Con la llegada de los franceses y los ingleses al territorio donde se formarían Estados Unidos los indios de la región fueron exterminados poco a poco y, los menos, alojados en las ya famosas reservas. El último mohicano retoma algo de estos hechos: es una historia que se desarrolla en 1757, entre ingleses e indios, quienes adquieren relevancia por su valentía y astucia, así como por su generosidad. En medio de bosques intrincados, ríos incontenibles y barrancos sin fin, Uncas, El último mohicano, y su padre, Chingachgook, se ven inmiscuidos en una peligrosa aventura, al lado de varios ingleses, entre ellos dos bellas muchachas. La fortaleza y vigor de los mohicanos se pondrá a prueba cuando tengan que enfrentar a extranjeros como a indios de otras tribus. ¡Acércate a estas páginas y no te pierdas el desenlace de este muy emocionante relato!

Ralph Fasanella was an activist whose megaphone was his paintbrush. His images, filled with symbolism, chronicle life in early twentieth-century New York, the American labor movement, the complex bonds of family, and the political injustices and social inequities of his time. His paintings teem with both gritty realities and his own hopeful visions for a prosperous working class. Born in 1914 to Italian immigrant parents, Fasanella was intellectual without formality. Though he never attended art school, he enthusiastically studied the greats, was well read, and was confident in his developed knowledge of painting. He also had an easy way with people, and he found inspiration in those who, like him, worked hard and got their fingernails dirty. "His most accomplished works reveal the perversions and promises of the United States: the history of prejudice, oppression, and wage slavery, and the power of opposition, hope, and the struggle for a more egalitarian society," writes Marc Fasanella, the artist's son, in Ralph Fasanella: Images of Optimism. "He painted the beauty, poetry, and social cohesion that define a healthy existence. He communicated these concepts by employing the emotional resonance of persuasive visual metaphor. He painted optimism."

Examining four dichotomies in Spanish, this book shows how to reduce the six to ten rules common in textbooks for each contrast to a single binary distinction. That distinction is a form of totality vs. part, easier to see in some of the dichotomies, but present in all of them. Every chapter is example-driven, and many of those examples come from writing by students. Readers can test out for themselves the explanation at work in the examples provided. Then, those examples are explained step by step. In addition to examples from writing by college students, there are examples from RAE (Real Academia Española), from scholars, from writers, from Corpes XXI (RAE), from the Centro Virtual Cervantes, and from the Internet. Many of those examples are presented to the reader as exercises, and answers are provided. This book was written for teachers of Spanish as a second language (L2) and for minors or majors of Spanish as an L2. It will also benefit teachers and learners of other L2s with some of these dichotomies.