CART

(0) items

Whipscars and Tattoos : The Last of the Mohicans, Moby-Dick, and the Maori,9780199751693

Whipscars and Tattoos : The Last of the Mohicans, Moby-Dick, and the Maori

by
ISBN13:

9780199751693

ISBN10:
0199751692
Format:
Hardcover
Pub. Date:
2/9/2011
Publisher(s):
Oxford University Press, USA
List Price: $58.67

Buy New Textbook

Usually Ships in 3-5 Business Days
N9780199751693
$57.20

Rent Textbook

We're Sorry
Sold Out

Used Textbook

We're Sorry
Sold Out

eTextbook

We're Sorry
Not Available

More New and Used
from Private Sellers
Starting at $35.44
See Prices

Questions About This Book?

What version or edition is this?
This is the edition with a publication date of 2/9/2011.
What is included with this book?
  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any CDs, lab manuals, study guides, etc.

Related Products


  • Whipscars and Tattoos The Last of the Mohicans, Moby-Dick, and the Maori
    Whipscars and Tattoos The Last of the Mohicans, Moby-Dick, and the Maori




Summary

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.

Author Biography


Geoffrey Sanborn is Associate Professor of Literature at Bard College. He is the author of The Sign of the Cannibal: Melville and the Making of a Postcolonial Reader, the editor of the New Riverside Edition of Melville's Typee, and a coeditor, with Samuel Otter, of Melville and Aesthetics.

Table of Contents

Acknowledgmentsp. ix
Abbreviationsp. xi
Glossaryp. xv
Introduction: Grand, Ungodly, Godlike Menp. 1
Te Ara's Scarsp. 16
Cooper's Death Songp. 37
Te Pehi Kupe's Mokop. 73
Melville's Furious Lifep. 93
Notesp. 133
Indexp. 175
Table of Contents provided by Ingram. All Rights Reserved.


Please wait while the item is added to your cart...