@article{mulholland_2023, title={The Global Indies: British Imperial Culture and the Reshaping of the World, 1756-1815}, volume={35}, ISSN={["1911-0243"]}, DOI={10.3138/ecf.35.1.157}, number={1}, journal={EIGHTEENTH-CENTURY FICTION}, author={Mulholland, James}, year={2023}, month={Jan}, pages={157–160} }
 @book{mulholland_2021, place={Maryland}, title={Before the raj : writing early Anglophone India Baltimore}, publisher={Johns Hopkins University Press}, author={Mulholland, James}, year={2021} }
 @article{mulholland_2021, title={What I’ve Learned about Writing a Second Book}, url={https://doi.org/10.3138/jsp.53.1.02}, DOI={10.3138/jsp.53.1.02}, abstractNote={ Much has been written to inform academics about revising a dissertation and completing a book, but most of this advice focuses on first-time authors. By contrast, there is little advice directed toward more experienced academic authors that considers the conditions they confront when writing a second book, such as increased demands on them to provide institutional and professional service. Second-time authors may also enjoy the assurance that comes from having established a relationship with a publisher or having achieved tenure. This article offers three lessons about how writing a second book is different from writing the first. It considers how experienced authors’ relationships with publishers may change with a second book, and it examines ways to situate a second book in the course of a long academic career. }, journal={Journal of Scholarly Publishing}, author={Mulholland, James}, year={2021}, month={Oct} }
 @article{mulholland_2020, title={The past and future of historical poetics: Poetry and empire}, volume={17}, ISSN={["1741-4113"]}, url={https://doi.org/10.1111/lic3.12564}, DOI={10.1111/lic3.12564}, abstractNote={Abstract}, number={7}, journal={LITERATURE COMPASS}, author={Mulholland, James}, year={2020}, month={Jul} }
 @article{mulholland_2018, title={An Indian It-Narrative and the Problem of Circulation: Reconsidering a Useful Concept for Literary Study}, volume={79}, ISSN={["0026-7929"]}, DOI={10.1215/00267929-7103396}, abstractNote={Abstract}, number={4}, journal={MODERN LANGUAGE QUARTERLY}, author={Mulholland, James}, year={2018}, month={Dec}, pages={373–396} }
 @misc{mulholland_2018, title={Weather, Water, Persons, and Books: Mediating Global Romanticism}, volume={42}, ISSN={["1086-3192"]}, DOI={10.1215/00982601-4261303}, abstractNote={Book Review| January 01 2018 Weather, Water, Persons, and Books: Mediating Global Romanticism Gottlieb, Evan. Romantic Globalism: British Literature and the Modern World Order, 1750–1830 (Columbus: Ohio State Univ., 2014). Pp. 214. $59.95 hardcover. $24.95 paper. $14.95 CDGottlieb, Evan, ed. Global Romanticism: Origins, Orientations, and Engagements, 1760–1820 (Lewisburg: Bucknell Univ., 2015). Pp. 340. $100 James Mulholland James Mulholland North Carolina State University Search for other works by this author on: This Site Google Eighteenth-Century Life (2018) 42 (1): 110–116. https://doi.org/10.1215/00982601-4261303 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation James Mulholland; Weather, Water, Persons, and Books: Mediating Global Romanticism. Eighteenth-Century Life 1 January 2018; 42 (1): 110–116. doi: https://doi.org/10.1215/00982601-4261303 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsEighteenth-Century Life Search Advanced Search The text of this article is only available as a PDF. Copyright © 2018 Duke University Press2018 Article PDF first page preview Close Modal You do not currently have access to this content.}, number={1}, journal={EIGHTEENTH-CENTURY LIFE}, author={Mulholland, James}, year={2018}, month={Jan}, pages={110–116} }
 @article{mulholland_2016, title={Citizens of the World: Adapting the Eighteenth Century}, volume={8}, number={1}, journal={Digital Defoe}, author={Mulholland, James}, year={2016} }
 @article{mulholland_2016, title={Impersonating Islanders: Inauthenticity, Sexuality, and the Making of the Tahitian Speaker in 1770s British Poetry}, volume={57}, ISSN={["1935-0201"]}, DOI={10.1353/ecy.2016.0022}, abstractNote={The first Polynesian to set foot in Britain was a man we now know as Mai. He arrived in 1774 aboard the H. M. S. Adventure, one of the ships from James Cook’s second Pacific expedition, and stayed for two years, during which time he toured London’s drawing rooms, was presented at court, dined with Samuel Johnson, and was painted by Joshua Reynolds.1 His presence— and Oceanic exploration generally— inspired frenzied publication, as authors and printers capitalized on a “craze” for the Pacific.2 In this article I examine a segment of that publishing craze by focusing on two related clusters of approximately a dozen poems from the 1770s that impersonate Tahitians. The first cluster consists of satires in Mai’s voice composed by British authors while he resided in England. The second set was written from the perspective of Purea, a Tahitian noblewoman and contemporary of Mai, addressed to British explorers who had visited Tahiti and had supposedly become her lovers. Nearly all of them were published anonymously. They were humorous and comedic; they trafficked in gossip and innuendo about public figures such as the amateur botanist Joseph Banks, who traveled in Cook’s first Pacific expedition. Scholars, many of whom I engage with here, have typically seen these poems as mediocre satires of aristocratic excess and libertinism or as vulgarizations of the otherwise more sophisticated debate about Enlightenment, primitivism, sexuality, and exploration. While such critics have usefully integrated these poems into the vast scholarship about eighteenthcentury European encounters with the Pacific, they have also overlooked the significance of impersonation and virtualization for these poems. This oversight has meant sacrificing an important archive for understanding the consequences of print’s ability to imitate voices and construct virtual beings. Such an ability is particularly salient for understanding these impersonations because, as Srinivas Aravamudan ar-}, number={3}, journal={EIGHTEENTH CENTURY-THEORY AND INTERPRETATION}, author={Mulholland, James}, year={2016}, pages={343–363} }
 @article{mulholland_2016, title={Measuring Literature: Digital Humanities, Behavioral Economics, and the Problem of Data in Thomas Piketty’s Capital in the 21st Century}, volume={16}, number={3}, journal={Common Place: the Journal of Early American Life}, author={Mulholland, J}, year={2016} }
 @article{mulholland_2016, title={The Futures of Anglophone Indian Literary Studies}, volume={57}, ISSN={1935-0201}, url={http://dx.doi.org/10.1353/ecy.2016.0037}, DOI={10.1353/ecy.2016.0037}, abstractNote={Daniel E. White’s From Little London to Little Bengal seeks to unblock Anglophone literary studies by redirecting our fascination away from orientalism’s capacity to reproduce India as an abstraction and reflection of the British imagination. In his excellent book, he focuses on the circulation of objects, texts, and individuals between London and Calcutta (as well as Bristol and Serampore), producing new models for understanding how imperial exchange with India constituted (not just influenced) the Romantic imagination.}, number={4}, journal={The Eighteenth Century}, publisher={Project Muse}, author={Mulholland, James}, year={2016}, pages={531–536} }
 @misc{mulholland_carroll_burgess_gottlieb_2015, title={Romantic Circles BookChat: Romantic Globalism by Evan Gottlieb}, url={https://www.rc.umd.edu/reviews-blog/romantic-circles-bookchat-romantic-globalism-evan-gottlieb-0}, author={Mulholland, J and Carroll, S and Burgess, M and Gottlieb, E}, year={2015}, month={Sep} }
 @article{mulholland_2014, title={What I've Learned about Publishing a Book}, volume={45}, ISSN={["1710-1166"]}, DOI={10.3138/jsp.45.3.001}, abstractNote={ Many accounts that describe the procedures of academic writing focus on how authors can attract publishers by revising their dissertations so that they have appeal beyond their more narrow academic audiences. Few of these accounts, however, consider what happens when that process succeeds—that is, what happens to a manuscript after a publisher accepts it. This essay follows up on my 2011 JSP article, ‘What I've Learned about Revising a Dissertation,’ by considering those issues that arise during the production process of academic publishing. These stages are crucial for the success of a book, and they are avowedly collaborative in ways that differ from revising a dissertation. This process is often perceived as mere manufacturing when in fact it necessitates answering crucial conceptual questions. Furthermore, the customs and conventions of publishing are not a typical part of most academic training. In this essay, I draw from my own experience of publishing a title with an academic press to offer practical as well as theoretical reflections on how to select a publisher, write a book proposal, submit a manuscript, respond to readers' reports, think about copy-editing and proofreading, design a book jacket, and market a book after its physical publication. }, number={3}, journal={JOURNAL OF SCHOLARLY PUBLISHING}, author={Mulholland, James}, year={2014}, month={Apr}, pages={211–236} }
 @inbook{mulholland_2013, place={Farnham}, title={Connecting eighteenth-century India: Orientalism, Della Cruscanism, and the translocal poetics of William and Anna Maria Jones}, ISBN={9781409419303 9781409419310 9781472402189 9781464610905 9781409419310 9781472402189}, booktitle={Representing Place in British Literature and Culture, 1660-1830:  From Local to Global}, publisher={Ashgate}, author={Mulholland, James}, editor={Gottlieb, Evan and Shields, JulietEditors}, year={2013}, pages={117–136} }
 @book{mulholland_2013, place={Baltimore, MD}, title={Sounding Imperial: Poetic Voice and the Politics of Empire, 1730-1820}, ISBN={9781421408545  9781421408552}, publisher={Johns Hopkins University Press}, author={Mulholland, James}, year={2013} }
 @article{mulholland_2011, title={What I've learned about revising a dissertation}, volume={43}, DOI={10.1353/scp.2011.0044}, abstractNote={The structural changes in higher education and scholarly publishing have raised new questions about the usefulness of the dissertation as precursor to scholarly publication. This essay reconsiders the process of turning a dissertation into a book manuscript. Recent manuals about dissertation writing like From Dissertation to Book and Revising Your Dissertation are helpful but often provide overly broad conceptualizations about how to assess a dissertation and revise it into a book. Likewise, academics tend to describe the revision process in conceptual terms by focusing on too impressionistic ways of distinguishing the difference between a dissertation and a book. In addition, they spend surprisingly little time discussing the methods and techniques of writing and revision that authors actually use. Drawing from my own recent experience as an example, I offer practical advice as well as theoretical reflections on the research and writing process by which dissertations can become book manuscripts.}, number={1}, journal={Journal of Scholarly Publishing}, author={Mulholland, James}, year={2011}, pages={39–51} }
 @article{mulholland_2009, title={James Macpherson's Ossian poems, oral traditions, and the invention of voice}, volume={24}, DOI={10.1353/ort.0.0040}, abstractNote={When James Macpherson’s Fragments of Ancient Poetry, Collected in the Highlands of Scotland, and Translated from the Galic or Erse Language appeared in 1760, it was greeted with widespread approval. Macpherson’s collection purported to translate the work of Ossian, a semimythical third-century C. E. Scottish bard in the mold of Homer, who preserved his culture’s traditions in song. The claim that this collection was the “genuine remains of ancient Scottish poetry” attracted passionate adherents (Macpherson 1966:A2). For nationalistic Scots, Ossian provided a tantalizing image of an advanced culture comparable to and contemporaneous with those of classical Greece and Rome. For many English authors, Ossian served as an example of native British creativity that superseded the neoclassicism of the early eighteenth century.1 Thomas Gray declared, for example, that he was in “extasie” after reading the Ossian poems and characterized Macpherson as a thrilling “demon” of poetry (Gray 1935:ii, 680). This “extasie” partly inspired Gray to compose his own imitations of Norse and Celtic folktales. Ossian’s popularity traveled widely outside of Great Britain; prominent literary and political figures, including the German author Johann Wolfgang von Goethe, Thomas Jefferson, and Napoleon Bonaparte offered enthusiastic assessments of the sentimentality and humanity that they saw in the poems. The fervor of such readers was met with equally forceful skepticism. Many critics suggested that Macpherson fabricated Ossian and forged his poems to succeed in a literary marketplace that had largely ignored his earlier publications.2 Samuel Johnson unequivocally asserted that the poems cannot be “genuine remains” because, he believed, it was impossible for oral transmission to preserve poetry of any considerable length or cultural traditions of any complexity (Johnson and Boswell 1984:113-14). He argued that they were “too long to have been remembered” by an ancient people who, he thought, had not developed writing and therefore must have been uncivilized (Johnson 2000:637-38). He insinuated that the Scots’ desire Oral Tradition, 24/2 (2009): 393-414}, number={2}, journal={Oral Tradition}, author={Mulholland, James}, year={2009}, pages={393–414} }
 @article{mulholland_2008, title={Gray's ambition: Printed voices and performing bards in the later poetry}, volume={75}, DOI={10.1353/elh.2008.0006}, abstractNote={This essay examines the connection between Thomas Gray's later poems and Celtic oral culture. Scholars believe Gray to be nostalgic for medieval modes of literary authority and have tended to see the latter half of his career as a retreat from the literary marketplace. I suggest instead that in "The Bard" (1757) and in imitations of Celtic oral poetry from the 1760s Gray invents and refines a poetics of printed voice that simulates the sense of immediacy that he perceives to exist between bards and their audience. Rather than disengaging from the literate in favor of the oral, these poems simulate bardic voice in print and thus make a concerted attempt to counter the sense of alienation and misunderstanding that for Gray characterizes the relationship between modern authors and readers in print culture.}, number={1}, journal={ELH}, author={Mulholland, James}, year={2008}, pages={109–34} }
 @article{mulholland_2004, title={"'To Sing the Toils of Each Revolving Year': Song and Poetic Authority in Stephen Duck's 'The Thresher's Labour'"}, volume={33}, ISSN={1938-6133}, url={http://dx.doi.org/10.1353/sec.2010.0148}, DOI={10.1353/sec.2010.0148}, abstractNote={T'he eighteenth century marks a peculiar and difficult moment for the English pastoral tradition. For some scholars, exemplified perhaps by Frank Kermode, the pastoral, properly defined, does not survive into the eighteenth century.1 Others argue that the changing conditions of the English countryside require unique generic transformations of eighteenth-century pastoral.2 Responding to changes in the English countryside, particularly in agrarian labor, pastoral undergoes a redefinition throughout the century whose instability arises from both the adaptation and the persistence of its classical conceits.3 One author who exemplifies this dual process of generic innovation and conservation is Stephen Duck. Duck, who worked as a thresher in England, composed and circulated "The Thresher's Labour" in 1730. He has received renewed critical treatment in the last decade, in part because the poem presents a detailed account of his rural labor, and also because its rapid success in the literary culture of England secured for him the patronage of Queen Caroline, which initiated his personal transformation from agrarian laborer to poet.4 Recent criticism considers "The Thresher's Labour" an important starting point for a poetry that describes rural labor and the English countryside more accurately, rather than portrays an idealized golden age. The meticulous description of the thresher's physical labor often is interpreted}, number={1}, journal={Studies in Eighteenth Century Culture}, publisher={Project Muse}, author={Mulholland, James}, year={2004}, pages={153–174} }