Philip Gulley

James Mulholland

Why God Will Save Every Person

If Grace is True

Why Everyone Will Be in Heaven Two pastors present their controversial belief in eternal salvation for all through God's perfect grace. Long disturbed by the church's struggle between offering both love and rejection, they discover what God wants from us and for us: grace for everyone.

If Grace Is True

Kirke Mechem

Libby Larsen

André Jerome Thomas

David N. Childs

René Clausen

Morten Lauridsen

Z. Randall Stroope

Gwyneth Walker

Each composer addresses the following topics: biography ; creative process ; the relationship between text and music; views from the composer to the conductor ; the relationship between the composer and the commissioning party ; views on the teaching of composition ; influencial individuals ; ten works all choral conductors at all levels should study ; the future of choral music ; comprehensive list of [his/her] works for choir.

Composers on Composing for Choir

Introduction: Translocal Anglo-India -- A Cultural Company-State and the Colonial Public Sphere -- Newspapers and Reading Publics in Eighteenth-Century India -- The Vagrant Muse: Fashioning Reputation across Eurasia -- Undoing Britain in Bengal -- Tristram Shandy in Bombay -- Agonies of Empire: Captivity Narratives and the Mysore Wars, 1767-1799 -- Literary Culture of Colonial Outposts: Penang, Sumatra, Java, 1771-1816.

Writing Early Anglophone India

Before the Raj

In Sounding Imperial, James Mulholland offers a new assessment of the origins, evolution, and importance of poetic voice in the eighteenth and early nineteenth centuries. By examining a series of literary experiments in which authors imitated oral voices and impersonated foreign speakers, Mulholland uncovers an innovative global aesthetics of poetic voice that arose as authors invented new ways of crafting textual voices and appealing to readers. As poets drew on cultural forms from around Great Britain and across the globe, impersonating “primitive” speakers and reviving ancient oral performances (or fictionalizing them in verse), they invigorated English poetry. Mulholland situates these experiments with oral voices and foreign speakers within the wider context of British nationalism at home and colonial expansion overseas. Sounding Imperial traces this global aesthetic by reading texts from canonical authors like Thomas Gray, James Macpherson, and Felicia Hemans together with lesser-known writers, like Welsh antiquarians, Anglo-Indian poets of colonialism, and impersonators of Pacific islanders. The frenetic borrowing, movement, and adaptation of verse of this time offers a powerful analytic by which scholars can understand anew poetry’s role in the formation of national culture and the exercise of colonial power. Sounding Imperial offers a more nuanced sense of poetry’s unseen role in larger historical processes, emphasizing not just appropriation or collusion but the murky middle range in which most British authors operated during their colonial encounters and the voices that they used to make those cross-cultural encounters seem vivid and alive.

Poetic Voice and the Politics of Empire, 1730–1820

Sounding Imperial

Sounding Imperial offers a more nuanced sense of poetry’s unseen role in larger historical processes, emphasizing not just appropriation or collusion but the murky middle range in which most British authors operated during their colonial encounters and the voices that they used to make those cross-cultural encounters seem vivid and alive.

James Mulholland

About

Books

Join the club