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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.
It is 1757. Across north-eastern America the armies of Britain and France struggle for ascendancy. Their conflict, however, overlays older struggles between nations of native Americans for possession of the same lands and between the native peoples and white colonisers. Through these layers of conflict Cooper threads a thrilling narrative, in which Cora and Alice Munro, daughters of a British commander on the front line of the colonial war, attempt to join their father. Thwarted by Magua, the sinister 'Indian runner', they find help in the person of Hawkeye, the white woodsman, and his companions, the Mohican Chingachgook and Uncas, his son, the last of his tribe.
The Last of the Mohicans: A Narrative of 1757 is a historical novel written by James Fenimore Cooper in 1826.
(back cover) When a naïve group of English settlers journeys through the untamed wilderness of 18th-century America, they quickly become victims of a hostile enemy attack. Their only hope of rescue lies with Hawkeye, an expert woodsman, and Uncas and Chingachgook, the last survivors of the Mohican tribe. James Fenimore Cooper's gripping tale is brought to life in graphic novel format. (front flap) The wild frontier of the British colony of New York is the scene of this spellbinding story. It is the time of the French and Indian War, and danger lurks everywhere. Two daughters of a British army officer set off on a hazardous journey through the wilderness, guided by a treacherous Huron Indian who turns out to be a part of a kidnapping plot. The young ladies are in deep peril. Will the efforts of the heroic woodsman Hawkeye and his Mohican companions Chingachgook and Uncas be enough to rescue them? (back flap) Graphic Classics available from Barron's Adventures of Huckleberry Finn * Dr. Jekyll and Mr. Hyde * Dracula * Frankenstein * Gulliver's Travels * Hamlet * The Hunchback of Notre Dame * Jane Eyre * Journey to the Center of the Earth * Julius Caesar * Kidnapped * The Last of the Mohicans * Macbeth * The Man in the Iron Mask * The Merchant of Venice * Moby Dick * The Odyssey * Oliver Twist * Romeo and Juliet * A Tale of Two Cities * The Three Musketeers * Treasure Island * 20,000 Leagues Under the Sea * Wuthering Heights
Themes: Adapted Classics, Low Level Classics, Graphic Novels, Illustrated, James Fenimore Cooper, Fiction, Tween, Teen, Young Adult, Hi-Lo, Hi-Lo Books, Hi-Lo Solutions, High-Low Books, Hi-Low Books, ELL, EL, ESL, Struggling Learner, Struggling Reader, Special Education, SPED, Newcomers, Reading, Learning, Education, Educational, Educational Books. These literary masterpieces are made easy and interesting. This series features classic tales retold with color illustrations to introduce literature to struggling readers. Each 64-page eBook retains key phrases and quotations from the original classics. The Last of the Mohicans is a historical story in Cooper's brilliant frontier tales. It is an exciting adventure about America's original inhabitants- our Native Americans- and Hawkeye's heroic plight and pursuit against his white brothers while battling the evil and vengeful Huron Chief Mugua.
Masterworks of literature - retold in the Mighty Marvel Manner! In the late 1970s, respected comic book writers and talented artists joined forces to adapt many of the world's most famous stories onto the comic book page. From adventure tales like The Last of the Mohicans, Treasure Island, Robinson Crusoe and Ivanhoe, to horror staples Frankenstein and The Invisible Man! Whether it's the classical poetry of The Iliad and The Odyssey, the dystopian sci-fi of The War of the Worlds, or the terrifying tales of Edgar Allan Poe, this collection of cultured classics is sure to thrill you from cover to cover! Featuring world-famous and beloved characters like Robin Hood and Alice in Wonderland, and illustrated versions of novels by such authors as Charles Dickens, Mark Twain, Jules Verne and many more! COLLECTING: MARVEL CLASSICS COMICS (1976) 13-36
This book provides both students and scholars with a critical and historical introduction to the graphic novel. Jan Baetens and Hugo Frey explore this exciting form of visual and literary communication, showing readers how to situate and analyse graphic novels since their rise to prominence half a century ago. Several key questions are addressed: what is the graphic novel? How do we read graphic novels as narrative forms? Why is page design and publishing format so significant? What theories are developing to explain the genre? How is this form blurring the categories of high and popular literature? Why are graphic novelists nostalgic for the old comics? The authors address these and many other questions raised by the genre. Through their analysis of the works of many well-known graphic novelists - including Bechdel, Clowes, Spiegelman and Ware - Baetens and Frey offer significant insights for future teaching and research on the graphic novel.
Distinguishing the graphic novel from other types of comic books has presented problems due to the fuzziness of category boundaries. Against the backdrop of prototype theory, the author establishes the graphic novel as a genre whose core feature is complexity, which again is defined by seven gradable subcategories: 1) multilayered plot and narration, 2) multireferential use of color, 3) complex text-image relation, 4) meaning-enhancing panel design and layout, 5) structural performativity, 6) references to texts/media, and 7) self-referential and metafictional devices. Regarding the subcategory of narration, the existence of a narrator as known from classical narratology can no longer be assumed. In addition, conventional focalization cannot account for two crucial parameters of the comics image: what is shown (point of view, including mise en scène) and what is seen (character perception). On the basis of François Jost’s concepts of ocularization and focalization, this book presents an analytical framework for graphic novels beyond conventional narratology and finally discusses aspects of subjectivity, a focal paradigm in the latest research. It is intended for advanced students of literature, scholars, and comics experts.