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The tale of a Mohican brave's struggle to protect two English girls from an evil Huron.
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Last of Mohicans veers constantly from low-brow cartoon spoof to reverent high art adaptation. It combines Sugiura's signature brand of absurd action and grotesque caricature with exquisitely rendered landscapes of the American Southwest (never mind that the story is supposed to be set in Ohio) and detailed images of Eastern Algonquian Indian and Colonial dress and weaponry.
Fenimore Cooper's Literary Offenses by Mark Twain
The Last Mohicans, E Narrative of 1757 by Unknown This classic historical novel immerses readers in the wilderness of colonial America during the French and Indian War, following the adventures of Hawkeye and his Native American companions. Key Points: Adventure and frontier life: The Last Mohicans transports readers to the untamed wilderness of early America, presenting a thrilling narrative filled with perilous journeys, epic battles, and encounters with various Native American tribes. Exploration of cultural clashes and identities: The novel explores the conflicts and tensions between different cultural groups, particularly the Native American tribes and the European colonizers. It delves into themes of cultural identity, loyalty, and the impact of war on individuals and communities. Romanticism and the natural landscape: The Last Mohicans exemplifies the literary movement of Romanticism, celebrating the awe-inspiring beauty of the American landscape. The novel's vivid descriptions of forests, rivers, and mountains evoke a sense of wonder and reverence for nature, while also reflecting the characters' emotional journeys.
Most of the essays in James Fenimore Cooper: New Historical and Literary Contexts are either directly or indirectly informed by the need to confront Cooper's tales with the indeterminate historical context from which they arose. Others start from the premise that our understanding of Cooper's work can benefit significantly from displacing it from its traditional position in American literary history and by repositioning it in a new literary context. What unites all the essays is a commitment to read Cooper's works as culturally-encoded documents that both reflect and give us access to the complex, equivocal mind that created them. This is not to say that the essays share a common critical or methodological approach; indeed, they were commissioned and selected with the specific intention of applying contending approaches in contemporary literary discourse to the canonical Cooper. While the array of critical approaches represented in the book is by no means exhaustive, interpretive strategies vary from textual, formalistic New Critical readings to old historical, contextual readings, and from new historical, revisionist readings to deconstructive readings. Through their critical diversity these essays will cast a new light on Cooper's work in relation to its historical context, and on the relevance of Cooper's work to both nineteenth-century and modern literary, historical, and ideological debates.
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New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.