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The paper deals with the first decades in the work of Dr. Seuss (the pseudonym of Theodor Geisel, 1904–1991), one of the most prominent children’s authors of the 20th century. Seuss was not only the author of children’s tales, but also a talented artist who illustrated his own books and whose manner was deeply influenced by his 15-year experience as a cartoonist. In 1920–1940s he worked for different print media, from humor magazines to a political newspaper, drew cartoons and commercial advertisements. Our aim is to study the mutual influence of Seuss-thecartoonist and Seuss-the-writer and illustrator. Our main focus is the “bestiary” of Dr. Seuss, the animal characters of his cartoons and tales. Seuss created his first eccentric animals in the series of cartoons and anecdotes for a weekly satirical magazine Judge in 1927; he blended the Victorian tradition of nonsense and the features of newspaper cartoons and comic strips of the first decades of the 20th century. The motif of eccentricity is developed in the first children’s tales that Seuss published at the turn of the 1930–40s. The same motif is significantly transformed in his political cartoons for a daily newspaper PM in 1941–1942. Seuss puts the familiar animal images into the context of World War II and gives them different political meaning, from the totalitarian insanity of the Axis leaders to the carelessness and blindness of the “America First” supporters. Interestingly enough, Dr. Seuss used in his political cartoons some plot elements of his tales for children, as well as his old sketches and drawings. In its turn, his post-war tales are peculiar parables that absorb the political issues of the previous historical period. Creating his images of tyrants, Seuss makes use of the techniques of political cartoons. He puts his human and animal characters into the situations of tyranny or isolationism, that can be overcome with the help of common sense.

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During the 1960s a flurry of provocative publications sparked broader awareness and concern for the environment. In 1971, Dr. Seuss published The Lorax to communicate environmental concerns to young children. The book engages complex themes with rhythmic language and colorful artwork. For decades, the book has served as an early introduction to the tradeoffs between consumption and the environment inherent in market-based economics. Over time, the environmental movement has evolved. For many, technological innovation insures a sustainable future; while for others, technological innovation exacerbates challenges facing society and the environment. Although written for children one-half century ago, The Lorax represents a compelling expression of the complexity of environmental concerns and controversies. [ABSTRACT FROM AUTHOR]

The children's books of Dr. Seuss abound in words that the author invented. Inspection shows that these coinages are not arbitrary, raising the challenge of specifying the linguistic basis on which they were created. Drawing evidence from regression analyses covering the full set of Seuss coinages, I note several patterns, which include coinages that are phonotactically ill-formed, coinages meant to sound German and coinages that assist compliance with the meter. But the primary coinage principle for Seuss appears to have been to use words that include phonesthemes (Firth 1930), small quasi-morphemic sequences affiliated with vague meanings. For instance, the coinage Snumm contains two phonesthemes identified in earlier research, [sn-] and [-ʌm]. Concerning phonesthemes in general, I assert their affiliation with vernacular style, and suggest that phonesthemes can be identified in words purely from their stylistic effect, even when the affiliated meaning is absent. This is true, I argue, both for Seuss's coinages and for the existing vocabulary. [ABSTRACT FROM AUTHOR]

Like millions of other children around the world, I grew up with books by Theodor Seuss Geisel, known as Dr. Seuss. I learned to read with One Fish Two Fish [...]

Cott, Jonathan. Pipers at the Gates of Dawn: The Wisdom of Children's Literature. Minneapolis, MN: University of Minnesota Press, 2020. 330 pp. ISBN 978-1-5179-0932-1. $19.95 Many children's fantasy scholars will [...]

El dilema de preservar la forma o el contenido ha sido discutido in extenso en los estudios traductológicos durante gran parte del siglo XX. Hayes (1975) confiaba en el sentido común del traductor al momento de encarar el arte de la traducción literaria. Por su parte, con un enfoque más descriptivo, Ben-Ari (1992) y Shavit (1992) estudiaron las características específicas de la literatura infantil traducida del alemán al hebreo revisando variables históricas y entendiendo la fuerza canónica de ciertos libros dentro del catálogo del sistema estudiado. En inglés, como en castellano, la literatura infantil carece en cierta medida de importancia canónica. Sin embargo, existen ejemplos específicos (tal el caso de las obras de grandes autores ingleses del siglo XIX como Lewis Carroll, Stevenson, o C. S. Lewis) que lograron adquirir estatus canónico. Como el epítome de la escritura periférica, la traducción (en este caso la traducción de literatura infantil) deviene una práctica periférica de una literatura periférica. Si consideramos que en el polisistema las obras tienden a ir y venir de posiciones centrales a posiciones periféricas y viceversa, podemos concluir que es importante abrir espacios a culturas alternativas, y que la traducción puede tener un papel preponderante en este proceso. Este trabajo analiza las estrategias utilizadas por tres traductores diferentes de tres obras de la serie de Dr. Seuss. Nuestros hallazgos persiguen hacer foco en las ideas de Hayes, Ben-Ari y Shavit centrados en la literatura para niños.

The Lorax (1971) is a children's book written by Dr. Seuss, which delivers a dire warning by pointing at the anthropogenic activities lethal to the environment at the micro level. The book is significant in that it teaches children and adults the importance of environmentally sustainable practices by uttering a parable in which the Once-ler, the antagonist of the story, as blinded by his capitalistic ambition overexploits and destroys the nonhuman environment around him. The story revolves around the anthropogenic devastation which brings about the end of a Seussian Truffula forest, contaminates the pond and drives the native species of the forest out. In this context, The Lorax can be considered as a projection of the real victimized nonhuman environment with its disturbed biosphere in the face of anthropocentric greed to make maximum profit out of exploiting nature. In this respect, this study aims to analyze The Lorax by Dr. Seuss in the light of the Anthropocene theory and to compare The Lorax, a computer-animated movie released in 2012, with its namesake book on which it is based. [ABSTRACT FROM AUTHOR]

This article explores how adult writers of children's literature are implicitly positioned as translators between "adult" and "child" culture. Adopting the lens of metaphor theory, it traces the conceptual correspondence between adult metaphors of childhood (e.g., the child-savage analogy) and the metaphor of the adult translator of childhood. In examining the partially structured nature of these metaphoric representations of "child culture," it contends that translation theory, like postcolonial theory, provides a useful critical framework for exploring the power dynamics inherent to children's literature and the conceptual system that underlies it. Specifically, it argues that different models of translation (i.e., "domesticating" and "foreignizing" translation) are a productive lens through which to examine adult authors' approaches to writing for children. After considering the way children's literature, like "domesticating" translation (in: Venuti, The Translator's Invisibility: A History of Translation, Routledge, London, 1995, p. 20), attempts to conceal the subjectivities of its adult creators (in: Nodelman, The Hidden Adult: Defining Children's Literature, The Johns Hopkins University Press, Baltimore, 2008), I suggest that "foreignizing" translation offers an alternative approach through which to understand the adult act of writing for children (Venuti, 1995, p. 20). A close reading of Dr. Seuss's On Beyond Zebra! (1955) (Random House, New York, 1983/1955) is given to demonstrate the foreignizing significance of his nonsense poetry, which, in exposing the partially structured nature of its representations of childhood, disrupts the domesticating discourses of the genre in which it participates. [ABSTRACT FROM AUTHOR]

Over and above the linguistic pleasures he offers, there seems to be something exotic, a play of the foreign and the familiar, in Dr. Seuss's picture books. Drawing on Christina Klein's concept of "Cold War Orientalism," this essay attempts to situate or contextualize the Asian or exotic others in three of Seuss's books of the 1950s. They are If I Ran the Zoo (1950), Scrambled Eggs Super! (1953), and On Beyond Zebra! (1955). It seeks to consider how exoticism may be utilized as a textual strategy for selfidentification in the three books, and how the exoticism deployed is connected with the cultural politics of Seuss's times. By attending to the cultural politics of the Cold War, the essay recognizes that Seuss's books are products of historical and social circumstances, demanding a further understanding of the contexts surrounding textual representation. It suggests that Dr. Seuss not only appropriates exoticist codes of cultural representation but also converts them into tropes representing new experiences for the children who learn to read. [ABSTRACT FROM AUTHOR]

There are numerous difficult issues inherent in translating Jonathan Z. Smith's work into French, among which is the selection of essays to translate. In this piece, I discuss the reasons that led the translators to opt for his essay 'Here, There, and Anywhere', a text that not only brings together many of Smith's lifelong intellectual concerns but also showcases his pedagogical skills. [ABSTRACT FROM AUTHOR]

Abstract: Approaches to counter the overfishing and aquaculture production crisis include those imposed by public governing bodies, as well as those implemented by businesses and non‐governmental organizations (NGOs). In the case of the latter, private actors govern fisheries consumption and production through corporate social responsibility (CSR). In this contribution, we focus on three key tools that businesses are increasingly turning towards in an effort to meet the one particular CSR goal of sustainable seafood sourcing. In this context, the key tools of certifications, fisheries improvement projects (FIPs) and traceability are reviewed, and their potential as well as limits in contributing to continual improvement in pursuit of global seafood sustainability are analyzed. We argue that seafood CSR has created its own whimsical and fantastical world, a Seussian world, in which company image has become more important than sustainability performance. We posit four important barriers that must be overcome to bring seafood CSR back to reality. Specifically, we suggest moving away from the business case for CSR, reducing accessibility barriers for small‐scale and developing world fisheries, reconciling different labels and sustainability concepts, and better recognizing the imperative role of the state in governing fisheries and seafood. [ABSTRACT FROM AUTHOR]

A well-versed writer on the limitations and possibilities of the English language, Seuss follows the conventional primers the wrong way, not by retracing the tradition of the genre, but by working his way against the current. Drawing upon Jean-Jacques Lecercle's notion of nonsense, this essay is a small attempt to examine three of Dr. Seuss's beginner books- The Cat in the Hat, One fish, two fish, red fish, blue fish, and Green Eggs and Ham-along with Mikhail Bakhtin's ideas. It argues that Bakhtin's concepts of chronotope, carnivals and dialogism offer themselves as toolkits to illuminate the nonsensical chronotopes prevalent in Seuss's books, including multiple mini-chronotopes, narratorial voices, and mixing of the everyday and fantasy in a dialogic way. The Seussian world in the three books is read as a collection of nonsensical chronotopes in which everyday scenes are converted into carnivalesque mini-chronotopes, parallel to the real world but having their own logics. The Seussian rhymes are also far from being monologic in nature, but are woven and constructed as a dialogic mode of discourse. Seussian nonsense texts partake in the invention of a genre by demonstrating a radical pedagogy of priming that sees a word more than a concept but also endowed with certain physicality and dialogicity. The nonsensical chronotopes also demonstrate a dialogic demand on readers, inviting them to engage with books, have fun reading, and see the world in an alternative way. [ABSTRACT FROM AUTHOR]

The voice of the other seems to become more than just a marginal voice in Dr. Seuss’s Horton stories. Throughout these two narratives the character of this big elephant constantly reinforces the marginal voice of the other through a dialogic relationship. Horton the elephant cannot and will not stand a ruling voice. He persistently searches for the other. He is big and he does big things for small things. His acts of compassion and solicitude can best be explained through Mikhail Bakhtin’s views on dialogism and language. The aim of this essay is to analyse the mentioned stories in the light of Bakhtin’s theories on discourse and subjectivity. All through both of these books in children’s literature, readers can detect the dialogic formation of truth and subjectivity as Horton experiences the clash of marginal with dominant. Margin crosses the borders of the centre and therein lies the rub. [ABSTRACT FROM PUBLISHER]

In 2012, Dartmouth College renamed its medical school, founded in 1797, the Audrey and Theodor Geisel School of Medicine. Using the renaming of the medical school of Dartmouth College as a foil, I offer in this article a vision of what it might mean to align Theodor Geisel, better known as Dr. Seuss, with doctors by examining Geisel’s You’re Only Old Once! A Book for Obsolete Children. In this article, I derive four critiques of modern medicine from the book and offer four strategies as to how these critiques could be explored in medical education. If You’re Only Old Once! is read as a pathography, I argue that it can be used as a resource for medical education. [ABSTRACT FROM PUBLISHER]

This essay argues that Dr. Seuss's The Lorax () successfully popularized the environmental message that Wallace Stegner presented in his largely forgotten essay 'Conservation Equals Survival' (). The Seussian language and illustrations have inspired readers, particularly children, to consider and, more importantly, to engage in environmentally sustainable practices. Both Seuss and Stegner wanted to raise the common readers' ecological literacy by alerting them to the dangers posed by modern industrial society and their role in achieving solutions. However, Stegner's essay quickly disappeared from the public consciousness, while Seuss's story remains relevant more than 40 years later, and his character, the Lorax, has become an important part of the environmentalist vernacular. Of particular interest is both authors' use of one word, 'unless,' to direct individual readers to work together for a sustainable future. Seuss successfully engaged readers to become aware of the needs of the environment and take personal responsibility in caring for their own ecosystems. [ABSTRACT FROM AUTHOR]

In the following article, Dr. Seuss's children's books are creatively integrated with science activities through the creation of take-home activity kits. The kits provide families an opportunity to read at home while connecting the enjoyable experience to science content and skill development through associated activities. The kits should be constructed using easy-reading books and aligned to developmentally appropriate academic science standards. Most importantly, they should be designed in a manner so that all family members are participants rather than expecting the adults to teach the expected outcomes. The activity kits can be completed as stand-alone experiences for interested students, used by students who are ready for an additional challenge, or adapted for an entire classroom of students as part of a teacher's normal curriculum. [ABSTRACT FROM AUTHOR]

This essay explores Dr. Seuss's The Lorax through a combination of contextual, visual and narrative-based criticism. Specifically, rhetorical forms of the jeremiad and myth are examined as adaptations to the medium of children's literature. In addition, the force of illustrated images is discussed, including the rhetorical force of color. The essay begins with a discussion of both Dr. Seuss and The Lorax within the contexts of the early environmental movement's rhetoric of alarm and political activism. It then outlines Seuss's attempt at “propaganda with a plot” arguing that a collision of the American myth and ecological jeremiad parallel and divert from the environmentalist norm. A detailed analysis of illustrated imagery and the function of color demonstrate the rhetorical force toward narration and ideology possible in the visual form. [ABSTRACT FROM AUTHOR]