The Last of the Mohicans

https://commons.und.edu/settler-literature/1008/thumbnail.jp

The last of the mohicans: Erich Honecker

В статье рассматривается автобиография политического лидера как коммуникативный ролевой акт, авторизирующий его самосознание и саморепрезентацию

Arcade Exhibit Showcases RWU History Professor’s Research

Research focuses on the Narragansett Pacer, the first “truly American” breed of horse, featured in “The Last of the Mohicans”

RACIAL INTERACTION IN JAMES FENIMORE COOPER’S THE LAST OF THE MOHICAN : A GENETIC STRUCTURALISM APPROACH

The objective of the research is the novel entitled The Last of The Mohicans by James Fenimore Cooper. The study gives focus on racial interactions as reflected in James Fenimore Cooper’s The Last of The Mohicans. The aim of the study is the finding the criticism on racial interaction in social life. The study belongs to a qualitative study. In this method, the researches uses two data source and object of the study is the novel the Last of The Mohicans it self. Meanwhile the secondary ones are any literature related with the study. The technique of data analysis in the study is the descriptive to make an interpretation of the text and content analysis using deductive and inductive method. The result of the study shows the following the conclusion. First, The Last of The Mohicans, James Fenimore Cooper’s view on racial interaction in North America in eighteenth century is that solitary human existence needs what is called respect the human right and social interaction in their life. Because by fulfilling both of them, surely they can reach equality between human races. Second, James Fenimore Cooper’s view on freedom of life. Freedom is right to act and speak freely for specifically to have their own land and to live in their own land not in the reservation. The existences of rule of reservation are forms of limitations of a freedom. In other words, Cooper want to say that the existence of rule of reservation to be broken, because by doing that people can know which is wrong and right then the result, they are to be more respectfully to the human right in every step. Finally, recognition of equal about human right and the freedom of life ii very important for every tribe as long as they have courage to take the charge of what they have done

James Fenimore Cooper e Thomas Cole : The Last of the Mohicans : a relação dialéctica entre a natureza, a literatura e a pintura, no espaço formativo ecológico

Dissertação de Mestrado em Estudos Americanos apresentada à Universidade AbertaResumo - Nesta dissertação tem-se como objectivo fazer a relação entre pintura (Thomas Cole) e literatura (James Fenimore Cooper) americanas, mostrando que a arte nos EUA adquiriu um estatuto próprio que a diferenciou da europeia durante o século XIX, defendendo uma identidade cultural que se fundia com a Natureza selvagem. As obras destes autores, durante a era do presidente Jackson, manifestaram uma grande apreensão devido à destruição da Natureza pela Civilização e pelo Progresso avassalador, que pode ser encarada como uma das origens dos movimentos ecologistas na América do Norte. Por isso, pode falar-se da ligação entre Literatura, Pintura e Ecologia, já nesse século. O corpus desta dissertação é constituido pela obra de James Fenimore Cooper The Last of the Mohicans e pelos quatro quadros que Thomas Cole pintou baseados nesta obra: Scene from the Last of the Mohicans: Cora Kneeling at the Feet of Tamenund (1827), Landscape, Scene from the Last of the Mohicans (1827), Landscape, Scene from “The Last of the Mohicans" (Death of Cora), (1827) Landscape with figures: A Scene from the Last of the Mohicans, (The Death of Magua), (1826). Estudaram-se especificamente estes dois artistas, porque além de serem representativos do movimento americano romântico, foram pioneiros da literatura e da pintura americanas, uma vez que as suas temáticas focavam e realçavam a identidade americana vísivel em de The Last of the Mohicans. A influência de Cooper e de Cole sobre a Literatura e a Pintura americanas fez-se sempre sentir até ao presente, e daí eles serem considerados marcos na cultura americanaRésumé - Cette thèse a pour objectif de réaliser des relations réciproques entre la Peinture (Thomas Cole) et la Littérature Américaines (James Fenimore Cooper), montrant que l’árt aux États-Unis a acquis un statut propre qui l’a différencié de l’Europe durant le XIXème siècle, défendant une identité culturelle qui se fond avec la nature sauvage. Les oeuvres de ces auteurs, durant l’époque du président Jackson, ont manifesté une grande appréhension face à la destruction de la Nature par la civilisation et par le progrès niveleur qui peut être envisagé comme une des origines des mouvements écologistes de l’Amérique du Nord. Pour cela, nous pouvons parler de liaison entre la Littérature, la Peinture et l’Écologie, déjà à cette époque. Le corpus de cette thèse et constitué par l’oeuvre de James Fenimore Cooper, The Last of the Mohicans, ainsi que les quatre tableaux inspirés de cette oeuvre et peints par Thomas Cole : Scene from the Last of the Mohicans: Cora Kneeling at the Feet of Tamenund (1827), Landscape, Scene from the Last of the Mohicans (1827), Landscape, Scene from “The Last of the Mohicans" (Death of Cora), (1827) Landscape with figures: A Scene from the Last of the Mohicans, (The Death of Magua), (1826). Nous avons étudié spécifiquement les deux artistes parce que outre le fait qu’ils soient représentatifs du Mouvement Romantique Américain ; ils ont aussi été les pionniers de la Littérature et de la Peinture Américaines, étant donné que leurs thématiques se concentrent et mettent en valeur l’Identité Américaine visible dans le The Last of the Mohicans. L’influence de James Fenimore Cooper et de Thomas Cole sur la Littérature et la Peinture Américaines s’est toujours faite sentir jusqu’à nos jours, ceux-ci étant considérés des références premières de la culture AméricaineAbstract - The author’s objective in this dissertation is to establish the link between American painting (Thomas Cole) and literature (James Fenimore Cooper), by showing that in the 19th century, in the USA, art took on a status of its own that differentiated it from European art, in which it defended a cultural identity that merged with nature in the wild. During the time of President Jackson these artists’ works displayed a great deal of concern or even fear at the destruction of nature by civilisation and the shackles of progress, which can be seen as one of the origins of the ecological movements in North America. This is why it is already possible to speak about a link between Literature, Painting and the Ecology in that century. The corpus of this dissertation is composed of James Fenimore Cooper’s The Last of the Mohicans and the four paintings which Thomas Cole based on the book: Scene from the Last of the Mohicans: Cora Kneeling at the Feet of Tamenund (1827), Landscape, Scene from the Last of the Mohicans (1827), Landscape, Scene from “The Last of the Mohicans" (Death of Cora), (1827) Landscape with figures: A Scene from the Last of the Mohicans, (The Death of Magua), (1826).This study was focused on these two artists, specifically, because in addition to being representative of the American Romantic Movement, they were pioneers of American literature and painting, in that their subject matters highlighted the American identity that is to be seen in The Last of the Mohicans. The influence that Cooper and Cole have always had on American Literature and Painting can be felt until the present day, and they can therefore be considered milestones in American cultur

Inter-marriage and The Last of the Mohicans, 1824-1992

In this essay, I examine the literary status of intermarriage in the American literature of the 1820s. The essay covers a set of “Indian narratives” produced in that decade, focusing on four “Indian novels” that provide instances of trans-cultural sexual and/or sentimental encounters. The set includes novels by Lidia Maria Child (Hobomok), Catharine Sedgwick (Hope Leslie) and Fenimore Cooper (The Last of the Mohicans, The Wept of Wish-ton-Wish). Leaning on the work done on domesticity and sentimental novels by women writers, I focus on how the outcomes of intermarriage are represented in each text. Specifically, I consider the ways of resistance and survival offered (or not offered) to trans-cultural families and their children. As a result, it can be argued that the examined authors do not produce a unique answer to the problem of intermarriage. What they all share, however, is the sense that a deeply human possibility of growth is lost with the Indian removal. In this sense, I conclude by comparing their work to Michael Mann’s 1992 The Last of the Mohicans to find that Mann’s approach is no great improvement on the ideology of the 1820s.The essay covers a set of “Indian narratives” produced in that decade, focusing on four “Indian novels” that provide instances of trans-cultural sexual and/or sentimental encounters. The set includes novels by Lidia Maria Child (Hobomok), Catharine Sedgwick (Hope Leslie) and Fenimore Cooper (The Last of the Mohicans, The Wept of Wish-ton-Wish). Leaning on the work done on domesticity and sentimental novels by women writers, I focus on how the outcomes of intermarriage are represented in each text. Specifically, I consider the ways of resistance and survival offered (or not offered) to trans-cultural families and their children. As a result, it can be argued that the examined authors do not produce a unique answer to the problem of intermarriage. What they all share, however, is the sense that a deeply human possibility of growth is lost with the Indian removal. In this sense, I conclude by comparing their work to Michael Mann’s 1992 The Last of the Mohicans to find that Mann’s approach is no great improvement on the ideology of the 1820s

Irresolute Ravishers and the Sexual Economy of Chivalry in the Romantic Novel

Walter Scott's Ivanhoe (1819) and James Fenimore Cooper's The Last of the Mohicans (1826) attempt in divergent ways to deal with the contradictions attendant on the contemporary ideology of "chivalry." In these novels chivalry becomes inconsequential: the woman's fate depends ultimately not on the intervention of a "knight" but on the irresolution of her would-be ravisher, who becomes paralyzed momentarily when he finds that the heroine is "resolved" to die rather than suffer abuse. Scott's method of rescuing his heroine Rebecca is not reassuring: the villain Bois-Gilbert implausibly drops dead, killed by "the violence of his own contending passions." One reason that chivalry fails to protect women in these novels is that it is not disinterested (as Edmund Burke defined it), but rather dependent on sexual desire. The Last of the Mohicans, moreover, shows that not all evil men will be irresolute: when the Europeanized Indian Magua cannot bring himself to kill Cora Munro, one of his "savage" comrades stabs her instead. The impulse that impedes the unchivalrous Magua is, ironically, the sexual desire that undergirds chivalry, but Cora's killer lacks even this desire. By showing that chivalry is powerless against men who are outside its sexual economy, The Last of the Mohicans renders moot Scott's struggles in Ivanhoe over chivalry's inconsistencies and contradictions.</jats:p