intermediality shape objects and acts of cultural remembrance? How can new, emergent media redefine or transform what is collectively remembered?

The main objective of the book is to allocate the grass roots initiatives of remembering the Holocaust victims in a particular region of Russia which has a very diverse ethnic structure and little presence of Jews at the same time. It aims to find out how such individual initiatives correspond to the official Russian hero-orientated concept of remembering the Second World war with almost no attention to the memory of war victims, including Holocaust victims. North Caucasus became the last address of thousands of Soviet Jews, both evacuees and locals. While there was almost no attention paid to the Holocaust victims in the official Soviet propaganda in the postwar period, local activists and historians together with the members of Jewish communities preserved Holocaust memory by installing small obelisks at the killing sites, writing novels and making documentaries, teaching about the Holocaust at schools and making small thematic exhibitions in the local and school museums. Individual types of grass roots activities in the region on remembering Holocaust victims are analyzed in each chapter of the book.

This volume concerns judges, judgment and judgmentalism. It studies the Victorians as judges across a range of important fields, including the legal and aesthetic spheres, and within literature. It examines how various specialist forms of judgment were conceived and operated, and how the propensity to be judgmental was viewed.

Cultural memory is a framework which elucidates the relationship between the past and the present: essentially, why, how, and with what results certain pieces of information are remembered. This volume brings together distinguished classicists from a variety of sub-disciplines to explore cultural memory in the Roman Republic and the Age of Augustus. It provides an excellent and accessible starting point for readers who are new to the intersection between cultural memory theory and ancient Rome, whilst also appealing to the seasoned scholar. The chapters delve deep into memory theory, going beyond the canonical texts of Jan Assmann and Pierre Nora and pushing their terminology towards Basu's dispositifs, Roller's intersignifications, Langlands' sites of exemplarity, and Erll's horizons. This innovative framework enables a fresh analysis of both fragmentary texts and archaeological phenomena not discussed elsewhere.

"The well-known mythographer Marina Warner has described the process of reading fairy tales and folktales as 'tasting the dragon's blood' - a magical and transformative process by which one's ears are opened to the voices of the past and of other worlds. Roman exempla, which constitute a national story-telling tradition, are very different in many ways from the dream-like fantasies of fairy-tales and other narrative folk traditions that have been the subject of Warner's studies. In (supposedly) true stories from history, battle-hardened warriors, noble maidens and honourable sons of the soil face impossible dangers, take terrible decisions and sacrifice their lives, their limbs and even their own children for the sake of justice, discipline and the Roman community. Yet for the ancient Romans too, hearing the blood-soaked stories of their ancestral heroes was an intimate and potent experience, and this 'taste of the hero's blood' had an intoxicating effect similar to the blood of Warner's dragon: evoking other worlds, shaping understanding of their own world"--