Gleanings in Europe: England by James Fenimore Cooper, and Wyandotte, or The Hutted Knoll: A Tale by James Fenimore Cooper, and The Last of the Mohicans: A Narrative of 1757 by James Fenimore Cooper

1983 ◽  
Vol 18 (3) ◽  
pp. 273-273
Author(s):  
Richard C. Poulsen
Keyword(s):  
James Fenimore Cooper ◽  
Last Of The Mohicans

"Without a Cross": The Cultural Significance of the Sublime and Beautiful in Cooper's The Last of the Mohicans

1997 ◽  
Vol 52 (1) ◽  
pp. 27-57 ◽  
Author(s):  
Steven Blakemore
Keyword(s):  
James Fenimore Cooper ◽  
Racial Ideology ◽  
The Novel ◽  
Cultural Significance ◽  
Men And Women ◽  
The Sublime ◽  
The World ◽  
Indian Tribes ◽  
Last Of The Mohicans ◽  
Historical Moment

This essay demonstrates that James Fenimore Cooper was incorporating the language and values of Edmund Burke's A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757) into the "world" of The Last of the Mohicans (1826). In the Enquiry Burke's distinction between the sublime and beautiful centers on traditional distinctions between men and women-an "eternal distinction" that Burke continually underscores. In Mohicans Cooper initially incorporates the beautiful into the sublime, in an intentionally illusive "mix" that corresponds to the illusory mixing of the white and Indian races. He then reinscribes Burke's distinction between the sublime and beautiful as an eternal distinction between whites and Indians-writing "out" the problem of the "Other" (gendered "femininity" and alien, "red" beauty) in a meditation of the significance of culture and race in America. In retrospect, Mohicans is a novel of ambiguous "crosses" and complicitous combinations-a novel of fatal and fruitful mixes comprising a series of covert traces telling a secret story contradicting Cooper's overt, racial ideology. Yet it is this "pristine" ideology that finally overpowers and double-crosses the novel's "other" message. Written in 1826, at a specific historical moment when the Indian tribes were being removed or destroyed, the novel reaffirms a racial ideology tortured with its own historical ambiguities.

scholarly journals Aportaciones historiográficas y estéticas a propósito de la co-autoría fílmica de The Last of the Mohicans (1920), de Maurice Tourneur y Clarence L. Brown

2015 ◽  
Author(s):  
Carmen Guiralt Gomar
Keyword(s):  
Visual Analysis ◽  
James Fenimore Cooper ◽  
Silent Film ◽  
Professional Relationship ◽  
The Real ◽  
Clarence Brown ◽  
Last Of The Mohicans ◽  
Analysis Of The Images ◽  
Degree Of Participation ◽  
Seriously Ill

El largometraje silente norteamericano The Last of the Mohicans (1920), sobre la famosa novela homónima de James Fenimore Cooper, se estrenó como co-dirigido por Maurice Tourneur y Clarence L. Brown. Tourneur era el productor y al inicio el único director, con Brown traba-jando como su ayudante. No obstante, poco después de iniciarse la filmación cayó gravemente enfermo, y Brown realizó la película casi al completo en su lugar. De ahí que Tourneur decidiera otorgar a su discí-pulo la mitad del crédito. Pese a ello, la polémica al respecto de su autoría ha rodeado siempre al film. Tal controversia surge a raíz de que The Last of the Mohicans está considerada por unanimidad como la obra maestra de Tourneur. Este artículo se centra en dicha problemática autoral, con objeto de establecer las verdaderas atribuciones de los dos directores. Para ello, previamente se ha analizado su relación profesional, que abarcó desde 1915 hasta 1921. Con posterioridad, a fin de establecer el grado de participación de cada uno de ellos, se han reconstruido los hechos relativos al rodaje a través de entrevistas de los que participaron en él (muchas de ellas hasta la fecha inéditas), así como de materiales publicados por la prensa de la época. Se ha llevado a cabo la consulta y confrontación de abundante material bibliográfico y, finalmente, el análisis plástico de las imágenes de la cinta.Abstract:The American silent film The Last of the Mohicans (1920), based on the famous homonymous novel by James Fenimore Cooper, was released as co-directed by Maurice Tourneur and Clarence L. Brown. Initially, Tourneur was the producer and the only director, with Brown being his assistant. However, shortly after shooting began he fell seriously ill. As a result, the film was almost entirely directed by Brown. Hence Tourneur decided to share the credit with his disciple. Still, the controversy concerning authorship has always surrounded the film. Such polemic arises from the fact that The Last of the Mohicans is considered unanimously Tourneur’s masterpiece. This article focuses on that authorial problematic, with the aim of determining the real responsibilities of both directors. In order to achieve this objective, their professional relationship (which spans from 1915 to 1921) has been previously analysed. Subsequently, to establish the degree of participation of each of them, the facts of the shooting have been reconstructed using interviews (many of them unpublished) from those who took part in it, as well as through contemporary trade papers. In addition, research and confrontation on extensive bibliography have been carried out. Finally, the visual analysis of the images of the film has been evaluated.Palabras clave:Maurice Tourneur; Clarence Brown; Hollywood; Associated Producers, Inc.; cine mudo.Keywords:Maurice Tourneur; Clarence Brown; Hollywood; Associated Producers, Inc.; Silent film.

scholarly journals O ÚLTIMO DOS MOHICANOS e O GUARANI: DUAS VISÕES PARALELAS DO NOVO MUNDO

1975 ◽  
Vol 24 ◽  
Author(s):  
Consuelo M. Loureiro
Keyword(s):  
James Fenimore Cooper ◽  
Last Of The Mohicans ◽  
Jose De Alencar

Embora José de Alencar negasse qualquer afinidade entre o seuromance, O Guarani, e The Last of the Mohicans de James Fenimore Cooper, de fato as duas obras compartilham aspectos capitais a respeito de temática, propósito e caraterização. Ambas obras têm sido criticadas por apresentarem precisamente o que os autores pretendiam apresentar, quer dizer, uma versão idealizada em vez de historicamente exata do índio e da imensa floresta americana. Da mesma maneira que os românticos da Europa procuraram na Idade Média as virtudes de inocência, fé e coragem, Cooper e Alencar criaram os idênticos valores medievais nas regiões silvestres do Novo Mundo ao exaltarem o indígena já destruído pela civilização do branco. Peri e Uncas encarnam todas as qualidades de beleza física e excelência moral que os românticos tinham concedido a sua imagem simbólica

scholarly journals TRANSLATION AS IMPERIALISM: THE LAST OF THE MOHICANS

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Subur Wardoyo
Keyword(s):  
James Fenimore Cooper ◽  
Indian Removal ◽  
The Novel ◽  
Second Person ◽  
Indian Language ◽  
Person Pronoun ◽  
Third Person ◽  
Last Of The Mohicans ◽  
The Third Person ◽  
Ethnic Harassment

In this article translation is not only confined to the linguist, but also to all strategies that represent a language to another language. The way James Fenimore Cooper translated the Indian language to English in the novel The Last of The Mohicans shows a representation of ethnic harassment manipulation of language. Cooper's translation build up the suggestion that Indians can only communicate only like children. The Indians are portrayed to only communicate by playing with their voice, music, gesture, and using the third-person pronoun to exchange dor the first-person or second-person pronoun. This harassment is correlated with the policy of Indian removal at that era

scholarly journals De la traduction à l’adaptation pour les jeunes

2003 ◽  
Vol 48 (1-2) ◽  
pp. 31-46 ◽  
Author(s):  
Jean-Marc Gouanvic
Keyword(s):  
Pierre Bourdieu ◽  
James Fenimore Cooper ◽  
Last Of The Mohicans

Résumé L’article examine deux types de traduction/adaptation de The Last of the Mohicans (1826) de James Fenimore Cooper : la première traduction effectuée en 1826 (et publiée la même année que l’original) par A. J. B. Defauconpret et l’une des très nombreuses adaptations, celle réalisée par Gisèle Vallerey et publiée en 1932. Cette étude sociologique (sociologie de Pierre Bourdieu revisitée en fonction de la traduction et de l’adaptation) porte d’une part sur l’oeuvre source, The Last of the Mohicans, et sur les déterminations de la culture source, de l’auteur et du texte, et d’autre part sur les déterminations de la culture cible de la traduction et de l’adaptation pour jeunes (nous prenons notre exemple d’adaptation dans la catégorie des textes pour enfants de 10 ans) et des textes traduits et adaptés sous le titre unique du Dernier des Mohicans. Il apparaît que la traduction de Defauconpret est une version quelque peu ethnocentrique du texte de Cooper et que l’adaptation pour jeunes de G. Vallerey est une version qui, exécutée à partir de la traduction de Defauconpret, constitue une adaptation très honnête de l’original. L’article se clôt sur une question fondamentale à propos de l’éthique de l’adaptation : comment un texte traduit (comme celui de Defauconpret) qui ne respecte pas l’éthique de la traduction peut-il donner lieu à un texte adapté qui, lui, répondrait à l’éthique présumée de l’adaptation ?

Savage and Scott-ish Masculinity in The Last of the Mohicans and The Prairie: James Fenimore Cooper and the Diasporic Origins of American Identity

2009 ◽  
Vol 64 (2) ◽  
pp. 137-162 ◽  
Author(s):  
Juliet Shields
Keyword(s):  
Native Americans ◽  
Social Development ◽  
James Fenimore Cooper ◽  
American Identity ◽  
Self Control ◽  
Cultural Appropriation ◽  
Westward Expansion ◽  
Historical Romances ◽  
Walter Scott ◽  
Last Of The Mohicans

This essay reassesses James Fenimore Cooper's literary relationship to Walter Scott by examining the depiction of Scots in The Last of the Mohicans (1826) and The Prairie (1827). Read as companion texts, these novels represent the imperial migrations of Scots as a cause of Native Americans' unfortunate, but for Cooper seemingly inevitable, eradication. They also trace the development of an American identity that incorporates feudal chivalry and savage fortitude and that is formed through cultural appropriation rather than racial mixing. The Last of the Mohicans' Scottish protagonist, Duncan Heyward, learns to survive in the northeastern wilderness by adopting the Mohicans' savage self-control as a complement to his own feudal chivalry; in turn, The Prairie's Paul Hover equips himself for the challenges of westward expansion by adopting both the remnants of this chivalry and the exilic adaptability and colonial striving that Cooper accords to Scots. I suggest that the cultural appropriation through which Heyward and Hover achieve an American identity that incorporates Scottish chivalry and savage self-command offers a model for the literary relationship between Cooper's and Scott's historical romances. The Leatherstocking Tales borrow selectively from the Waverely Novels, rejecting their valorization of feudal chivalry while incorporating their representation of cultural appropriation as a mechanism of teleological social development.

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