Journal articles: 'Aesop’s fables'

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Regier, Willis Goth. "Erasmus and Aesop." Erasmus Studies 39, no. 1 (March 13, 2019): 51–74. http://dx.doi.org/10.1163/18749275-03901004.

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Abstract Erasmus was a fluent Aesopian. In books and letters he cited Aesop’s fables to explain, admonish, and insult. The Adagiorum Chiliades alludes to more than seventy different fables, including two adages about Aesop: “Ne Aesopum quidem trivisti” (2.6.27); and “Aesopicus sanguis” (2.6.63). The great adage “Scarabeus aquilam quaerit” (3.7.1) begins with Aesop’s fable. Erasmus’ own contributions to collections of fables were printed in Antwerp, Basel, Louvain, Strasbourg, Paris, and Venice. This paper examines Erasmus’ use of Aesop, identifies the fables Erasmus favored, and places his versions of fables in the history of Aesop transmission.

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Kwak, Young Kuen. "A Study on the Utilization of Aesop's Fables in Moral Education: Focusing on the Revised 2022 Elementary School Moral Education Curriculum." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 14 (July 31, 2023): 397–415. http://dx.doi.org/10.22251/jlcci.2023.23.14.397.

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Objectives The purpose of this study is to explore the utilization of Aesop's Fables in moral education, with a focus on the revised 2022 elementary school moral education curriculum. Methods To this end, I would like to present the individual fables of Aesop’s Fables by linking the content system of the 2022 revised elementary school moral education curriculum. In addition, it was intended to provide information and reasons for fables to be careful when using Aesop’s Fables in elementary school moral subject education. Furthermore, in order to pursue the formality of moral development in moral education, I tried to illustrate major learning questions and simple utilization measures through Aesop’s Fables. Results Aesop’s Fables were related to 202 in the “Relationship with oneself” section, 85 in the “Relationship with Others,” 46 in the “Relation with Society and Community” section, and 25 in the “Relation with Nature” section, which is the content system for the 2022 revised elementary school moral education curriculum. In detail, Aesop’s Fables could be linked to 19 content systems of questions and achievement standards. In addition, from Aesop's fables, I was able to extract 192 fables to be careful about in terms of “sincerity”, “consideration”, “justice”, “responsibility”, which are the core values of the moral education curriculum, and “sexual ethics”. And, moral questions for each fable were proposed for an approach to the formality of moral development of moral education. Finally, I was able to select ‘Wolf and Dog’ fable and present some examples of using them as a formal approach to moral development. Conclusions Aesop's Fables, which has been used as a moral story resource for a long time, can be effectively utilized as a story material for the revised 2022 elementary school moral education curriculum's content system and achievement standards and approaches to moral development forms. However, caution should be taken regarding non-moral elements, and further detailed discussions on specific utilization strategies will be necessary in the future.

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Cusset, Sara. "Fabulæ Æsopiæ, non Æsopi. Recherche sur la terminologie fabulaire jusqu’à Phèdre." Vita Latina 200, no. 1 (2020): 111–20. http://dx.doi.org/10.3406/vita.2020.2032.

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This paper investigates the terminology referring to the fable in Antiquity until Phaedrus who first drew a definite distinction between Aesop’s fables (fabulæ Æsopi) and Aesopic fables (fabulæ Æsopiæ). It tries to understand if the Phaedrian denomination marks a turning point in the history of fable ¢ making a genre out of it ¢, and to what extent this approach denotes on Phaedrus’ behalf a new generic awareness.

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Rueangsanam, Sunant, and Nutprapha K. Dennis. "AN ANALYSIS OF NOUNS AND VERBS USED IN SELECTED ONLINE FABLES." International Journal of Research -GRANTHAALAYAH 5, no. 1 (January 31, 2017): 420–29. http://dx.doi.org/10.29121/granthaalayah.v5.i1.2017.1937.

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This study analyzed parts of speech found in forty Aesop’s fables with specific attention to the categories and frequencies of nouns and verbs used. This study aimed to analyze the most used of nouns and verbs in the stories. The material used in the forty selected Aesop’s fable from the website entitled http://www.bbc.co.uk. An analysis of the types of words was done using the program entitled https://open.xerox.com as an instrument for collecting data. The statistics used in data collection was percentage. The results of the study showed that there were two types of nouns and two types of verb in the selected Aesop fables. “Common Nouns” was the most commonly used with a frequency of 95.47%, and “action verbs” were the most commonly used with a frequency of 83.62%. Furthermore, “gerund” was also found in these Aesop fables. Comprehending types of words will help strengthen reading efficiency, reduce confusion of words usage as well as for readers to fully enjoy reading.

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Кorolova, Nataliia, and Bohdana Korobova. "LEXICAL AND GRAMMATICAL FEATURES OF THE INTERPRETATION OF AESOP’S FABLES IN CREATIVY UKRAINIAN WRITERS AND TRANSLATORS (ON THE MATERIAL OF TRANSLATIONS BY YURII MUSHAK)." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 29 (2021): 14–17. http://dx.doi.org/10.17721/1728-2659.2021.29.3.

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Ancient fable is one of the most notable phenomena of European literature. Many monuments of this genre are distinguished by high artistic skill and have not lost their aesthetic value to these days. Short stories with a moral component, the protagonists of which were the representatives of animate or inanimate nature, were known in ancient times. Aesop is considered the founder of fable’s genre, according to the legend he first made them in literary processing. The most commonly among the works of the ancient Greek fabulist there are the themes of hypocrisy and human recklessness, lies and greed, fame and its consequences. The traditional structure of fables usually has two components – a morality and a narrative, and its main elements are an instructive, figurative, concise presentation, the introduction to the plot of various species of animals, plants, natural phenomena, gods, etc., which endowed with traditional allegorical image. The events described in the fables have an instructive content, in which the negative social phenomena and the human traits are ridiculed with help of allegory. Each fable of the legendary master is a separate episode, not related to the rest of the fables. The article defines the concept of a fable, provides a theoretical justification for choosing the object of study, takes into account a state of the linguistic researches of a chosen topic, outlines the artistic features of the genre, determines a compositional, stylistic and speech structure of Aesop’s fables and their translations into Ukrainian. Yuri Mushak’s translations are distinguished by the desire to preserve the artistic features of Aesop’s fables with a detailed transfer of their individual linguistic and stylistic elements. At the same time, the translator manages to bring his translations closer to the living conditions and morals of the Ukrainian people, he widely uses abbreviations or, conversely, additions to the text, replacement, concretization, and so on.

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Margulies, Zachary. "Aesop and Jotham’s Parable of the Trees (Judges 9:8-15)." Vetus Testamentum 69, no. 1 (January 21, 2019): 81–94. http://dx.doi.org/10.1163/15685330-12341350.

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AbstractRecent scholarship has entertained the possibility that Jotham’s Parable of the Trees (Judg 9:8-15) is derived from the Greek text of one of Aesop’s Fables (Perry 262). This article refutes this notion, tracing the dependence of Aesop’s fable on one Septuagint tradition, which itself is a translation of the Hebrew. The article goes on to propose a pre-exilic setting for the biblical fable, based not on its foregrounded opinion of monarchy, but on its background assumptions of deity.

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Balta, Evangelia. "Ο Αίσωπος στην οθωμανική γραμματεία του 19ου αι." Gleaner, no. 30 (January 3, 2024): 683–702. http://dx.doi.org/10.12681/er.36161.

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Aesop in the Ottoman Literature of the 19th century The study based on the Karamanlidika version of Aesop’s fables printed by Evangelinos Misailidis in 1854 offers a review of the Ottoman perception of Aesop in the 19th century. The Turkish versions of the fables released in various alphabets (Cyrillic, Arabic), and the Vita of Aesop, are presented and explored. The study also discusses the Turkish manuscript written in Greek characters, located by Ernst Otto Blau in Mariupol, today in southern Ukraine. His discovery proves that Aesop appeared in the handwritten form at least as far back as the 18th century and also indicates that Aesop was introduced to the Ottoman literature by the Turkish-speaking Rums. Unfortunately, the manuscript has not survived, but Blau added excerpts from the life of Aesop and two of his fables in his study published in 1874.

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Williams, Paul D. "Using Aesop’s Fables to Teach Political Theory and Newsgathering Practice to Journalism Students." Asia Pacific Media Educator 26, no. 2 (December 2016): 189–201. http://dx.doi.org/10.1177/1326365x16668967.

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While the industry versus academic debate surrounding the training and education of journalists is now largely resolved in a consensus of a hybrid pedagogical model, there remains concern that even this compromise ignores journalistic ‘empowerment’. This article seeks to answer this concern with a model to empower beginning journalists by teaching students political concepts of power and authority through a novel classroom application of Aesop’s Fables. Taking the rich pedagogy literature on storytelling as its commencement, this article anatomizes how the universally familiar and popular Aesop’s Fables—with their clear cultural and political mores—not only offer easy and accessible insight into the political theory but also practical lessons that can prepare beginning journalists cognitively and intuitively as they begin newsgathering and newswriting processes. Ultimately, a study of Aesop’s Fables can produce not only more able beginning journalists but also well-rounded and engaged citizens.

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Jensson, Gottskálk. "Tvær dæmisögur Esóps og latnesk skrifaravers í formála Adonias sögu og tengsl þeirra við latínubrotin í Þjms frag 103,104 og AM 732 b 4to." Gripla 32 (2021): 135–49. http://dx.doi.org/10.33112/gripla.32.5.

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The author of this article conclusively traces the source of the two Aesopic fables retold in the prologue to Adonias saga to the medieval collection of Latin fables known as Anonymus Neveleti (alias Romulus elegiacus), fragments of which are preserved in two Icelandic vellum bifolia (Þjms frag 103 and 104) that probably originate from the Benedictines monastic houses of North Iceland. In a review of various ancient and medieval collections of Aesop’s fables, the author concludes that the unknown Icelandic author of Adonias saga must have been familiar with the two fables in this particular Latin version, even though his Icelandic rendering of them is free and likely based on memory. A parallel to a Latin couplet cited in the prologue is furthermore identified in a bilingual encyclopædic manuscript, AM 732 b 4to, also associated with the northern Benedictines. The author of the article suggests the possibility that the incorporation of two Aesopic fables in the prologue to Adonias saga, a riddarasaga, is an indication that such sagas ought to be interpreted like fables, that is not only read as entertainment but also as ethical instruction.

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Hulick, Jeannette. "Aesop’s Fables by Martin West." Bulletin of the Center for Children's Books 67, no. 5 (2014): 254–55. http://dx.doi.org/10.1353/bcc.2014.0032.

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Alpert, Joseph S. "White Crows and Aesop’s Fables." American Journal of Medicine 120, no. 5 (May 2007): 379. http://dx.doi.org/10.1016/j.amjmed.2006.10.013.

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Abdulla, Luqman A., and Ismail A. Abdulla. "An Analysis of Speech Acts in Aesop’s Fables." Polytechnic Journal of Humanities and Social Sciences 3, no. 2 (December 8, 2022): 164–70. http://dx.doi.org/10.25156/ptjhss.v3n2y2022.pp164-170.

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This study aims at analyzing ten fables of Aesop (the Greek fabulist and storyteller) within the framework of speech act theory to investigate and find out what kind of speech acts are available in the fables. Another purpose of this study is to know to what extent the selected fables are mirrored in the speech act theory. Through the analysis of this study, the researchers have arrived at some findings: the fables included assertive, directive, commissive, expressive, and declarative speech acts. Based on the results and data analysis, it has been concluded that the speech act is applicable to the analysis of the fables as they are everyday conversations.

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Pedraza Hernández, Blanca Ximena, and Heidy Liliana Castiblanco Gil. "Aesop's fables adaptation: an alternative for fostering values, oral production and listening comprehension." Enletawa Journal 10, no. 2 (November 22, 2018): 31–47. http://dx.doi.org/10.19053/2011835x.8693.

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This article aims at presenting the experiences acquired from the project titled “Aesop’s Fables Adaptation: An Alternative for Fostering Values, Oral Production and Listening Comprehension”, carried out at a public school in Tunja with fourth graders. The project related to the adaptation of Aesop´s fables, which were included in the school´s curriculum topics and implemented through different workshops. This was done in order to develop values awareness and English skills. Throughout this project, most of the students participated, were very attentive class after class, and enjoyed the activities. The students began to use the vocabulary they learnt from the fables for communicative purposes. In the same way, students were aware of moral aspects, the implicit values in each story, and the fables’ importance in their own lives

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Davis, Julian, Tammie T. Money, and Saxby Pridmore. "Suicidal thinking and behaviour as of 600 BCE (Aesop’s fables)." Australasian Psychiatry 25, no. 4 (November 17, 2016): 373–75. http://dx.doi.org/10.1177/1039856216679543.

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Objective: Psychiatry has ignored history, anthropology, sociology and literature in the search for enlightenment regarding suicide. Our objective was to determine what, if anything, Aesop’s fables had to teach us about suicide in around 600 BCE. Aesop’s account is around two centuries older than the oldest text (Herodotus: The histories) previously examined by our group. Method: We examined two translations of Aesop’s fables, seeking accounts fitting the following categories: (1) suicidal thinking, (2) suicidal behaviour without fatal consequences, and (3) suicidal behaviour with fatal consequences. Results: One account fitting each of these categories was identified. The triggers were: (i) self-doubt and criticism, (ii) unpleasant predicament (constant fear), and (iii) inescapable physical pain. Conclusion: Evidence indicates that around 600 BCE, suicide was practised as a means of coping with self-doubt and criticism, unpleasant predicaments and inescapable physical pain. Recent scientific evidence confirms these observations.

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Zhilyakova, Emma M., and Valeriya Yu Skirnevskaya. "LEO TOLSTOY, TRANSLATOR OF AESOP’S FABLES." Tekst. Kniga. Knigoizdanie, no. 15 (December 1, 2017): 5–25. http://dx.doi.org/10.17223/23062061/15/1.

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Kusuma Putri, Nabilla Alifiany, and Deli Nirmala. "Identifying the Characters of Lion and Fox in the Aesop’s Fables using Transitivity System." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 5, no. 2 (June 21, 2021): 42–49. http://dx.doi.org/10.14710/culturalistics.v5i2.12479.

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This research investigates the Aesop Fables characters, the Lion and Fox, characterization analysis using transitivity system. This research aims to identify the characterization of Lion and Fox based on transitivity system using types of processes. This research using descriptive qualitative methods to describe the prominent clause that represents the Lion and Fox characterization. The non-participant observation methods were used to collect data and referential identity methods to analyze the data. The results show that material and verbal processes are discovered as the prominent process to represent the Lion and Fox's characterization. Through material and verbal processes, the Lion and Fox appeared in different characterizations. The Lion is discovered in manipulative, wise, powerful, and foolish characterizations. Meanwhile, the Fox found in cunning and talkative characterization. The finding also shows that the author constructed material and verbal processes because they are suitable for the children's limited knowledge. After all, material and verbal clause can be understood by the children easily.Keywords: transitivity system, characterization, narrative-stylistics, Aesop’s fables

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Ríos Castaño, Victoria. "The Translation of Aesop’s Fables in Colonial Mexico." TRANS. Revista de Traductología 2, no. 19 (December 1, 2015): 243–62. http://dx.doi.org/10.24310/trans.2015.v2i19.2075.

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Walczak-Mikołajczakowa, Mariola. "From the History of the Bulgarian Animalistic Lexis. Names of Animals in the Oldest Bulgarian Translation of Aesop’s Fables." Poznańskie Studia Slawistyczne, no. 20 (September 22, 2021): 21–35. http://dx.doi.org/10.14746/pss.2021.20.1.

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Bulgarian works of a non-religious nature began to be written in the 19th century. They popularized a specific vision of a new literary language and contained suggestions of terms from various fields. Sophronius, bishop of Vratsa belonged to the group of writers who significantly influenced the shape of New Bulgarian literary language. By translating Aesop’s fables into a language understandable to Bulgarians, he laid the foundations of Bulgarian animalistic terminology. The author analyses 66 names of animals contained in the fables translated by Sophronius, indicates their origin and the reasons for using a specific term. She further examines which of these terms are still used, and which have become archaisms or have survived only in folk dialects.

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Kang, Hee-Jin, and Gi-Su Kang. "The Significance of Aesop’s Fables in Terms of Character Education." Journal of Children's Literature and Education 20, no. 1 (March 31, 2019): 159–80. http://dx.doi.org/10.22154/jcle.20.1.7.

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Jung, Yong-Su. "Analysis of the Usages of the Term Anthropomorphism in Aesop’s Fables." Journal of the Daedong Philosophical Association 91 (June 30, 2020): 247–68. http://dx.doi.org/10.20539/deadong.2020.91.10.

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Rababah et. al., Hasan Mohammed. "“Arabic Influence on Certain Fables Attributed to Aesop’s”: A Comparative Study." Journal of Human Sciences 2016, no. 02 (January 1, 2016): 110–35. http://dx.doi.org/10.12785/jhs/20160204.

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Rababah, et al., Dr Hasan Mohammed. "“Arabic Influence on Certain Fables Attributed to Aesop’s”: A Comparative Study." Journal of Human Sciences 2015, no. 27 (June 1, 2016): 109–35. http://dx.doi.org/10.12785/jhs/20162704.

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Holt, Rush D. "Aesop’s Fables and Miners’ Wages: Sen. Rush Holt’s Filibuster, 1936." West Virginia History: A Journal of Regional Studies 6, no. 1 (2012): 35–47. http://dx.doi.org/10.1353/wvh.2012.0014.

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Allen, Edward J. "Aesop's moral on success." Mathematical Gazette 105, no. 564 (October 13, 2021): 481–89. http://dx.doi.org/10.1017/mag.2021.116.

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Aesop's Fables is an enduring collection of short stories with morals that is credited to Aesop, a slave who lived in early Ancient Greece about 2600 years ago. Undoubtedly many later ancient Greek philosophers such as Pythagoras, Socrates, Aristotle and Archimedes were told Aesop's fables in their youth. In a race described in ‘The Tortoise and the Hare’, one of the most famous of Aesop's fables, a tortoise, running in a steady constant manner, beats a hare that is racing irregularly. The lesson of the fable is often interpreted as ‘slow but steady wins the race’ or ‘consistent, effective effort leads to success’ (see [1]) and is applicable to many human activities. The fable illustrates the general problem of working toward an objective when the rate of work is either constant or varies randomly.

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Sarlej, Margaret, and Malcolm Ryan. "Representing Morals in Terms of Emotion." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 1 (June 30, 2021): 69–74. http://dx.doi.org/10.1609/aiide.v8i1.12498.

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Morals are an important part of many stories, and central to why storytelling developed in the first place as a means of communication. They have the potential to provide a framework for developing story structure, which could be utilised by modern storytelling systems. To achieve this we need a general representation for morals. We propose patterns of character emotion as a suitable foundation. In this paper, we categorise Aesop’s fables based on the morals they convey, and use them as a source of emotion data corresponding to those morals. We use inductive logic programming to identify relationships between particular patterns of emotion and the morals of the stories in which they arise.

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Sarlej, Margaret, and Malcolm Ryan. "A Discrete Event Calculus Implementation of the OCC Theory of Emotion." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 7, no. 2 (October 9, 2011): 57–64. http://dx.doi.org/10.1609/aiide.v7i2.12462.

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Characters are a critical part of storytelling and emotion is a vital part of character. Readers generally credit characters with human emotions, and it is these emotions which bring meaning to stories. To computationally construct interesting and meaningful stories we need a model of emotion which allows us to predict characters’ reactions to events in the world. There are many different psychological theories of emotion; the most popular to date for computational applications is the OCC theory. This paper describes a Discrete Event Calculus implementation of the OCC Theory of Emotion. To evaluate our system, we apply it to a selection of Aesop’s fables, and compare the output to the emotions readers expect in the same situations based on a survey.

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Boonsing, Ratchadaporn, and Nutprapha Dennis. "A STUDY OF LANGUAGE USED FROM SELECTED DIGITAL STORYTELLING." International Journal of Research -GRANTHAALAYAH 4, no. 3 (March 31, 2016): 27–32. http://dx.doi.org/10.29121/granthaalayah.v4.i3.2016.2782.

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The purpose of this independent study was to analyze the frequency of part of speech type from a digital storytelling application. The data was selected from twenty Aesop’s fables. They were categorized into eight part of speech type: noun, verb, pronoun, adjective, adverb, preposition, conjunction, and determiner. Based on the twenty stories, there were a total of 1,341 words. The results show that, first, there were 313 or 23.34% categorized as verbs, second, 263 nouns or 19.61%, third, 183 pronouns or 13.65%, forth, 174 determiners or 12.98%, fifth, 120 prepositions or 8.95%, sixth, 115 conjunctions or 8.58%, seventh, adverbs or 6.82%, and, eighth, 81 adjectives or 6.04%. Therefore, the most frequent part of speech type used in the digital storytelling application was verb with 313 words at the percentage of 23.34%. And the least frequently used type in storytelling was the adjective with 81 words at the percentage of 6.04%. The results show that “verb” was the most frequently used in the storytelling. Verbs were in every sentence of fables. The next most frequently used noun, pronoun, determiner, preposition, conjunction, adverb and adjective, respectively. The results of the study can help students learning vocabulary and their functions more conveniently.

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Obaid, Ala’a Jasim, and Bayda Ali Al-Obaydi. "To Domesticate or to Foreignize: An Approach to Translating Fables and Fairy Tales." Journal of the College of languages, no. 45 (January 2, 2022): 26–52. http://dx.doi.org/10.36586/jcl.2.2022.0.45.0026.

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The present study deals with the strategies used in the Arabic translations of the most popular genres of children’s literature; namely fairy tales and fables as an attempt to identify the best methods and strategies to be adopted in translating these genres to fulfill the ultimate purpose of enriching the children’s knowledge in addition to attracting their interest and arousing the joy sought for in every piece of literature. The study sets off from three dominating trends: the first calls for the adoption of domestication strategy of translation as the most appropriate and effective strategy in translation for children. In the same line, the second opposes using the foreignization strategy, while the third trend advocates for the joint employment of various strategies to fulfill certain requirements and needs that would be called upon within the context such as didactic purposes. Throughout the process of examining and verifying the theses of these trends, samples of translations of the genres are chosen based on the most popular and well known fairy tales and fables either circulated in written form or televised as movies or cartoons; namely Hans Christian Andersen’s Fairy Tales and Aesop’s Fables. These samples are subjected to translation quality assessment to come out with a quality statement to highlight their merits and demerits. The receptors’ (children) impact is also sought via conducting a field study that has been designed for children of two age groups defined by specialized scholars as intended receptors of the genre

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HU, Yuanhui. "A Comparative Study of Tibetan Fables and Western Fables from the Perspective of Ecological Criticism: Taking Collection of Tibetan Aphoristic Stories and Aesop’s Fables as Examples." Journal of International Education and Development 4, no. 8 (2020): 23–30. http://dx.doi.org/10.47297/wspiedwsp2516-250004.20200408.

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Rezo, Vladimira, and Barbara Štebih Golub. "Kristijanovićeve kajkavske prerade Ezopa •." Studia Slavica Academiae Scientiarum Hungaricae 66, no. 1 (April 22, 2022): 173–88. http://dx.doi.org/10.1556/060.2021.00014.

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U radu se uspoređuje devet parova kajkavskih obrada Ezopovih basni. Preradio ih je Ignac Kristijanović, posljednji borac za kajkavski književni jezik, a objavio u kajkavskom kalendaru Danica zagrebečka (1842– 1848) i u knjizi Ezopove basne pohorvačene (1843).Već je na prvi pogled vidljivo da su basne objavljene u knjizi kraće, a Olga Šojat navela je sadržajne i stilske razlike između basni iz Danice i knjige, dok je Joža Skok naglasio kako kraće basne imaju više kajkavskih elemenata. Prva tvrdnja zahtijevala je sadržajnu i strukturnu analizu, a druga jezičnu usporedbu dviju vrsta basni na svim jezičnim razinama.Analizi strukture i sadržaja pristupilo se sa stajališta teorije recepcije koja je usmjerena na čitatelja knji-ževnog djela. Basne su analizirane metodom usporedbe, a na promatrane su sastavnice primijenjena saznanja teoretičara i povjesničara basne.Teorijski okvir jezične analize korpusa čini povijesna sociolingvistika, koja jezične probleme nastoji uklopiti i promatrati u širem društveno-povijesnome kontekstu. Kombinirajući navedene metode (analiziramo varijantnost na inačicama teksta istoga autora / prevoditelja / prerađivača objavljene u različitim izdanjima i unutar vremenskoga okvira od nekoliko godina), nastojali smo odgovoriti na pitanje koliko se Kristijanovićev jezik u knjižici basni razlikuje od onoga u Danici te potvrditi ili opovrgnuti spomenutu Skokovu tvrdnju kako je u kalendaru Kristijanović štokavizirao svoje tekstove.Raščlamba strukture i sadržaja devet parova basni dovela nas je do zaključka o naglašenu fabuliranju dužih inačica iz Danice. Nju je Kristijanović postigao zamjetnom uporabom dijaloga, mjestimičnom ironijom stvorenom upravo dijaloškim dionicama, podrobnijim opisima i najavama okolnosti radnje te raznim konkretizacijama, tipičnima za narodnu bajku i pripovijetku. Držimo da je cilj takvoga naglaska na gradnji fabule privlačenje nesofisticirane publike, one koju treba animirati i čiju pažnju treba zadržati.Raščlamba provedena na jezičnoj razini pokazala je da jezik Kristijanovićevih basni, i onih objavljenih u samostalnoj knjižici i onih iz Danice, ima obilježja tipična za kajkavski književni jezik 19. st. Usporedbom s jezičnim osobinama drugih Kristijanovićevih djela utvrdili smo da se analizirani tekstovi uklapaju u njegov opus. Istom smo usporedbom ustanovili i da se neke jezične osobitosti (van, dan) jezika basni ne mogu interpretirati kao štokavizacija teksta jer su prisutne na razini čitavoga autorova opusa.Istraživanje je pokazalo da je Kristijanović priređujući basne objavljene u Danici, nerijetko birao književnokajkavske elemente (npr. futur tvoren s pomoćnim glagolom hoteti, na leksičkoj razini izbor riječi lisica) kojima je svoje tekstove činio pristupačnijima i govornicima drugih narječja. Poznajući oštre Kristijanovićeve stavove o ilircima i njihovoj jezičnoj koncepciji, smatramo da unošenje takvih elemenata nikako nije znakom autorova prihvaćanja ilirskih stavova ili književnoga jezika štokavske osnovice, već je eventualno riječ o pokušaju širenja čitateljske publike.The paper compares nine pairs of Kajkavian adaptations of Aesop’s fables. They were reworked by Ignac Kristijanović, the last fighter for the Kajkavian literary language, and published in the Kajkavian calendar Danica zagrebečka (1842–1848) and in the book Ezopove basne pohorvačene (1843).At first glance, it is obvious that the fables published in the book are shorter, and Olga Šojat mentioned the content and stylistic differences between the fables from Danica and the book, while Joža Skok emphasized that shorter fables have more Kajkavian elements. The first statement required an analysis of the content and structure, and the second a linguistic comparison of the two types of fables at all language levels.The analysis of the structure and content was approached from the point of view of the reception theory, which focuses on the reader of the literary work. Fables were analyzed by the method of comparison, and the findings of fable theorists and historians were applied to the observed components.The theoretical framework of language analysis was historical sociolinguistics, which seeks to fit and observe language problems in a broader sociohistorical context. The combination of three sociolinguistic methods, the analysis of variance in the same text, in its versions, and in other texts by the same author, sought to answer the question of how much Kristijanović’s language in the book differs from the language in Danica and to confirm or refute Skok’s claim that Kristijanović made his texts in Danica more Štokavian.The analysis of the structure and content led us to the conclusion that the longer fable versions from Danica are more fabled. Kristijanović achieved this through a noticeable use of dialogue, occasional irony created through dialogue components, more detailed descriptions and announcements of the circumstances of the action, and various concretizations, typical of folk tales and short stories. We believe that the goal of such an emphasis on storytelling was to attract an unsophisticated audience, which needs to be animated.The analysis conducted at the linguistic level showed that the language of both types of fables has features typical of the Kajkavian literary language of the 19th century, the analyzed texts fit into the author’s opus, and some linguistic features (van, dan) of the fable cannot be interpreted as Štokavization because they are present at the level of the entire opus of the author.The research showed that in longer fables Kristijanović often chose elements of the Kajkavian literary language (e.g. the future tense created with an auxiliary verb hotel, on the lexical level by choosing the word lesica), thus making his texts available to speakers of other dialects. Knowing his sharp views on the Illyrian linguistic conception, we believe that such elements in fables do not mean the author’s acceptance of the Illyrian views or the literary language on the Štokavian basis but it is an attempt to expand the readership.

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Arabiana, Elaiza Flor S., Dayvin Adrian Ember A. Malifer, and Helen Ranoco Betonio. "Video Cartoons and Task-Induced Involvement: Effects to Pupils’ L2 Incidental Literacy Acquisition." English Language Teaching Educational Journal 3, no. 2 (September 3, 2020): 151. http://dx.doi.org/10.12928/eltej.v3i2.2461.

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While most studies that explored children’s incidental literacy acquisition focused on input from written text, this quantitative-qualitative study investigated the effects of using audio-visual input through close-captioned Aesop’s Fables cartoons from PinkFong and Task-Induced Involvement (n=6 eight-year old pupils). Wilcoxon Signed Rank Test reveals that there is a significant difference in the pretest, immediate posttest and delayed posttests scores after the intervention as shown in the 90%-95% confidence level. This study also examines quantitatively the interconnectedness of the four areas of children’s literacy skills: vocabulary, oral vocabulary and pronunciation, orthographic skill and comprehension after watching cartoons and engaging in tasks. Findings reveal a high correlation between the four literacy skills reflected as 95% confidence intervals. These findings reveal that incidental literacy acquisition is approached holistictically: the acquisition of one skill leads to the acquisition of the other literacy skills.

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Zioga, Ioanna, George Kosteletos, Evangelos D. Protopapadakis, Christos Papageorgiou, Konstantinos Kontoangelos, and Charalabos Papageorgiou. "The Fox and the Lion: Investigating Associations between Empathy and Emotion Perspective-Taking in Aesop’s Fables." Psychology 13, no. 04 (2022): 482–513. http://dx.doi.org/10.4236/psych.2022.134033.

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Pertsinidis, Sonia. "A Dung Beetle's Victory: The Moral of the Life of Aesop (Vita G)." Antichthon 54 (2020): 141–63. http://dx.doi.org/10.1017/ann.2020.4.

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AbstractThe Life of Aesop is an entertaining yet profound account of Aesop's life dating from the first to second centuries ad. Although it is widely agreed that the Life of Aesop may be read as a ‘metafable’, there has been, in my view, a widespread and perversely negative interpretation of the supposed moral of this life story: that ‘pride comes before a fall’. This supposed moral is not borne out by the ending, in which Aesop's prophecies of doom prove to be correct, the Delphians are thrice punished for executing Aesop, and Aesop himself achieves everlasting fame as a storyteller. In this paper, I will argue that a more fitting moral for the Life of Aesop is that ‘even the weakest may find a means to avenge a wrong’. This is the moral that accompanies the quintessentially Aesopic fable of the dung beetle, the hare, and the eagle in which a tiny dung beetle triumphs over a powerful adversary. This fable is pointedly narrated by Aesop to the Delphians just before he is put to death. By reading the Life of Aesop as an exposition of this fable, I will demonstrate that Aesop, just like the dung beetle, is not the loser but the ultimate victor.

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Ishizuka, Kenkichi, and Takehisa Onisawa. "Evaluation of Operetta Songs Generation System Based on Impressions of Story Scenes." Journal of Advanced Computational Intelligence and Intelligent Informatics 16, no. 2 (March 20, 2012): 256–65. http://dx.doi.org/10.20965/jaciii.2012.p0256.

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This paper describes a system which composes operetta songs fitting to adjectives representing producer’s impressions of story scenes. Inputs to the system are original theme music, story texts and adjectives representing producer’s impressions of story scenes. The system composes variations on theme music and lyrics based on impressions of story scenes using Kansei information processing in order to convey producer’s impression of a story to audiences. Evolutionary computation is also applied to generations of variations and lyrics. Subjects experiments are performed to verify the usefulness of the system usingThe Ant and the Chrysalisin Aesop’s Fables as a story. In the experiments, two types of evaluations are considered. The one is the evaluation from the viewpoint that the system generates operetta songs fitting to story scenes appropriately or not. The other is the evaluation from the viewpoint that the system generates operetta songs giving producers and listeners the same impressions of generated operetta songs or not.

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고비 and 오순방. "The Dissemination and Influence of Aesop’s Fables According to the Protestant Missionary Chinese Press in 19th Century." Journal of the research of chinese novels ll, no. 41 (December 2013): 151–78. http://dx.doi.org/10.17004/jrcn.2013..41.007.

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Carlson, Gregory I. "Four American Aesopic Parodists." Reinardus / Yearbook of the International Reynard Society 10 (December 11, 1997): 59–82. http://dx.doi.org/10.1075/rein.10.05car.

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Abstract Carlson considers four Americans who took Aesopic texts and created others that somehow transform the originals. For each author he asks two questions: What does he do with Aesop's stories? And what is the effect. For the latter three, there is also a small sampling of images. Bierce the cynic gives fables a surprising switch. The effects of surprise are to challenge rethinking and to suggest that things are worse than we thought. Thurber disrupts, divides, and denies traditional fables in order to undermine the easy validity people give to tradition. Zimler adds new morals or surprising new phases to traditional fables and pokes fun at the psychology of characters in order to create a humorous new interpretation for each fable. Eichenberg the social critic combines strong woodcuts and playful textst to present his own mix of amusement and accusation.

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Roochnik, Paul. "hikaayaat kaliila wa-dimna li-tulaab al-lughat al-carabiyya (Tales from Kalila wa Dimna for Students of Arabic [retold])." American Journal of Islam and Society 20, no. 1 (January 1, 2003): 160–62. http://dx.doi.org/10.35632/ajis.v20i1.1888.

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The title Kalila wa Dimna first came to my attention long ago in my secondyear of Arabic language study. Ahmad Amin mentions Kalila waDimna in passing in his autobiography, Hayati (Cairo: 1952), an excerpt ofwhich I read in Farhat Ziadeh’s Reader in Modern Literary Arabic. Overthe years, I tried occasionally to read a bit of the original and found the classicalArabic intimidating. The task of reviewing Munther Younes’s retellingof these stories represented the opportunity to taste the stories’ flavor withoutthe drudgery of dictionary look-up. Among other accomplishments,Younes simplifies the grammar and lexicon to the point where intermediatestudents of Arabic will understand what they read without excessive struggle.This review will touch upon the structure and substance of Kalila waDimna itself and Younes’ approach to retelling the stories and their utilizationas an Arabic language teaching tool.In the West, most of us hear and then read Aesop’s Fables as children.These stories, which date back as far as 620 BCE, feature anthropomorphicanimals who play out their dramas and conflicts in order to teach a moral.Kalila wa Dimna, attributed to the Indian author Bidpai and written inSanskrit during the third century, does much the same, but also includes asmattering of human characters. As Younes tells us, the Sassanid KingKhosro Anoushrawan sent his physician Burzuwayh to India to collect andtranslate Bidpai’s fables into Persian. In the process, Burzuwayh added storiesby other authors. What had now become a book was then translatedinto Syriac in 570; 200 years later, Abdullah ibn al-Muqafac translated itinto Arabic. Since its Arabization some 12 centuries ago, Kalila wa Dimna

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del Canto Nieto, José Ramón. "La presencia de la fábula clásica en Miguel de Unamuno. Entre la crítica y el intertexto." Nova Tellus 39, no. 2 (June 29, 2021): 167–95. http://dx.doi.org/10.19130/iifl.nt.2021.39.2.79288.

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Unamuno’s interest in Classical fables, mainly those influenced by Aesopus, goes beyond the alleged fable’s morals. After practising a meticulous analysis of its elements and also an effective critique, he theorized about what surrounded the genre: its structure, its teachings, etc.; but he also assimilated Aesopus’ fables to his own works under different genres and adapted them to his interests as well as illustrated intertextuality.

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Oh, Soon-Bang, and Bee Go. "Analysis on the Translation Characteristics of Yi shi Yu yan Translated from Aesop’s Falbes by Robert Thom." Journal of Chinese Language, Literature and Translation 41 (July 31, 2017): 81–104. http://dx.doi.org/10.35822/jcllt.2017.07.41.81.

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오순방 and 고비. "An Analysis on Chinese Imitation of Aesop’s Fables : WuGan by Li Shi Xiong in the end of Ming dynasty." CHINESE LITERATURE 92, no. ll (August 2017): 127–47. http://dx.doi.org/10.21192/scll.92..201708.007.

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van Dijk, Gert-Jan. "There Were Fables Before Aesop." Reinardus / Yearbook of the International Reynard Society 11 (November 15, 1998): 205–14. http://dx.doi.org/10.1075/rein.11.15dij.

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Abstract This paper aims, in general, at drawing attention to the many fables not included in fable collections. It focuses, more particularly, on the fables which can be found throughout Archaic, Classical, and Hellenistic Greek literature, predating the extant ancient fable collections. Some of these stray fables are unique, others significantly vary well-known themes; all of them show that the genre is a flexible form, which can be adapted to widely divergent literary and social contexts. In this article the intrinsic interest and functional richness of the "non-collection" fable tradition are exemplified by analyses of the fable of the Lion Cub and the Man from a tragedy by Aeschylus, the lyric poet Archilochus' version of the fable of the Fox and the Eagle, and the multifunctionality of the fable of the Dung Beetle and the Eagle in three different comedies by Aristophanes.

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Lukin, Stephanie M., and Marilyn A. Walker. "A Narrative Sentence Planner and Structurer for Domain Independent, Parameterizable Storytelling." Dialogue & Discourse 10, no. 1 (February 22, 2019): 34–86. http://dx.doi.org/10.5087/dad.2019.103.

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Storytelling is an integral part of daily life and a key part of how we share information and connect with others. The ability to use Natural Language Generation (NLG) to produce stories that are tailored and adapted to the individual reader could have large impact in many different applications. However, one reason that this has not become a reality to date is the NLG story gap, a disconnect between the plan-type representations that story generation engines produce, and the linguistic representations needed by NLG engines. Here we describe Fabula Tales, a storytelling system supporting both story generation and NLG. With manual annotation of texts from existing stories using an intuitive user interface, Fabula Tales automatically extracts the underlying story representation and its accompanying syntactically grounded representation. Narratological and sentence planning parameters are applied to these structures to generate different versions of the story. We show how our storytelling system can alter the story at the sentence level, as well as the discourse level. We also show that our approach can be applied to different kinds of stories by testing our approach on both Aesop’s Fables and first-person blogs posted on social media. The content and genre of such stories varies widely, supporting our claim that our approach is general and domain independent. We then conduct several user studies to evaluate the generated story variations and show that Fabula Tales’ automatically produced variations are perceived as more immediate, interesting, and correct, and are preferred to a baseline generation system that does not use narrative parameters.

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Urdolotova, Ch A. "THE INFLUENCE OF ORIENTAL TABLES ON KYRGYZ FABLES." Heralds of KSUCTA, №1, 2022, no. 1-2022 (March 14, 2022): 168–73. http://dx.doi.org/10.35803/1694-5298.2022.1.168-173.

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The study and assessment of the essence of the fable genre in world literature is multifaceted and varied. However, more stable views emerged. Assessing the nature of fables among the Kyrgyz people, it was important to use international experience. Therefore, referring to information related to the genre of fables among the peoples of the East, evaluating the nature of fables in them, determining the conditions that influenced their emergence - an objective assessment of these processes. The influence of eastern cultural values on the fairy tale genre of the Kyrgyz people and what influenced the change in national consciousness before the appearance of western cultural values (Aesop's fables). The influence of Buddhism and Islamic culture on Kyrgyz culture, especially myths about animals, jataka, Panchatantra, Kalila and Dimna, will be analyzed with specific facts about the formation of Kyrgyz folk fables.

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Kostin, Andrei A., and Konstantin N. Lemeshev. "Mikhail Lomonosov’s “Short Manual in Rhetoric”: The History of the First Edition from 1748." Slovene 6, no. 2 (2017): 310–46. http://dx.doi.org/10.31168/2305-6754.2017.6.2.12.

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The article studies the first editions of Mikhail Lomonosov’s “Kratkoe rukovodstvo k krasnorechiiu (A Short Manual in Rhetoric),” issued by the Academy of Sciences in 1748 and 1765. The textual variations help us demonstrate that the common view on the history of these texts as directly descending from the only extant set of proof-reads is false. With textual and codicological analysis (including the presentation of three unique copies of the first edition), and using the records of the Academy Chancellery and Typography, we argue that the creation of the unique varying copies of the first edition were caused not only by the fire in the Academy building (December 5, 1747), but also by the lack of paper in the Typography’s stock and the fact, that the most part of the book had not yet been written by the time it started to print. For more than a year Lomonosov provided the typography with only small portions of the text, and thus the reprinting the portion of the print run damaged by the fire coincided with the creation of the last chapters. This made it possible for Lomonosov to radically rewrite the first paragraphs of an early chapter “On fictions,” turning it into a theoretical text, legitimizing the fiction genres, which became the crucial part of the Academy print in 1747/48 (Volchkov’s translation of the Aesop’s Fables; the translations of the Fenelons’ Telemaque and Barclay’s Argenis; Sumarokov’s tragedies). The article concludes with a verified stemma of the print sources of the “Kratkoe rukovodstvo,” issued during Lomonosov’s lifetime; and the Moscow edition (1759–1765) is argued to present the latest authorized text.

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Moss, Gregory S. "Absolute Imagination: the Metaphysics of Romanticism." Social Imaginaries 5, no. 1 (2019): 57–80. http://dx.doi.org/10.5840/si2019514.

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Carnap famously argued that metaphysics unavoidably involves a confusion between science and poetry. Unlike the lyric poet, who does not attempt to make an argument, the metaphysician attempts to make an argument while simultaneously lacking in musical talent. Carnap’s objection that metaphysics unavoidably involves a blend of philosophy and poetry is not a 20th century insight. Plato, in his beautifully crafted Phaedo, presents us with the imprisoned Socrates, who having been condemned to death for practicing philosophy in the Apology, has a dream in which he realizes that he ought to make music. In this dialogue, however, Plato indicates no hint of the scorn that Carnap has for metaphysics—rather Socrates’ friends find him setting Aesop’s fables to verse. In the modern era, Nietzsche re-introduced the ‘music making Socrates’ in his Birth of Tragedy. But Nietzsche is not the first to revive the concept in modern philosophy. Before Nietzsche’s call for a new music-making Socrates, the early German Romantics, in particular Schlegel, explicitly called for the identification of poetry and science in the concept of Poesie. As Schlegel writes: ‘Alle Kunst soll Wissenschaft werden, und alle Wissenschaft Kunst werden; Poesie und Philosophie sollen vereinigt sein.’ On the one hand, in Ion Socrates is not wrong to critique Ion for not knowing the significance of his own work. On the other hand, Socrates himself recognizes in Phaedo that he is guilty of failing to heed the call to make music. Long misunderstood, the Romantic concept of Poesie is not mere irrationalism, for it offers an aesthetic metaphysics of the Absolute. Romanticism is indeed a philosophy of the Absolute, but one which cannot conceive of any solution to the profound impasses that confront philosophical knowing except by learning to make music.

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Manggong, Lestari. "Subaltern Voice and Marginal Moral Lessons in Suniti Namjoshi’s Feminist Fables." Fabula 60, no. 1-2 (July 1, 2019): 132–44. http://dx.doi.org/10.1515/fabula-2019-0009.

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Zusammenfassung Ausgehend von der durch Spivak (1988) bekannt gemachten Gruppe der Subalternen erörtert dieser Aufsatz, wie Suniti Namjoshis Feminist Fables diesen eine Stimme verleiht. Namjoshis LSBTQ-Standpunkt und -Anliegen treten in ihren Erzählungen deutlich hervor. Sie stellen die Gramsci’sche Hegemonie in Frage, treten ihr entgegen und kritisieren sie, indem sie dem Pantachantra, Aesops Fabeln und Andersens Märchen den Prozess machen. Letztlich zielt dieser Aufsatz darauf ab, die Ausdrucksweisen der Subalternität aufzuzeigen, sowie darzulegen, welche moralischen Lehren feministische LSBTQ-Fabeln im Zusammenhang mit einer Marginalisierung in den Vordergrund rücken.

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Urdolotova, Chynara. "PARALLELS IN KYRGYZ AND GREEK FABLES." Alatoo Academic Studies 2021, no. 4 (December 30, 2021): 214–20. http://dx.doi.org/10.17015/aas.2021.214.26.

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In the next scientific article, an attempt is made to analyze the fables of Aesop, the founder of the classical genre of fables, as well as the conditions that led to the emergence of the genre of Kyrgyz fables, and consider them using historical and comparative methods. Indeed, in world practice, the emergence of the genre of fable, along with fairy tales about animals, was influenced by the Kyrgyz sages - Dzherenche Chechen, Akyl Karachach, Aldar Kuso, Asan Kaigy and others, who drew moral conclusions from the nature of animals. Attempts have been made to substantiate the hypothesis that people could also be influenced, based on facts. As a result, Aesop appeared in public, defended the rights of ordinary people with his fables, ridiculed his oppressors and demonstrated his superiority with eloquence and deep intellect. Also, Dzherenche Chechen, Akyl Karachach, Aldar Koso, Asan Kaigy and others, defended the interests of the general public and ridiculed the steps taken by the ruling class, images of animals and tried to establish justice

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Scarborough, Connie L. "Aesop's Fables with a Life of Aesop (review)." Comparatist 19, no. 1 (1995): 157–58. http://dx.doi.org/10.1353/com.1995.0005.

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Wortley, John. "Aging and the Aged in Aesopic Fables." International Journal of Aging and Human Development 44, no. 3 (January 1, 1997): 183–203. http://dx.doi.org/10.2190/exh7-h1r4-6rqr-tfk3.

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Little attempt has been made to re-assess the attitudes to aging and old age of the ancient-medieval Greek-speaking world on the basis of the literary remains (which are common to both) since Richardson (1933). There are however some collections (proverbs, sayings, “purple passages” from literature and so forth) which include material revealing attitudes which are in fact quite different from those of today and which can even be surprising. One such collection, the large number of fables which more or less conform to the genre associated with Aesop, is here analyzed to isolate the texts which have to do with aging and the attitudes they reveal. Of the surprisingly few fables which touch upon the matter, most are distinctly complimentary. In most instances the elderly are seen to increase, rather diminish, in certain powers other than physical strength. Fables are found which characterize them as being astute, intelligent, crafty, loyal and, above all, capable of giving sound advice and good leadership when the situation requires it of them. The celebrated Fable of the Tortoise and the Hare, although it was not specifically interpreted in this way in ancient times, best sums up the general attitude: that dogged persistence (the characteristic of the elderly) will ultimately prove superior to all the erratic bursts of youthful speed anytime. Hence Cicero: “Old age is more spirited than youth, and stronger!”

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Carnes, Pack. "“Esopo no fabulas”: More Notes on Aesop in Sixteenth-Century Japan." Reinardus / Yearbook of the International Reynard Society 14 (December 3, 2001): 99–113. http://dx.doi.org/10.1075/rein.14.08car.

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In the year 1592/3 a three-volume set of materials was printed at Amakusa, Japan, the second element of which wasEsohono Fabulas [‘he Fables of Aesop’, which survives as an unicum in the BL. This article first studies the sources for this book. There is a link with the Steinhöwel collection, but other possible sources are a late edition of the Martin Dorp collection, the collection by Joachim Camerarius, or the Romulus Roberti. Secondly, the history of the fables in Japanese is discussed. Originally they were probably meant for the teaching of Latin. Soon they were — in a more literary form — used to attract the attention of cultured Japanese people. This more literary version was the starting point of a purely Japanese tradition of fables and fable motifs.

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Journal articles on the topic 'Aesop’s fables'

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