The reception of Sparta, especially the Three Hundred, through 18th-century France, 19th- 20th-century Germany, 19th-century America, the Second World War, the Cold War, and today. A considering of how Sparta’s own distortion of Thermopylae in antiquity has been amplified throughout the centuries to leave us with the legacy of Thermopylae as a war for freedom when at the time it was not framed in any such way.

The Sound and the Fury depicts how information at a certain level of complexity acquires its own quasi-agency – a hyper-mimetic ability to replicate itself through surfaces and selves. Among the many objects and surfaces that exhibit this mimetic agency, two images – the clock and the statue – lie at the heart of Faulkner’s cartography of the postbellum plantation system and allow us to understand the author’s diagnosis of the modernization of the planter system, not simply as a scaling social order, but as a coercive flow of ideology in the the era of Jim Crow ascendency. This chapter shows that Faulkner imagines planter heritage as a social force that invades the psyche, vertiginously scaling through a series of mimetic surfaces to find expression both in the financialization of the New South and in the Confederate monuments that replicate ideology through the social body. The statue of the Confederate soldier is the ultimate case in point. The mimetic semblance is not alive, yet a commonality of plantation culture is enacted between this information object and those who are forced to endure its imprint, to become mimetic surfaces robbed of depth and immanent life.

This chapter provides a close reading of Faulkner’s first depiction of the plantation manor and argues that it provides the prototype for a spatial pattern that will be repeated so often and in so many variable forms as to constitute the foundational archetype of networked space and information flow throughout the whole of the Yoknapatawpha fiction. In Flags in the Dust, Faulkner visualizes a vertically-oriented spatial symbolism in which a violent ideology is embedded in the artifacts and aesthetic objects of the Sartoris planter network so that this ideology is capable of replicating its content in individuals who inhabit this space. This predicament is most fully realized in Colonel Sartoris’s statue, for while the man himself is dead, the ideological information of his mimetic print circulates through the financial and technological infrastructure of bank and rail, using the innovations of modernity to disseminate itself even while reinforcing the racial and class suppositions of the slave system that preceded it.

This chapter traces the emergence of the field of memory studies and assesses the historians’ contribution to this field. In particular the influential work of Pierre Nora is discussed here. Memory history, it argues, has moved from underpinning national historical master narratives to promoting transnational cosmopolitan forms of memory that in turn have produced greater self-reflexivity about the relationship between historical writing and collective identity formation and helped to de-essentialise collective identities. The chapter introduces and analyses a range of different memory debates that all, in their different ways, have helped to de-essentialise the construction of collective identities: memory debates surrounding communism, the Holocaust, Brexit, the Truth and Reconciliation Committee in South Africa are all discussed in this respect. The chapter also introduces the concept of ‘agonistic memory’ and discusses how it may help to repoliticise memory and contribute to greater self-reflexivity about the construction of memory and the shaping of collective identities.

This chapter uses monuments as heritage, and a means to create new symbols to cement an oppressive regime. As these regimes fall, these symbols are erased or replaced. Monuments are known in cultural heritage jargon as movable cultural heritage or cultural objects. The chapter focuses primarily on efforts to remove or relocate statues and other monuments that are associated with oppressive periods in a nation’s history. It examines tensions around monuments and symbols in the controversies around statue removals in the United States (US Civil War), and Eastern Europe (Soviet Regime). Particularly with respect to the latter, it also investigates in-depth the creation of Memento Park in Budapest, a park that houses Soviet monuments removed from Hungary’s capital after the end of the Soviet regime.