Download Dr. Seuss and Philosophy (Oh, the Thinks You Can Think!) by Jacob M. Held PDF

By Jacob M. Held

Given that Theodore Geisel released his first children's ebook in 1937 less than the pseudonym Dr. Seuss, youngsters and adults alike were captivated by way of the fascinating and laconic stories of whimsical characters and inventive worlds. yet Dr. Seuss' tales are greater than simply catchy poems; they typically strive against with severe philosophical and ethical dilemmas, if it is Horton researching the very essence of existence or the Lorax instructing us approximately morality. Dr. Seuss and Philosophy explores philosophical conceptssuch because the nature of the nice existence in Oh the locations You'll pass, the character of data in McElligot's Pool, Postmodernity in On past Zebra, enterprise and the surroundings within the Lorax, and ethical personality in How the Grinch Stole Christmas, between many others. a person who loves Dr. Seuss or is attracted to philosophy will locate this publication to be interesting and enlightening.

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Extra info for Dr. Seuss and Philosophy (Oh, the Thinks You Can Think!)

Sample text

The fetishistic qualities of women wielding such a heavily coded phallic symbol constitutes one of the major themes of feminist director Kathryn Bigelow’s Blue Steel (1990). Throughout the film rookie cop Meghan Turner (Jamie Lee Curtis) is forced to negotiate her conflicting gender status as it is implicated in her relationships with guns and powerful men. The opening credits sequence is an obvious fetishizing display of Turner’s weapon: in an extreme close-up, with vaguely erotic background music and stylistic blue lighting, the camera dwells on the contours, the shaft, and the hollows of her standard issue Smith & Wesson.

The message of the joke is clear: masculinity is determined by one’s ability to perform certain culturally recognizable traits, and conversely to fail to perform these traits adequately implies one can be seen as feminine. ” While the action heroine’s heterosexuality is somewhat recovered by the narrative in order to escape any possibly offending lesbian implications, she is still read within the confines of gender attributes as symbolically male. The ability of women to function successfully in what is coded as a masculine role illustrates the socially constructed nature of that role.

Ironically, at the showing of Double Impact I attended it was the muscular Everson who elicited shouts of approval from audience members, perhaps proving that the welltoned body is currently more of a female ideal than the voluptuous-but-weak body. It is interesting to hear how audiences respond upon first seeing such muscular women as Hamilton, McLish, and Everson. Rather than blatant wolf whistles, there is a sense of awe and respect (from both male and female viewers) for the hard-earned muscularity that stands so far removed from even the well-aerobicized Hollywood norm.

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