Examination Of Annihilationism Universalism And The Doctrine Of Endless Punishment As Defended Respectively By E White A Jukes And Dr Angus In The Christian World Etc

There is a growing debate in Christian circles over what the Bible teaches about the destiny of the unsaved. The traditional Christian view has been that those who do not know the Lord Jesus are destined for hell and eternal punishment. Annihilationism states that while there will be a punishment for sinners, that punishment will not last forever. The sinner will be exterminated after they have paid for their sin.This study is an attempt to examine what the Bible says on this topic. It alone is our authority on all matters of faith and practice. It is not an easy study to do but one that is necessary, lest we compromise the teaching of Scripture.

Since the rise of the contemporary ecology movement in the 1960s, American songwriters and composers, from folk singer Pete Seeger to jazz saxophonist Paul Winter, have lamented, and protested against, environmental degradation and injustice. The Jukebox in the Garden is the first book to survey a wide range of musical styles, including folk, country, blues, rock, jazz, electronica and hip hop, to examine the different ways in which popular music has explored American relationships between nature, technology and environmental politics. It also investigates the growing link between music and philosophical thought, particularly under the influence of both deep ecology and New Age thinking, according to which music, amongst all the arts, has a special affinity with ecological ideas. This book is both an exploration and critique of such speculations on the role that music can play in raising environmental awareness. It combines description and analysis of American popular music made during the era of modern environmentalism with a consideration of its wider social, historical and political contexts. It will be of interest to undergraduates and post-graduates in music, cultural studies and environmental studies, as well as general readers interested in popular music and the environment.

In the history of electronic communication, the last quarter of the nineteenth century holds a special place, for it was during this period that the telephone, phonograph, electric light, wireless, and cinema were all invented. In When old Technologies Were New, Carolyn Marvin explores how two of these new inventions--the telephone and the electric light--were publicly envisioned at the end of the nineteenth century, as seen in specialized engineering journals and popular media. Marvin pays particular attention to the telephone, describing how it disrupted established social relations, unsettling customary ways of dividing the private person and family from the more public setting of the community. On the lighter side, she describes how people spoke louder when calling long distance, and how they worried about catching contagious diseases over the phone. A particularly powerful chapter deals with telephonic precursors of radio broadcasting--the "Telephone Herald" in New York and the "Telefon Hirmondo" of Hungary--and the conflict between the technological development of broadcasting and the attempt to impose a homogenous, ethnocentric variant of Anglo-Saxon culture on the public. While focusing on the way professionals in the electronics field tried to control the new media, Marvin also illuminates the broader social impact, presenting a wide-ranging, informative, and entertaining account of the early years of electronic media.

"[Western Music and Its Others] will be taken as an important book signalling a new turn within the field. It takes the best features of traditional, rigorous scholarship and brings these to bear upon contemporary, more speculative questions. The level of theoretical sophistication is high. The studies within it are polemical and timely and of lasting scholarly value."--Will Straw, co-editor of Theory Rules: Art as Theory/ Theory and Art "The great value of this collection lies in the wealth of questions that it raises--questions that together crystallize the recent concerns of musicology with force and clarity. But it also lies in the authors' resistance to the easy 'postmodernist' answers that threaten to turn new musicology prematurely grey. The editors' comprehensive, intellectually adventurous introduction exemplifies the sort of eager yet properly skeptical receptivity to scholarly innovation that fosters lasting disciplinary reform. It alone is worth the price of the book." --Richard Taruskin, author of Stravinsky and the Russian Traditions: A Biography of the Works Through " Mavra" "When cultural-studies methods first appeared in musicology 15 years ago, they triggered a storm of polemics that sometimes overshadowed the important issues being raised. As the canon wars recede, however, scholars are finding it possible to focus on the concerns that led them to cultural criticism in the first place: the study of music and its political meanings. Western Music and Its Others brings together leading musicologists, ethnomusicologists, and specialists in film and popular music to explore the ways European and North American musicians have drawn on or identified themselves in tension with the musical practices of Others. In a series of essays ranging from examination of the Orientalist tropes of early 20th-century Modernists to the tangled claims for ownership in today's World Music, the authors in this collection greatly advance both our knowledge of specific case studies and our intellectual awareness of the complexity and urgency of these problems. A timely intervention that should help push music studies to the next level." --Susan McClary, author of Conventional Wisdom: The Content of Musical Form (2000) "This collection provides a sophisticated model for using theory to interrogate music and music to interrogate theory. The essays both take up and challenge the dominance of notions of representation in cultural theory as they explore the relevance of the concepts of hybridity and otherness for contemporary art music. Sophisticated theory, erudite scholarship and a very real appreciation for the specificities of music make this a powerful and important addition to our understanding of both culture and music." --Lawrence Grossberg, author of Dancing in Spite of Myself