最后的莫西干人讀后感 要英語版的
Cora Munro: Dynamics between Sexual and Maternal InstinctsCora Munro’s relationship with her younger, fairer sister Alice demonstrates a distinct mother-daughter pattern that manifests itself in every interaction between the two women. Throughout James Fenimore Cooper’s The Last of the Mohicans, the character of Cora continuously hides her sister’s face in her bosom as an indication of undying protection from the ravages of the American frontier. Alice depends on Cora as her champion and defender but, most unmistakably as a mother figure. Cora maintains a immutable position of motherly nurture with her sister, however, when interacting with other frontier characters, Cora shifts her style of human interaction towards a conscious understanding of her gender capacity. Though not overtly sexual, Cora does demonstrate a cognizance of female sexuality and feminine influence on various male characters. Cora does not often demonstrate motherly instinct while practicing the powers of her sex; rather, her authority particular to each sphere manifests itself during situations of great conflict and tension concerning Alice or, separately, the other surrounding male characters.The narrator refers to Cora’s motherly intuition in many instances, but most especially when Alice demonstrates a case of need or dependence. When Alice shows doubt and fear, Cora immediately rushes to protect and soothe her. Cooper writes, “For many moments the elder sister looked upon the younger, with a countenance that wavered with powerful and contending emotions. At length she spoke, though her tones had lost heir rich and calm fulness, in an expression of tenderness, that seemed maternal” (109). Cooper writes clearly of the strong bond that exists between the sisters while illustrating a power relationship that has Cora playing the role of shepherd and Alice as that of a small, helpless lamb. Moreover, Cooper repeatedly shows the character of Alice grasping onto the arm of Duncan Heyward, an obvious physical need for refuge and shield, while Cora remains free of an explicit male bond and receives the admiration of the remaining men from afar. Alice, the weaker of the two, appeals to her sister for attention while Cora remains aloof and confident. Cooper, at many instances, describes Cora with almost beatific characteristics which heighten her esteem and power as a female character. Her motherly feelings towards Alice verge on the saintly; Cora often rises above common human sensibility and takes on the role of a martyr in the manner that a mother would for her child.Cora’s motherly instincts, however, are contrasted with her femininity and sexual command. Hawk-Eye, Uncas, Duncan and many other men look upon her as a powerful and alluring female figure, a female to contend with rather than protect. When Uncas speaks to her about accompanying her during her plight, Cora says, “Go, generous young man,'” and Cooper then describes, “Cora continued, lowering her eyes under the gaze of the Mohican, and, perhaps, with an intuitive consciousness of her power” (79). Though he does not overtly indicate a knowledge of sexual power, Cooper does imply that Cora’s awareness of her sexuality and interaction with males. At another point, when Cora implores Chief Tamenund to free the captives, Coopers writes of his reaction, “Cora had cast herself to her knees, and with hands clenched in each other, and pressed upon her bosom, she remained like a beauteous and breathing model of her sex, looking up in his faded, but majestic countenance, with a species of holy reverence. Gradually, the expression of Tamenund’s features changed, and losing their vacancy in admiration, they lighted with a portion of that intelligence, which, a century before, had been wont to communicate his youthful fire to the extensive bands of the Delawares” (303). Both of Cooper’s descriptions show Cora’s usage and understanding of sex as a powerful medium of change. Her attitude during these particular interactions differ considerably from the chaste, motherly interchanges with Alice and indicate a complex character development and a dueling concept of purity and motherhood, eroticsm and sexuality.
最后一個莫西干人的英文讀后感怎么寫
《最后的莫西干人》是《皮襪子故事集》中最出色的一部，也是詹姆斯·費尼莫爾·庫柏編寫小說中的精品。
故事發(fā)生在十八世紀五十年代末期，英法兩國為爭奪北美殖民地而進行的“七年戰(zhàn)爭”的第三年,在赫德森河的源頭和喬治湖一帶這兒是一片腥風血雨的戰(zhàn)場。
小說以威廉·亨利堡司令孟羅上校的兩個女兒科拉和艾麗斯，前往堡壘探望父親途中被劫持的經歷為主線，了在原始森林中追蹤、伏擊、戰(zhàn)斗等一系列驚險情節(jié)的描寫。
主人公納蒂·邦波，此時已做了英軍的偵察員，并已獲得“鷹眼”的綽號，他和他的老友莫西干族酋長“大蟒蛇”欽加哥，以及欽加哥的兒子“快腿鹿”恩卡斯挺身而出，為了救出姐妹倆，和劫持者了一場驚心動魄的斗爭，最后以一場大廝殺而告終。
本小說充分體現了：北美殖民地的發(fā)展史，實質上就是這樣一部印第安人的血淚史。
最后的莫西干人 讀后感 200字就行
《最后的莫希干人》是一本驚險刺激的叢林冒險故事，合上它，我眼前便出現了兇狠狡猾的麥格瓦，美麗動人的科拉和艾麗斯，英俊的海沃德，正義的欽加哥和恩卡斯的形象，久久不能退去。
這本書的主要事情都圍繞著一片原始森林展開，那里居住著兩個家族：莫希干人和休倫人。
莫希干人正義剛毅，休倫人奸詐狡猾，休倫人試圖打敗莫希干人，稱霸原始森林。
莫希干人為了保衛(wèi)自己的家族，酋長欽加哥和他健壯的兒子恩卡斯與保護威廉·亨利堡司令孟羅上校的兩個女兒的海沃德上校，還有他的英軍偵查員鷹眼一起，和兇殘的休倫人首領麥格瓦進行了殊死搏斗，最后，恩卡斯不畏麥格瓦的威脅，與他拼了命，兩人同歸于盡。
在事情中，科拉也被麥格瓦一刀刺死了，恩卡斯的棺材里放著最好的獵槍和羽毛，它們靜靜地守護著它們的主人：剛強無畏的莫西干新酋長恩卡斯。
我覺得，邪惡永遠戰(zhàn)勝不了正義，正義的人永遠是英雄。
就像日本發(fā)動侵華戰(zhàn)爭，七七事變，細菌戰(zhàn)役，南京大屠殺，這些等等罪行成為了中國人心中永遠抹不去的陰影。
中國人民浴血奮斗十三年，“起來，起來
”這句話成為當時人們最大的心理支撐。
十三年，中國人終于挺直背脊站了起來，伸張了正義，打擊著邪惡，發(fā)展出了一個繁榮富強的新中國。
邪惡會被正義所打敗，邪不壓正，愿我們的明天沒有邪惡，沒有黑暗
黑布林英語閱讀莫格利的兄弟讀后感
黑英語閱讀利弟讀Unbelievable, this little book moved me a lot. I seldom think about the true meaning of love and life before. Well, now I can say, with my short sixteen-year’s life experience, it’s like the stars in the sky that lit my heart. The little prince is not only an ordinary fairy-tale for children, but also for grown-ups, and our teenagers. Nevertheless, when I read this book, I feel a little sad – about ourselves, whom are losing more and more innocence Here I am sitting on a couch alone, thinking about what I have just finished reading with tears of sadness filling my eyes and fire of indignation filling my heart, which revived my exhausted soul that has already been covered by the cruelty and the selfishness of the secular world for a long time. It is truly what I felt after reading Oliver Twist, written by the prominent British author Charles Dickens.
