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Journal articles on the topic 'Aesop's Fables'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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3

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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4

Chesterton, G. K. "Introduction to Aesop's Fables." Chesterton Review 27, no. 1 (2001): 17–20. http://dx.doi.org/10.5840/chesterton2001271/278.

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5

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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6

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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7

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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8

Lee, Byung-Wook. "Ego Defense Mechanisms in Aesop's Fables." Psychoanalysis 28, no. 4 (October 31, 2017): 83–95. http://dx.doi.org/10.18529/psychoanal.2017.28.4.83.

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9

Goldman, Jason G. "From the Pages of Aesop's Fables." Scientific American 313, no. 3 (August 18, 2015): 24. http://dx.doi.org/10.1038/scientificamerican0915-24.

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10

Eteokleous, Nikleia, Despo Ktoridou, and Dolapsakis Demetris. "Aesop's Fables: a technology-based delivery." International Journal of Technology Enhanced Learning 1, no. 1/2 (2008): 118. http://dx.doi.org/10.1504/ijtel.2008.020234.

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11

Atallah, David, Joelle Safi, and Nadine El Kassis. "Placenta accreta and beyond: Aesop's fables." Acta Obstetricia et Gynecologica Scandinavica 92, no. 12 (September 16, 2013): 1430–31. http://dx.doi.org/10.1111/aogs.12231.

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12

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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13

Namakshi, Nama, Hiroko K. Warshauer, Sonalee Bhattacharyya, Christina Koehne, and Max Warshauer. "The Tortoise and the Hare: Investigating Rates." Mathematics Teaching in the Middle School 23, no. 7 (May 2018): 399–403. http://dx.doi.org/10.5951/mathteacmiddscho.23.7.0399.

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14

Vaio, John, and Christos A. Zafiropoulos. "Ethics in Aesop's Fables: The Augustana Collection." Classical World 96, no. 4 (2003): 446. http://dx.doi.org/10.2307/4352806.

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15

Clinton, Janeen. "Book Review: Aesop's Fables, on CD ROM." TEACHING Exceptional Children 27, no. 2 (January 1995): 80. http://dx.doi.org/10.1177/004005999502700224.

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16

Viveros, Alejandro. "Zoopoética y codigofagia en dos fábulas de Esopo en náhuatl. Alejandro Viveros." Altre Modernità, no. 26 (November 29, 2021): 70–83. http://dx.doi.org/10.54103/2035-7680/16689.

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RESUMEN: Este texto busca desplegar dos modelos conceptuales, la zoopoética y la codigofagia, en las traducciones en náhuatl de las fábulas de Esopo realizadas en el México colonial. Abordaremos este asunto en tres secciones correlativas. La primera contextualiza el sentido de ambos conceptos como perspectivas de interpretación. La segunda refiere a la figura de Esopo y su recepción en el México colonial, especialmente en el Colegio de Santa Cruz de Tlatelolco. La tercera sección desarrolla un enfoque comparativo y hermenéutico que analiza la traducción cultural en dos fábulas de Esopo en náhuatl: “El coyote y el león” (“Coyotl yuan tequani miztli”) y “La hormiga y la huilota” (“Azcatl ihuan huilotl”). Ulteriormente, buscamos reconocer en la zoopoética y la codigofagia dos perspectivas útiles para la interpretación de las traducciones de Esopo al náhuatl, no solamente como evidencia de la interacción entre horizontes culturales, sino que como ejemplo de la creación de uno nuevo, acuñado por los propios indígenas. ABSTRACT: This paper focuses on two conceptual models, zoopoetics and codiphagia, in the translations of Aesop's fables made in colonial Mexico. I will address this issue in three correlative sections. The first contextualizes the meaning of both concepts as perspectives of interpretation. The second refers to the figure of Aesop and his reception in colonial Mexico, especially at the Colegio de Santa Cruz de Tlatelolco. The third section develops a comparative and hermeneutical approach that analyzes the cultural translation in two of Aesop's fables: “The Coyote and the Lion” (“Coyotl yuan tequani miztli”) and “The Ant and the Huilota” (“Azcatl ihuan huilotl”). I seek to recognize, in zoopoetics and codiphagia, two useful conceptual models for the interpretation of these Aesop's translations into Nahuatl, not only as evidence of the interaction between cultural horizons but as an example of the creation of a new one, built by the Indigenous people themselves.

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Sackier, J. M. "Aesop's Fables—and other stories through the looking glass." Journal of Hospital Infection 40, no. 2 (October 1998): 97–105. http://dx.doi.org/10.1016/s0195-6701(98)90088-3.

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18

Acheson, Katherine. "The Picture of Nature: Seventeenth-Century English Aesop's Fables." Journal for Early Modern Cultural Studies 9, no. 2 (2009): 25–50. http://dx.doi.org/10.1353/jem.0.0032.

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19

Bhat, Ajaz Ahmad, Vishwanathan Mohan, Giulio Sandini, and Pietro Morasso. "Humanoid infers Archimedes' principle: understanding physical relations and object affordances through cumulative learning experiences." Journal of The Royal Society Interface 13, no. 120 (July 2016): 20160310. http://dx.doi.org/10.1098/rsif.2016.0310.

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Emerging studies indicate that several species such as corvids, apes and children solve ‘The Crow and the Pitcher’ task (from Aesop's Fables) in diverse conditions. Hidden beneath this fascinating paradigm is a fundamental question: by cumulatively interacting with different objects, how can an agent abstract the underlying cause–effect relations to predict and creatively exploit potential affordances of novel objects in the context of sought goals? Re-enacting this Aesop's Fable task on a humanoid within an open-ended ‘learning–prediction–abstraction’ loop, we address this problem and (i) present a brain-guided neural framework that emulates rapid one-shot encoding of ongoing experiences into a long-term memory and (ii) propose four task-agnostic learning rules (elimination, growth, uncertainty and status quo) that correlate predictions from remembered past experiences with the unfolding present situation to gradually abstract the underlying causal relations. Driven by the proposed architecture, the ensuing robot behaviours illustrated causal learning and anticipation similar to natural agents. Results further demonstrate that by cumulatively interacting with few objects, the predictions of the robot in case of novel objects converge close to the physical law, i.e. the Archimedes principle: this being independent of both the objects explored during learning and the order of their cumulative exploration.

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20

Short, Jeremy C., and David J. Ketchen. "Teaching Timeless Truths Through Classic Literature: Aesop's Fables and Strategic Management." Journal of Management Education 29, no. 6 (December 2005): 816–32. http://dx.doi.org/10.1177/1052562904271450.

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21

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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22

Owen-Crocker, Gale R. "Squawk talk: commentary by birds in the Bayeux Tapestry?" Anglo-Saxon England 34 (December 2005): 237–54. http://dx.doi.org/10.1017/s0263675105000116.

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A brief history of the tradition of birds as motifs on textiles is followed by a catalogue of the birds in the Bayeux Tapestry and a discussion of their function. The possible significance of identifiable birds (cocks, doves, peacocks, storks), the birds of Aesop's fables and the creatures in the border ‘bird scaring scene’ is analysed. The individuality, in colouring and position, of all the border birds is demonstrated and the apparent interest which many of them take in the action of the main register is highlighted to suggest that the border birds present a commentary on, and audience-participation in, the narrative.

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23

고비 and 오순방. "The Research of Narrative Characteristic of Aesop's Fables in The Child's Paper." Journal of the research of chinese novels ll, no. 47 (December 2015): 177–98. http://dx.doi.org/10.17004/jrcn.2015..47.008.

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24

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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SoJung kim. "번역문학과 문화변용 －이솝우화(Aesop's Fables)의 중문(中文) 버전에 대한 통시적 고찰." Journal of Chinese Language and Literature ll, no. 56 (December 2010): 463–86. http://dx.doi.org/10.15792/clsyn..56.201012.463.

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26

Kubo, Masaaki. "Francisco Xavier and Aesop's Fables. An anecdote from "the Historical Documents Relating to Japan"." Bulletin de la Classe des lettres et des sciences morales et politiques 5, no. 7 (1994): 393–402. http://dx.doi.org/10.3406/barb.1994.39574.

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Pei-lin Wu 吳珮琳. "Aesop's Fables in Ancient China // 古代中國的《伊索寓言》." Central Asiatic Journal 60, no. 1-2 (2017): 207. http://dx.doi.org/10.13173/centasiaj.60.1-2.0207.

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Ulatowska, H., T. Santos, B. Reyes, and J. Vernon. "Macrostructure in Aesop's Fables: Gains and Pitfalls in Determining Production and Comprehension in Aphasia." Procedia - Social and Behavioral Sciences 61 (October 2012): 236–37. http://dx.doi.org/10.1016/j.sbspro.2012.10.165.

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29

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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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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Ulatowska, Hanna K., Belinda Reyes, Tricia Olea Santos, Diane Garst, Kelly Mak, and Kelly Graham. "Production and comprehension in aphasia: Gains and pitfalls in using macrostructure tasks in Aesop's fables." International Journal of Speech-Language Pathology 15, no. 6 (May 30, 2013): 634–42. http://dx.doi.org/10.3109/17549507.2013.794476.

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Cohen, Gene D. "Aesop's Fables and Health Care Reform: The Case of the Old Woman and Her Maids." American Journal of Geriatric Psychiatry 1, no. 3 (June 1993): 183–84. http://dx.doi.org/10.1097/00019442-199300130-00002.

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Moropa, Koliswa. "Retelling the stories: the impact of Aesop's fables on the development of Xhosa children's literature." South African Journal of African Languages 24, no. 3 (January 2004): 178–88. http://dx.doi.org/10.1080/02572117.2004.10587235.

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Pichtownikowa, Lydia. "Die Versfabel und der Witz: Ähnlichkeiten und Unterschiede aus stilistisch-synergetischer Sicht." 95, no. 95 (July 27, 2022): 29–35. http://dx.doi.org/10.26565/2786-5312-2022-95-04.

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Based on the material of German-language texts, the article considers a joke and a poetic fable as related and at the same time different forms of a small genre, if we consider them from opposite poles: as a properly-fable and a properly-joke. Depending on the ratio of stylistic features and their intensity, primarily the features of the comic, transitional forms, mixed texts are formed. With the strengthening of the role of the comic, the fable tends to turn into a joke. All varieties of the comic have always been inherent in the fable. But comicality did not dominate in it, since preference was given to the didactic purpose of the fable. If the comic takes first place, pushing morality into the background, then the fable turns into a joke. On the question of the relationship between fable and joke, the article presents the concept of V. Liebchen, a modern fable theorist and fabulist. In its form, the joke corresponds to the form of Aesop's fable, namely the rhetorical fable. It is based, as well as a joke, on a situational part (expectation) and a heuristic, cognitive part (pointe). The article presents Liebchen's short rhetorical fable “Witz und Fabel”, which is a figurative and symbolic reflection of this concept. It metaphorically and transparently depicts the value of the genre of the fable, its relationship with the joke, its subordination to the ancient fable. In my opinion, the creation of comic effects is based on the discrepancy between form and content: the original form of the object of ridicule is destroyed by a metaphorical comparison of this object with any other object or with the same, but with new characteristics that reduce its significance. The boundaries between a fable and a joke are very flexible: they are determined by the ratio of the comic and the instructive. Actually-joke moralization is not inherent. In this, it fully corresponds to the old form of the fable, which had no interpretation, no explicit morality. The article provides illustrations of the German-language texts of fables, in which the feature of comicality is so enhanced that one can speak of a tendency to turn into a joke (M. Claudius, F. V. Tsakharia, G. K. Pfeffel, V. Bush, V. Liebchen). When determining the relationship or dissimilarity of a fable and a joke, according to my method of analysis, the intensity of style features is taken into account: comicality, which in this case can be understood as the intensity of the alienation effect (pointe), and instructiveness, which must be understood not only in its direct meaning, but also in the meaning of knowledge and statements of certain truth. According to my definition and classification of fables, in addition, one must remember the feature of figurative symbolism associated with allegoricalness and fantasticness, due to which a more or less generalized and globalized image-symbol is formed, which is more associated with the heuristic than with the comic. Therefore this is also one of the main criteria for separating a fable from a joke. The ratio, the advantage of one or another feature moves the text into the zone of influence of the fable or joke. The prospects for further research include the inclusion of jokes in the diagrams of zones of mutual influence of related forms (fables, parables, didactic poems, instructive verses, epigrams, aphorisms), the study of linguistic and stylistic means of expressing the comic, which are implemented in the texts of these genre forms. I also consider the further development of studies of jokes and related forms in the linguosynergetic and pragmastylistic directions as an important perspective.

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PELLECCHIA, LINDA. "FROM AESOP'S FABLES TO THE "KALILA WA-DIMNA": GIULIANO DA SANGALLO'S STAIRCASE IN THE GONDI PALACE IN FLORENCE." I Tatti Studies in the Italian Renaissance 14/15 (January 2011): 137–207. http://dx.doi.org/10.1086/its.14_15.41781525.

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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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문경란 and nam sangin. "The Effects an Art Therapy with a Aesop's Fables on the Language Development of a Child with Cerebral Palsy." Korean Journal of Art Therapy 14, no. 2 (June 2007): 207–26. http://dx.doi.org/10.35594/kata.2007.14.2.001.

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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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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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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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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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Ayrancı, Bilge Bağcı. "A Study on Choosing Tales for Utilising as Teaching Materials in Turkish Language Education." Journal of Education and Training Studies 5, no. 12 (November 28, 2017): 174. http://dx.doi.org/10.11114/jets.v5i12.2738.

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Fairy tales are used intensively by Turkish teachers in Turkish lessons. Elements in tales need to be examined in many respects such as their suitability for cultural transmission, psychological benefits, and harms, correct and effective use of language and so on. The opinions of the Turkish teachers in the field are very important for this subject which needs to be examined in depth.This research’s model is descriptive, semi-structured interview is a data collection tool for this research.Participants except one seem to have found tales interesting for all students. It is seen that teachers use talents primarily for semantic knowledge and moral values, and then for language skills achievements. Teachers have answers that they use tales more for values such as goodness, honesty, respect, and love. There may be an interpretation that teachers often do not encounter situations where students generally look askance at tales. It is seen that teachers are leading the opinion that there is not a fairy tale that should not be read. This answer is followed by the response that tales with negative contents should not be read. Ranking of tales of most positive reactions given by students can be done respectively as: all tales which have a happy ending, Keloğlan tales, Snow white tales, Aesop's Fables… According to teachers, tales which should be absolutely read by students are listed as follows: Keloğlan, Grimm Brothers, One Thousand and One Nights,..

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Greason, Kevin L. "Aesop's fables, the ant, the grasshopper, and prophylactic first-stage elephant trunk for moderately dilated descending aorta in patients with predominately proximal disease." Journal of Thoracic and Cardiovascular Surgery 150, no. 5 (November 2015): 1158–59. http://dx.doi.org/10.1016/j.jtcvs.2015.08.104.

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Choi, Sung-Won. "Study on the animation production method of 'Aesop's Fables of Pocory' based on figure for the development of spatial representation ability of infants and children." Journal of Digital Contents Society 23, no. 4 (April 30, 2022): 603–12. http://dx.doi.org/10.9728/dcs.2022.23.4.603.

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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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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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Ross, William A. "“Ὦ ἀνόητοι καὶ βραδεῖς τῇ καρδίᾳ”." Novum Testamentum 58, no. 4 (September 16, 2016): 369–79. http://dx.doi.org/10.1163/15685365-12341536.

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Scholars have overlooked a direct parallel between Luke’s pericope of the Walk to Emmaus (24:13-35) and two Aesopic fables. This article investigates the parallel, which appears as a quotation on the lips of Jesus, and the direction of its literary dependence. Analysis of both internal and external evidence commends understanding the fables to reflect Luke due to its well-known status, but none of the arguments are definitive. The evidence also allows the possibility that Luke portrayed Jesus quoting Aesop, perhaps as an ironic hermeneutical critique. Both explanations for the direction of dependence are satisfactory in their own ways, and may only be resolved with further analysis or the appearance of more textual evidence.

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Rogers, Shef. "The instructive power of the fable in New Zealand’s Native School Reader (1886)." History of Education Review 46, no. 1 (June 5, 2017): 33–41. http://dx.doi.org/10.1108/her-11-2014-0043.

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Purpose The purpose of this paper is to examine the cultural implications of James Henry Pope’s selection of fables for his 1886 Native School Reader designed to teach English to Māori students in Native Schools. Design/methodology/approach The essay takes a historical approach. It surveys attitudes towards the fable as a pedagogical tool prior to 1880 and reviews Pope’s choice of 50 from the 300 available fables in the Aesopic canon. Findings The study finds that Pope was well informed and well intentioned, but nonetheless appeared to be unaware of potentially unsettling interpretations of his selected fables. Originality/value While it may be relatively easy for twenty-first-century readers to perceive the cultural tensions of Pope’s work, exploring the historical context helps us to understand both why Pope compiled the text he did, and why he and his books were well regarded by both Pākehā and Māori, despite almost certainly not conveying the values the settlers wished to inculcate in Māori.

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