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Relevant bibliographies by topics / Last of the Mohicans (Cooper, James Fenimore)

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Academic literature on the topic 'Last of the Mohicans (Cooper, James Fenimore)'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Last of the Mohicans (Cooper, James Fenimore)"

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Blakemore, Steven. ""Without a Cross": The Cultural Significance of the Sublime and Beautiful in Cooper's The Last of the Mohicans." Nineteenth-Century Literature 52, no. 1 (June 1, 1997): 27–57. http://dx.doi.org/10.2307/2934028.

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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.

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Shields, Juliet. "Savage and Scott-ish Masculinity in The Last of the Mohicans and The Prairie: James Fenimore Cooper and the Diasporic Origins of American Identity." Nineteenth-Century Literature 64, no. 2 (September 1, 2009): 137–62. http://dx.doi.org/10.1525/ncl.2009.64.2.137.

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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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Gouanvic, Jean-Marc. "De la traduction à l’adaptation pour les jeunes." Meta 48, no. 1-2 (September 24, 2003): 31–46. http://dx.doi.org/10.7202/006956ar.

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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 ?

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Coby, James L. "Crisis-Dictated Gender Roles in James Fenimore Cooper's THE LAST OF THE MOHICANS." Explicator 72, no. 1 (January 2014): 32–33. http://dx.doi.org/10.1080/00144940.2013.875875.

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Magyarody, Katherine. "“Sacred Ties of Brotherhood”." Nineteenth-Century Literature 71, no. 3 (December 1, 2016): 315–42. http://dx.doi.org/10.1525/ncl.2016.71.3.315.

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Katherine Magyarody, “‘Sacred Ties of Brotherhood’: The Social Mediation of Imperial Ideology in The Last of the Mohicans and Canadian Crusoes” (pp. 315–342) This essay analyzes narrative patterns of colonist-indigenous relations within Daniel Defoe’s Robinson Crusoe (1719) and two Robinsonade texts, James Fenimore Cooper’s The Last of the Mohicans (1826) and Catharine Parr Traill’s Canadian Crusoes (1852). Within the latter texts, the multiplication of Crusoe into “castaway” groups allows for an investigation of the social collateral of reaffirming racial hierarchies via settlers’ allegiance to indigenous individuals while destroying larger indigenous communities. In The Last of the Mohicans, the hybrid Cora Munroe and the Mohican Uncas’s love for her threatens the established pattern of homosocial interracial friendship; their deaths reaffirm racial boundaries. Conversely, by depicting a “coterie” of Scotch, French-Canadian, hybrid, and Mohawk members, Canadian Crusoes self-consciously rewrites the tragedy of Cooper’s novel so that sororal love enables cross-cultural marriage. Nevertheless, Traill’s proleptic descriptions of Canadian settlement mark her narrative as an alternate history that diverges from the progressive alienation of Native communities.

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Dyer, Gary. "Irresolute Ravishers and the Sexual Economy of Chivalry in the Romantic Novel." Nineteenth-Century Literature 55, no. 3 (December 1, 2000): 340–68. http://dx.doi.org/10.2307/2903127.

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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.

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Shafiq, Qasim, Mazhar Hayat, and Ali Usman Saleem. "Intertextual Inscription of Diasporic Identity in Ondaatje's The English Patient." Global Social Sciences Review IV, no. II (June 30, 2019): 403–8. http://dx.doi.org/10.31703/gssr.2019(iv-ii).52.

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hrough Julia Kristiva's intertextuality, this study explores the diasporic version of identity in Michael Ondaatje's The English Patient - the text that is based on Ondaatje's inspiration from other literary and non-literary texts: Rudyard Kipling's Kim, Herodotus' The History, James Fenimore Cooper's The Last of the Mohicans and the story of Gyges and the Queen. This theoretical inscription locates the source of the expression of the meaning of the text: either the author or the text per se. It argues the intertextual narration of Ondaatje, a Sri Lankan living in Canada, about the fragmented identities of the diasporas in the post-World War II milieu. This intertextual approach highlights the politics working behind the location of the characters, their (dis)placement from/to their origin and their identity in the post-WWII time. The framing of these intertextual discourses helps understand the contexts of diaspora characters as well as diaspora writers.

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Wardoyo, Subur. "TRANSLATION AS IMPERIALISM: THE LAST OF THE MOHICANS." Celt: A Journal of Culture, English Language Teaching & Literature 2, no. 1 (August 21, 2017). http://dx.doi.org/10.24167/celt.v2i1.757.

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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

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Guiralt Gomar, Carmen. "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." Fotocinema. Revista científica de cine y fotografía, no. 11 (July 29, 2015). http://dx.doi.org/10.24310/fotocinema.2015.v0i11.6075.

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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.

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Harding, Wendy. "Agnès Derail and Cécile Roudeau (eds.), James Fenimore Cooper ou la frontière mélancolique : The Last of the Mohicans et The Leatherstocking Tales." Miranda, no. 15 (September 18, 2017). http://dx.doi.org/10.4000/miranda.10879.

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Dissertations / Theses on the topic "Last of the Mohicans (Cooper, James Fenimore)"

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Thormodsgard, Marie. "Hybridity in Cooper, Mitchell and Randall : erasures, rewritings, and American historical mythology." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83152.

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This thesis starts with an overview of the historical record tied to the birth of a new nation studied by Alexis de Tocqueville and Henry Steele Commager. It singles out the works of Henry Nash Smith and Eugene D. Genovese for an understanding, respectively, of the "myth of the frontier" tied to the conquest of the American West and the "plantation myth" that sustained slavery in the American South. Both myths underlie the concept of hybridity or cross-cultural relations in America. This thesis is concerned with the representation or lack of representation of hybridity and the roles played by female characters in connection with the land in two seminal American novels and their film versions---James Fenimore Cooper's The Last of the Mohicans, and Margaret Mitchell's Gone With the Wind---and Alice Randall's rewriting of Mitchell's novel, The Wind Done Gone , as a point of contrast. Hybridity is represented in the mixed-race bodies of these characters.

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Keeler, Kyle B. KEELER. ""The earth is a tomb and man a fleeting vapour": The Roots of Climate Change in Early American Literature." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent152327594367199.

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Wu, Si-Hua, and 吳思樺. "James Fenimore Cooper’s Early Novels: The Creation of American Identity in The Pioneers and The Last of the Mohicans." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/78929830205496501260.

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碩士
國立中興大學
外國語文學系所
105
In the early period of the new republic, many people had difficulty in recognizing their own culture and their national identity. In a sense, Americans at that time were facing a post-colonial crisis of knowing who they were. During the early nineteenth century, James Fennimore Cooper committed himself to help Americans find their cultural identity. He wrote many novels, among which The Pioneers and The Last of the Mohicans were the most well-known, to help his people realize the significance of their history and culture. This thesis aims to explore the creation of American identity in The Pioneers and The Last of the Mohicans from both colonial and post-colonial perspectives. Cooper tried to make Americans realize that Native Americans and American landscape were the features of American life. However, when Cooper tried to consolidate the American identity by exalting the settlement experience and justifying the westward expansion, he unconsciously revealed the mindset of Manifest Destiny and white supremacy. Thus, his novels became another type of imperialist narrative.

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Gerlach, Caroline. "La traduction et l'adaptation de The Last of the Mohicans de James Fenimore Cooper dans la culture allemande au XIXe siècle : vers une éthique de l'adaptation." Thesis, 2007. http://spectrum.library.concordia.ca/975330/1/MR34691.pdf.

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For this research project in Translation Studies, we intend, by taking as a starting point the recent theories about ethics in translation of different authorities, to inquire if there also exists an ethics for adaptation, which would necessarily be different from the ethics of translation itself. The different researchers are Antoine Berman, Lawrence Venuti, Henri Meschonnic and Jean-Marc Gouanvic. It was Jean-Marc Gouanvic who gave the impetus to this project by asking several pertinent questions about adaptation in relation to his social theories about translation. As corpus for our textual analysis, we have chosen the Leatherstocking Tales of James Fenimore Cooper, in particular the story of the Last of the Mohicans, written in 1826, one of the first German translations made in 1826 by Heinrich Döring, as well as the first German adaptation for children, written by Alexander Friedrich Franz Hoffmann and published in 1845. After having presented James Fenimore Cooper, his work and the complete German translation of the Last of the Mohicans by Heinrich Döring seen in the light of the theories of our researchers, we have put the emphasis on the theories of Lawrence Venuti, allowing us, within an exposition about the reception, imitators and epigones of James Fenimore Cooper in Germany, to present an overview of the literature generated by this first Indian novel. Thereafter follows a detailed textual analysis between the English original, the complete German translation and the first adaptation for children in accordance with the criteria of the notions of signifiance and illusio that we have taken from Henri Meschonnic and Jean-Marc Gouanvic. Finally, we have put forward several hypotheses and conclusions in the end of the analysis.

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Cunha, Ana Elisa Baptista Pereira Morais Figo Ribeiro da. "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." Master's thesis, 2007. http://hdl.handle.net/10400.2/531.

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Dissertação de Mestrado em Estudos Americanos apresentada à Universidade Aberta
Resumo - 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 americana
Résumé - 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 Américaine
Abstract - 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 culture

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Books on the topic "Last of the Mohicans (Cooper, James Fenimore)"

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McWilliams, John P. The last of the Mohicans: Civil savagery and savage civility. New York: Twayne Publishers, 1995.

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1961-, Sabin Roger, ed. The lasting of the Mohicans: History of an American myth. Jackson: University Press of Mississippi, 1995.

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ill, VanArsdale Anthony, and Cooper James Fenimore 1789-1851, eds. James Fenimore Cooper's The last of the Mohicans. Edina, Minn: Magic Wagon, 2010.

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Fields, Jan. James Fenimore Cooper's The last of the Mohicans. Edina, MN: Magic Wagon, 2010.

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Block, Paul. Song of the Mohicans: A sequel to James Fenimore Cooper's "Last of the Mohicans". New York: Bantam Books, 1995.

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Novels for students: Presenting analysis, context, and criticism on commonly studied novels. Detroit, Mich: Gale, 2010.

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Twain, Mark, and Cooper James Fenimore. The Last of the Mohicans by James Fenimore Cooper & Fenimore Cooper's Literary Offenses. Bottom of the Hill Publishing, 2012.

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Sanborn, Geoffrey. Whipscars and Tattoos: The Last of the Mohicans, Moby-Dick, and the Maori. Oxford University Press, Incorporated, 2013.

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Last of the Mohicans by James Fenimore Cooper (Historical, War and Military Novel) Annotated Version. Independently Published, 2020.

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Last of the Mohicans by James Fenimore Cooper (Historical, War and Military) Unabridged and Annotated Classic Volume. Independently Published, 2020.

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Book chapters on the topic "Last of the Mohicans (Cooper, James Fenimore)"

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Buchenau, Barbara. "Cooper, James Fenimore: The Last of The Mohicans." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5096-1.

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Smith, Lindsey Claire. "Cross-Cultural Hybridity in James Fenimore Cooper’s The Last of the Mohicans." In Indians, Environment, and Identity on the Borders of American Literature, 7–37. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230614055_2.

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MacNeil, Denise Mary. "Reconstituting the American Frontier Hero through James Fenimore Cooper’s Natty Bumppo in The Last of the Mohicans: A Narrative of 1757." In The Emergence of the American Frontier Hero 1682–1826, 133–56. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230103993_7.

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Baird, Douglas G. "Law and War in the New World." In Cannons and Codes, 31–50. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197509371.003.0003.

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James Fenimore Cooper’s first novels form an overarching narrative that attempts to capture the American experience. In The Last of the Mohicans, modeled on the captivity narrative, the civilized European world, bound by formal legal rules, overtakes a wilderness—but not completely, and not always for the better. In The Spy, the protagonist is both a social outcast and a true hero of the American Revolution. In The Pioneers, the central character cannot reconcile himself with the new society taking shape in the United States. Each novel culminates in a trial that turns on the law of war. The novels use the tension between the law of war and the inner moral compass of the hero to understand the fate of the young republic and whether it, too, is destined to suffer the fate of past civilizations, each of which was born, rose, and then fell.

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