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Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Through careful historical research, Geoffrey Sanborn reveals how James Fenimore Cooper and Herman Melville relied heavily on contemporary accounts of the indigenous natives of New Zealand, the Maori, to develop their iconic characters in The Last of the Mohicans and Moby-Dick. Buchnummer des Verkäufers

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Inhaltsangabe: In this original study, Geoffrey Sanborn presents a fresh interpretation of the villanous Magua in James Fenimore Cooper's The Last of the Mohicans (1826) and of the dignified harpooner Queequeg in Herman Melville's Moby-Dick (1851). Through careful historical research, Sanborn has determined that both authors relied heavily on contemporary accounts of the indigenous natives of New Zealand, the Maori, to develop their iconic characters. Cooper drew heavily on the account of Te Aara in John Liddiard Nicholas's Narrative of a Voyage to New Zealand (1817) while Melville studied the personal history of Te Pehi Kupe in George Lillie Craik's The New Zealanders (1830) to flesh out his characterization of Queequeg. A close reading of the historical evidence and the source material supports this compelling line of argumentation.
At the same time, this isn't a simple source study nor an act of explanatory historical recovery. The conception of the Maori is sophisticated and paradoxical, a portrait of violent but nonetheless idealized masculinity in which dignity depends on the existence of fiercely defiant pride. This lens allows Sanborn to present a radically different view of these fictional characters as well as underscoring the imaginative projection that went into reporting on the Maori themselves. Magua is no longer a stereotypical "bad Indian" or "ignoble savage," but rather a non-white "gentleman," an argument that supports Sanborn's contention that throughout his career Cooper prioritizes status equivalence over racial difference. Queequeg is similarly re-imagined, a move that allows Sanborn to explicate scenes in Moby-Dick that are often dodged by other critics because they do not fit with the standard interpretations of the character. The study as a whole provides a vivid example of the fascinating interplay between fiction and non-fiction in the nineteenth century.

Über den Autor:
Geoffrey Sanborn is Professor of English at Amherst College. He is the author of Sign of the Cannibal: Melville and the Making of a Postcolonial Reader and the coeditor, with Samuel Otter, of Melville and Aesthetics.

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Sanborn, Geoffrey
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ISBN 10: 0199985766 ISBN 13: 9780199985760
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Buchbeschreibung Oxford University Press, 2013. Buchzustand: Good. Reprint. N/A. Former Library book. Shows some signs of wear, and may have some markings on the inside. Buchnummer des Verkäufers GRP87271498

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Buchbeschreibung Oxford University Press 2013-04-01, 2013. Paperback. Buchzustand: Fine. Reprint. 0199985766 LIKE NEW/UNREAD!!! Text is Clean and Unmarked! Has a small black line on bottom/exterior edge of pages. Tracking is not available for orders shipped outside of the United States. **Heavier books will require additional postage for International** PA Sales Tax is included in purchase price. Buchnummer des Verkäufers OX-PB16-J-LN-0199985766

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Buchbeschreibung Oxford University Press Inc. Paperback. Buchzustand: new. BRAND NEW PRINT ON DEMAND., Whipscars and Tattoos: The Last of the Mohicans, Moby-Dick, and the Maori, Geoffrey Sanborn, In this original study, Geoffrey Sanborn presents a fresh interpretation of the villanous Magua in James Fenimore Cooper's The Last of the Mohicans (1826) and of the dignified harpooner Queequeg in Herman Melville's Moby-Dick (1851). Through careful historical research, Sanborn has determined that both authors relied heavily on contemporary accounts of the indigenous natives of New Zealand, the Maori, to develop their iconic characters. Cooper drew heavily on the account of Te Aara in John Liddiard Nicholas's Narrative of a Voyage to New Zealand (1817) while Melville studied the personal history of Te Pehi Kupe in George Lillie Craik's The New Zealanders (1830) to flesh out his characterization of Queequeg. A close reading of the historical evidence and the source material supports this compelling line of argumentation. At the same time, this isn't a simple source study nor an act of explanatory historical recovery. The conception of the Maori is sophisticated and paradoxical, a portrait of violent but nonetheless idealized masculinity in which dignity depends on the existence of fiercely defiant pride. This lens allows Sanborn to present a radically different view of these fictional characters as well as underscoring the imaginative projection that went into reporting on the Maori themselves. Magua is no longer a stereotypical "bad Indian" or "ignoble savage," but rather a non-white "gentleman," an argument that supports Sanborn's contention that throughout his career Cooper prioritizes status equivalence over racial difference. Queequeg is similarly re-imagined, a move that allows Sanborn to explicate scenes in Moby-Dick that are often dodged by other critics because they do not fit with the standard interpretations of the character. The study as a whole provides a vivid example of the fascinating interplay between fiction and non-fiction in the nineteenth century. Buchnummer des Verkäufers B9780199985760

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Buchbeschreibung Oxford University Press Inc, United States, 2013. Paperback. Buchzustand: New. Reprint. 213 x 140 mm. Language: English . Brand New Book ***** Print on Demand *****.In this original study, Geoffrey Sanborn presents a fresh interpretation of the villanous Magua in James Fenimore Cooper s The Last of the Mohicans (1826) and of the dignified harpooner Queequeg in Herman Melville s Moby-Dick (1851). Through careful historical research, Sanborn has determined that both authors relied heavily on contemporary accounts of the indigenous natives of New Zealand, the Maori, to develop their iconic characters. Cooper drew heavily on the account of Te Aara in John Liddiard Nicholas s Narrative of a Voyage to New Zealand (1817) while Melville studied the personal history of Te Pehi Kupe in George Lillie Craik s The New Zealanders (1830) to flesh out his characterization of Queequeg. A close reading of the historical evidence and the source material supports this compelling line of argumentation. At the same time, this isn t a simple source study nor an act of explanatory historical recovery. The conception of the Maori is sophisticated and paradoxical, a portrait of violent but nonetheless idealized masculinity in which dignity depends on the existence of fiercely defiant pride. This lens allows Sanborn to present a radically different view of these fictional characters as well as underscoring the imaginative projection that went into reporting on the Maori themselves. Magua is no longer a stereotypical bad Indian or ignoble savage, but rather a non-white gentleman, an argument that supports Sanborn s contention that throughout his career Cooper prioritizes status equivalence over racial difference. Queequeg is similarly re-imagined, a move that allows Sanborn to explicate scenes in Moby-Dick that are often dodged by other critics because they do not fit with the standard interpretations of the character. The study as a whole provides a vivid example of the fascinating interplay between fiction and non-fiction in the nineteenth century. Buchnummer des Verkäufers AAV9780199985760

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Buchbeschreibung Oxford University Press Inc, United States, 2013. Paperback. Buchzustand: New. Reprint. 213 x 140 mm. Language: English . Brand New Book ***** Print on Demand *****. In this original study, Geoffrey Sanborn presents a fresh interpretation of the villanous Magua in James Fenimore Cooper s The Last of the Mohicans (1826) and of the dignified harpooner Queequeg in Herman Melville s Moby-Dick (1851). Through careful historical research, Sanborn has determined that both authors relied heavily on contemporary accounts of the indigenous natives of New Zealand, the Maori, to develop their iconic characters. Cooper drew heavily on the account of Te Aara in John Liddiard Nicholas s Narrative of a Voyage to New Zealand (1817) while Melville studied the personal history of Te Pehi Kupe in George Lillie Craik s The New Zealanders (1830) to flesh out his characterization of Queequeg. A close reading of the historical evidence and the source material supports this compelling line of argumentation. At the same time, this isn t a simple source study nor an act of explanatory historical recovery. The conception of the Maori is sophisticated and paradoxical, a portrait of violent but nonetheless idealized masculinity in which dignity depends on the existence of fiercely defiant pride. This lens allows Sanborn to present a radically different view of these fictional characters as well as underscoring the imaginative projection that went into reporting on the Maori themselves. Magua is no longer a stereotypical bad Indian or ignoble savage, but rather a non-white gentleman, an argument that supports Sanborn s contention that throughout his career Cooper prioritizes status equivalence over racial difference. Queequeg is similarly re-imagined, a move that allows Sanborn to explicate scenes in Moby-Dick that are often dodged by other critics because they do not fit with the standard interpretations of the character. The study as a whole provides a vivid example of the fascinating interplay between fiction and non-fiction in the nineteenth century. Buchnummer des Verkäufers AAV9780199985760

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Buchbeschreibung Buchzustand: Brand New. Brand New Original US Edition, Perfect Condition. Printed in English. Excellent Quality, Service and customer satisfaction guaranteed!. Buchnummer des Verkäufers AIND-71393

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Buchbeschreibung Buchzustand: New. New. US edition. Perfect condition. Ship by express service to USA, Canada, Australia, France, Italy, UK, Germany and Netherland. Customer satisfaction our priority. Buchnummer des Verkäufers ABE-190516-154669

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