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1
Wergeland, Henrik. "Fabler «efter La Fontaine» (1839)." Agora 28, no. 01-02 (February 28, 2010): 234–36. http://dx.doi.org/10.18261/issn1500-1571-2010-01-02-18.
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Waahlberg, Helle. "Wergelands fabler «efter La Fontaine»." Agora 28, no. 01-02 (February 28, 2010): 89–104. http://dx.doi.org/10.18261/issn1500-1571-2010-01-02-05.
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Yektiningtyas, Wigati, and Evalina Silalahi. "Fables as Media of Environmental Education for Sentani Children in Jayapura Regency, Papua." Celt: A Journal of Culture, English Language Teaching & Literature 20, no. 2 (December 30, 2020): 237. http://dx.doi.org/10.24167/celt.v20i2.2867.
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Abstract: Fable is one of Sentani verbal folklore that was passed down by parents to children to teach morals. One of them is about the importance of preserving environment. Nowadays, unfortunately, fable is not frequently told anymore. Children and even most Sentani people do not recognize it. From long observation, Sentani children do not pay attention much to the nature as well. Data of fables were obtained from some informants, i.e. tribal chiefs (ondofolo, khote) and elderly people in East Sentani (Ayapo, Waena, and Asei Island) and Central Sentani (Sentani and Ifale) in 2017-2018. By adopting socio-cultural approach, this paper aims to discuss about (1) the natural environment of Sentani people, (2) the use of fables in environmental education for children. This study found that (1) fable is creative and innovative materials in teaching children about environment: nature, fauna, and flora that can be done informally, nonformally, and formally, (2) children have emotional ties with the fables and want to learn more, and (3) it is an alternative way of revitalizing Sentani fables and disseminating the socio-cultural values embedded in them. This study is benefecial to motivate Sentani children to learn more about their ancestor’s heritages, love their environment, and be proud of their identity. Key words: fable, environment, Sentani folklore, revitalizationAbstrak: Fabel merupakan salah satu folklor verbal Sentani yang dahulu dituturkan secara oral dari para orang tua ke anak-anak untuk menyampaikan berbagai ajaran moral. Salah satunya adalah tentang pentingnya merawat lingkungan. Saat ini, fabel sudah jarang dituturkan lagi. Anak-anak bahkan sebagian orang Sentani tidak mengenalinya. Melalui pengamatan yang cukup lama, anak-anak Sentani kini tidak lagi memperhatikan lingkungan hidup mereka. Data fabel dikumpulkan dari para informan, yaitu para pemangku adat (ondofolo, khote) dan para tua-tua adat di Sentani Timur (Ayapo, Waena, dan Pulau Asei) dan Sentani Tengah (Sentani dan Ifale) pada 2017-2018. Dengan menggunakan pendekatan sosial-budaya, paper ini bertujuan untuk membahas (1) lingkungan alam masyarakat Sentani dan (2) penggunaan fabel dalam pendidikan lingkungan bagi anak-anak. Studi ini menemukan bahwa (1) fabel merupakan materi yang kreatif dan inovatif untuk mengajarkan anak-anak tentang lingkungan: alam, fauna, dan flora yang dapat dilakukan secara informal, nonformal, dan formal, (2) anak-anak mempunyai hubungan emosi dengan fabel yang dipelajarinya dan ingin belajar lebih banyak fabel, (3) penggunaan fabel sebagai pengajaran merupakan cara alternatif dalam merevitalisasi dan diseminasi fabel Sentani dan nilai sosial-budaya yang terdapat di dalamnya. Studi ini bermanfaat untuk memotivasi anak-anak Sentani untuk terus mempelajari dan mencintai pusaka budaya leluhur mereka, mencintai lingkungan hidup mereka, dan bangga akan indentitas mereka. Kata kunci: fabel, lingkungan, folklor Sentani, revitalisasi
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Baunvig, Katrine Frøkjær. ""Den herligste Tidsfordriv"." Religionsvidenskabeligt Tidsskrift, no. 71 (August 18, 2021): 154–96. http://dx.doi.org/10.7146/rt.v0i71.127995.
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I denne artikel viser jeg mhp. en analyse af H.V. Kaalunds og J.Th. Lundbyes Fabler for Børn (1845), hvorledes dyr i 1800-tallet blev garanter for børns særstatus som naturlige og uskyldige. Jeg viser, hvorledes ‘barnlige’ evner som fantasi blev forudsætningen for tre typer af ’genfortryllelse’ af de fremvoksne sociale domæner kernefamilien og nationalstaten samt den religiøse sfære. Jeg argumenterer for, at man bør opfatte disse genfortryllelser som systematiske bekræftelser af Philippe Descolas ontologitypologi beskrevet i Beyond Nature and Culture (2013).
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Baunvig, Katrine Frøkjær. "“Den herligste Tidsfordriv”." Religionsvidenskabeligt Tidsskrift, no. 71 (August 26, 2021): 161–206. http://dx.doi.org/10.7146/rt.v0i71.128373.
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I denne artikel viser jeg mhp. en analyse af H.V. Kaalunds og J.Th. Lundbyes Fabler for Børn (1845), hvorledes dyr i 1800-tallet blev garanter for børns særstatus som naturlige og uskyldige. Jeg viser, hvorledes ‘barnlige’ evner som fantasi blev forudsætningen for tre typer af ‘genfortryllelse’ af de fremvoksende sociale domæner kernefamilien og nationalstaten samt den religiøse sfære. Jeg argumenterer for, at man bør opfatte disse genfortryllelser som systematiske bekræftelser af Philippe Descolas firefoldige ontologitypologi beskrevet i Beyond Nature and Culture (2013).
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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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Yulsafli, Yulsafli. "KODE-KODE BUDAYA DALAM FABEL MASYARAKAT ACEH." Jurnal Metamorfosa 8, no. 2 (July 30, 2020): 137–53. http://dx.doi.org/10.46244/metamorfosa.v8i2.1111.
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This study is entitled "Cultural Code in the Aceh Community Fable". The formulation of the problem in this research is how is the cultural code in the Acehnese fable? To describe the cultural code in the Acehnese fable. The benefit of this research for the researchers themselves is that they can add insight into the literary codes contained in the Acehnese fable and as an input in studying and studying literature, especially fables. Sources of research data are the Acehnese fable, namely (1) Shearing Abang Gajah (Gayo), and (2) Carito Sang Nago Jo Tuanku Tapa (Jamee), (3) Origin of Monkeys (Simeulue), and (4) White Buffalo (Buffalo) ( Simeulue), and (5) Palandok (The Mouse Deer). The method used in this research is descriptive method. The data collection technique used in this study is the documentation technique. The data in this study were obtained from the book Collection of Oral Literature by Budiman Sulaiman in the 2000 issue. Based on the data processing and analysis, it was concluded that in the five fables analyzed there were various cultural codes, namely icons, symbols and indexes. An icon is a physical object (two or three dimensions) that resembles what it represents, a symbol is something or a condition that leads the subject's understanding of the object, while an index is a sign that is present sociatively due to the presence of a fixed characteristic reference relationship. Cultural codes in the Acehnese fable are very important, especially in shaping the character of children.
Abstrak
Penelitian ini bertujuan untuk mendeskripsikan kode budaya dalam masyarakat Aceh. Metode yang digunakan dalam penelitian ini adalah metode deskriptif.Teknik pengumpulan data yang dilakukan dalam penelitian ini adalah teknik dokumentasi.Data penelitian ini bersumber dari buku Kumpulan Fabel Masyarakat Acehyang ditulis oleh Budiman Sulaiman. Fabel yang dipilih berjumlah lima judul yang terdapat di Aceh, yaitu (1) Geser Geser Abang Gajah (Gayo), dan (2) Carito Sang Nago Jo Tuanku Tapa (Jamee), (3) Asal Mula Monyet (Simeulue), dan (4) Kerbau Putih (Simeulue), dan (5) Palandok (Si Kancil).Berdasarkan pengolahan dan analisis data diperoleh simpulan bahwa dalam dalam kelima fabel yang dianalisis tersebut terdapat bermacam-macam kode budaya, yaitu ikon, simbol, dan indeks.Ikon adalah sesuatu benda fisik yang menyerupai apa yang dipresentasikannya, simbol adalah sesuatu hal atau keadaan yang memimpin pemahaman si subjek kepada objek, sedangkan indeks adalah tanda yang hadir secara asosiatif akibat terdapatnya hubungan ciri acuan yang sifatnya tetap.Kode budaya dalam fabel masyarakat Aceh sangat bermanfaat dalam membentuk karakter anak baik sebagai individu, sebagai warga masyarakat, dan sebagai warga negara yang baik.
Kata Kunci : Kode, Budaya, Fabel
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van Dijk, Gert-Jan. "The rhetorical fable collection of Aphthonius and the relation between theory and practice." Reinardus / Yearbook of the International Reynard Society 23 (December 23, 2011): 186–204. http://dx.doi.org/10.1075/rein.23.09van.
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This paper focuses on a Greek prose fable collection by the rhetorician Apthonius, comprising 40 fables. There are some entirely new fables, whereas others present variations of older fables. We might distinguish simplifications, contaminations, fabulizations (creating fables out of heterogeneous stories). The collection was destined for school practice. Hence the ubiquitous use of promythiums and epimythiums, as well as the very brevity of the fables. The fable collection is preceded by a short theoretical introduction, which is especially important because of its subdivision of fables in terms of their characters (1. human protagonists, 2. animal protagonists, 3. a combination of both). The collection perfectly corresponds with the preceding theoretical passage. In the end we give a synopsis, comparing Aphthonius with all other extant ancient fable collections.
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Cifarelli, Paola. "Fable et nouvelle à la Renaissance." Reinardus / Yearbook of the International Reynard Society 11 (November 15, 1998): 37–51. http://dx.doi.org/10.1075/rein.11.04cif.
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Résumé A travers l'analyse des fables contenues dans cinq recueils des nouvelles publiés entre 1531 et 1585, on s'interroge sur les rapports narratifs qui, au seizième siècle, s'établissent entre ces deux genres brefs. En mettant l'accent sur les modifications que les apologues subissent par rapport aux textes correspondants dans les fabliers, on essaie de montrer que le côtoiement avec la nouvelle entraîne des transformations dans la syntaxe narrative et dans la fonction didactique. Il semble donc possible d'observer que l'exigence de renouveler le genre de la fable est ressentie surtout en dehors des recueils humanistes.
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Wahyuni, Nendi Dwi, and Harris Effendi Thahar. "PENGARUH TEKNIK PEMBELAJARAN THINK TALK WRITE (TTW) BERBANTUAN MEDIA GAMBAR BERSERI TERHADAP KETERAMPILAN MENULIS TEKS FABEL." Pendidikan Bahasa Indonesia 8, no. 5 (February 19, 2020): 290. http://dx.doi.org/10.24036/108212-019883.
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ABSTRACT The purpose of this writing is to research the influence of TTW’s learning by using picture in series as the media towards class VII of SMP Negeri 2 2X11 Enam Lingkung’s students’ skill on writing fable. The data of this research are the students’ scores of writing fables. It is collected by doing the test of writing fable toward the sample before and after using TTW’s technique by using picture in series. The result of this technique is using T-test formula. The result of this research showing 1) the writing skill of fable before and after using TTW’s technique of picture in series are in “Lebih dari Cukup” (LdC) qualification; 2) the writing skill of fable before and after using TTW’s technique of picture in series are in the “Baik Sekali” (BS) qualification and 3) as the result of using T-test formula showing that the writing skill of fable before and after using TTW’s technique of picture in series giving very good influence towards the students’ skill of writing fable text in class VII of SMP Negeri 2 2X11 Enam Lingkung. Kata kunci: Pengaruh, TTW Berbantuan Media Gambar Berseri, Keterampilan Menulis Teks Fabel
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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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Nur Jannah, Eka Mufidah, Heri Suwignyo, and Titik Harsiati. "Analisis Nilai-nilai Karakter Hasil Karya Menulis Kreatif Siswa." Jurnal Pendidikan: Teori, Penelitian, dan Pengembangan 4, no. 2 (February 28, 2019): 149. http://dx.doi.org/10.17977/jptpp.v4i2.11928.
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<p><strong>Abstract:</strong> The purpose of this study was to describe the character values in the creativity of students writing fable stories. This study used a descriptive qualitative design with a type of text analysis. The tex analyzed was created by students writing fable stories. The results show of the analysis show five character values in the work of students writing stories. These five values consist of values that are socially caring, friendly/communicative, hard work, creative, and peaceful. Creative writing is telling events that have been experienced by using imagination then poured in the writing. Writing activities require reading skills. The reading used is the story of fables. Fable stories contain moral values in life that can add student knowledge.</p><p><strong>Abstrak:</strong><em> </em>Tujuan penelitian ini adalah mendeskripsikan nilai-nilai karakter dalam hasil cipta siswa menulis cerita fabel. Penelitian ini menggunakan rancangan deskriptif kualitatif dengan jenis analisis teks. Teks yang dianalisis adalah hasil karya siswa menulis cerita fabel. Hasil analisis menunjukkan lima nilai karakter dalam karya siswa menulis cerita. Lima nilai tersebut, meliputi nilai peduli sosial, bersahabat/komunikatif, kerja keras, kreatif, dan cinta damai. Menulis kreatif adalah menceritakan peristiwa yang pernah dialami dengan memanfaatkan imajinasi kemudian dituangkan dalam sebuah tulisan. Kegiatan menulis membutuhkan keterampilan membaca. Bacaan yang digunakan adalah cerita fabel. Cerita fabel memuat nilai-nilai moral dalam kehidupan yang dapat menambahkan pengetahuan siswa.</p>
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Anna, Pikalova. "“FABLER” AS A TYPE OF “EMOTIVE-I” OF THE IDENTITY OF THE CHILDREN’ POET." Scientific Bulletin of Kherson State University. Series Germanic Studies and Intercultural Communication, no. 2 (November 27, 2019): 69–78. http://dx.doi.org/10.32999/ksu2663-3426/2019-2-11.
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Bache-Wiig:, Harald. "“Med Flid opdigtet”? Om bruken av fabler i Avis for Børn (Kbh. 1779–1782)." Barnelitterært Forskningstidsskrift 2, no. 1 (January 2011): 5830. http://dx.doi.org/10.3402/blft.v2i0.5830.
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Marchesi, Ilaria. "Traces of a Freed Language: Horace, Petronius, and the Rhetoric of Fable." Classical Antiquity 24, no. 2 (October 1, 2005): 307–30. http://dx.doi.org/10.1525/ca.2005.24.2.307.
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Abstract This paper investigates the status that the genre of fable acquires when it is employed in literature. In particular, it surveys Horace's treatment of fables in the Satires andEpistles and the carefully controlled circumstances in which zoomorphic language is allowed to emerge during the banquet at Trimalchio's in Petronius' Satyrica. The analysis of the distribution of fables in Horace shows that for the Roman literary public the act of speaking through fables bore in itself a negative connotation, so much that the moral discourse of the satirist needed at first to provide additional justification in order to incorporate them: from vindication of ingenuitas and shifts in narrative voice, to use of rhetorical misnomers and eventually of philosophical frankness. Petronius' text, in turn, suggests that what is wrong with fable is precisely its being reminiscent of a servile past. During the dinner at Trimalchio's allusions to recognizable fable plots and zoomorphic language are allowed to surface only during a momentary absence of the host. This circumstance suggests that fable is not just another literary genre among the many genres abused in Trimalchio's house: for both the host and his freedmen guests fables are an uncomfortable reminder of an enduring past inscribed in their language.
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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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Astuti, Juli, and Yasnur Asri. "KONTRIBUSI KETERAMPILAN MEMBACA TEKS CERITA FABEL TERHADAP KETERAMPILAN MENULIS TEKS CERITA FABEL SISWA KELAS VIII SMP NEGERI 35 PADANG." Pendidikan Bahasa Indonesia 8, no. 2 (June 10, 2019): 42. http://dx.doi.org/10.24036/104510-019883.
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ABSTRACT The purpose of the study is to describe the skill of reading Fable Story Texts on Writing Skills for Fable Story Texts of Class VIII Students of SMP Negeri 35 Padang. This type of research is quantitative with descriptive method. The design used in this study is design contribution. The population of this study was the eighth grade students of SMP Negeri 35 Padang who were enrolled in the 2019/2020 school year, namely as many as 134 students. The sample in this study was determined by proportional random sampling of 25% of the population, namely 35 students. The data of this study were in the form of scores on the results of the test skills for reading fable text and tests of fable story writing skills. The data was obtained through two types of tests namely objective tests to measure the skill of reading fable story texts and performance tests to measure the writing skills of fable stories. The results of this study are three. First, the ability to read fable story texts in class VIII Padang Public Middle School 35 is in good qualification (B) with an average value of 77.55. Second, the skill to write fable story texts in grade VIII Padang Public Middle School 35 is in good qualification (B) with an average value of 73.97. Third, there is a contribution to the contribution of fable's text reading skills to the fable writing text skills of Grade VIII students of Padang State Middle School at 67.57%. It was concluded that the skill to read fable story texts contributed to the skill of writing fable story texts. Kata kunci: Kontribusi, Keterampilan membaca, Menulis, Teks Cerita Fabel
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Hasyim, Irmawaty, and Salmia Syarifuddin. "A Study on Religious Values in Harun Yahya’s Fable." Tamaddun 18, no. 1 (June 26, 2019): 42–45. http://dx.doi.org/10.33096/tamaddun.v18i1.27.
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This study purposes to describe the religious values in Harun Yahya’s fables. This study used the descriptive qualitative method. The data source of this research was fable by Harun Yahya such as; Omar and the Penguin, Jamal and the Parrot, and Naeem and the Pretty Peacock. The data in this study could be a phrase, be it a noun phrase or verb, sentences and discourse fragment found in the fable. Data collection and analysis techniques used was content analysis techniques. The results showed that the religious value of character education appeared in the fables gave pieces of advice to the readers about getting closer to God Allah SWT.
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Puttero, Giorgia. "Les Fables Héroïques d'Audin." Reinardus / Yearbook of the International Reynard Society 12 (September 15, 1999): 151–61. http://dx.doi.org/10.1075/rein.12.12put.
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Résumé Résumé Cette article se propose de présenter Audin, écrivain peu connu du XVIIe siècle, et son recueil de Fables héroïques (1648) en particulier. Après avoir trés vite donné toutes les notices biographiques qui concernent ce prieur de Termes et de la Fage, on aborde ses Fables. L'intérêt pour cet ouvrage vient du fait qu'Audin introduit des éléments de nouveauté et d'originalité dans la tradition de la fable animalière. Avant tout, il semble inventer tous ses sujets. Il mélange en outre la tradition ésopique à celle des emblèmes et il fait précéder ses récits d'un Apologue qui représenterait une des premières thèories de la fable frangaise. Cependant, nous ne sommes pas en prèsence d'un chef-d'oeuvre: bien de défauts (lourdeur du style, longueur et moralisme des commentaires, etc...) dépassent de loin ces quelques qualités. Finalement, la transcription et l'analyse de deux de ces fables donnent une idée plus prècise des jugements que l'on porte sur tout le recueil.
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Khaninova, Rimma M. "Зоопоэтика текста в калмыцкой басне ХХ в." Oriental Studies 14, no. 2 (July 20, 2021): 393–408. http://dx.doi.org/10.22162/2619-0990-2021-54-2-393-408.
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Introduction. In the genre system of Kalmyk poetry, the literary fable appeared in the 1930s. When it came to master the genre, Kalmyk poets mainly focused on the traditions of Russian fable of the 19th–20th centuries, primarily on I. A. Krylov’s works which they eagerly translated. The Kalmyk authors were the least likely to rely on traditions of Eastern literature — whether Indian, Tibetan, or Oirat Mongolian — since those sources written in Tibetan, Classical Mongolian and Clear Script (Kalm. todo bichiq) were virtually unavailable to them, and not all poets had knowledge of the scripts. National folklore, including myths, animal tales, household tales, aphoristic poetry (proverbs, sayings, riddles), to a certain extent contributed to the creation of plots and motifs, a gallery of images ― people and the animal world ― in the Kalmyk literary fable. The appeal to the fable was determined by the tasks of cultural construction in Kalmykia, the satirical possibilities of the genre designed to scourge social vices and human shortcomings, contribute to the correction of morals, facilitate education of a person in the new society. Attention to the fable in 20th-century Kalmyk poetry was not that universal and constant, by the end of the century it was no longer in demand and never revived further. The Kalmyk literary fable has been little studied so far, with the exception of several recent articles by R. M. Khaninova, which determines the relevance of this study. Goals. The article aims to study zoopoetics of text of the animalistic fable in Kalmyk poetry of the past century through examples of selected works by Khasyr Syan-Belgin, Muutl Erdniev, Garya Shalburov, Basang Dordzhiev, Timofey Bembeev, and Mikhail Khoninov. Methods. The work employs a number of research methods, such as the historical literary, comparative, and descriptive ones. Results. The animalistic fable is not the leading one in the general genre system of Kalmyk poetry of the past century, including among fables with human characters. It usually includes characters of the steppe fauna whose figurative characteristics are manifested in Kalmyk folklore. The social satire and political orientation of the fables are actualized by modern reality, actual international situation and events. The paper reveals a relationship between the animal fable and — Kalmyk folklore and the Russian fable tradition. Most of the fables have not yet been translated into Russian. Conclusions. In terms of national versification patterns, the study of the Kalmyk poetic animal fable has identified such synthetic forms as fable-fairy tale, fable-proverb, and fable-dream. The genre definition is not always specified by the authors, a moral usually concludes each quatrain-structured narrative. Genre scenes, monologues, and dialogues contribute to an in-depth reading of the context, symbolism of images, and semantic code.
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., Anggraini. "Meningkatkan Kemampuan Bercerita Fabel Bahasa Indonesia melalui Media Boneka pada Siswa Kelas VII SMP." Pena : Jurnal Pendidikan Bahasa dan Sastra 8, no. 1 (April 24, 2019): 32–52. http://dx.doi.org/10.22437/pena.v8i1.6569.
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Abstrak
Penelitian ini berawal dari rendahnya kemampuan Berbicara, pembelajaran menceritakan kembali Fabel yang dibaca/didengar peserta didik kelas VII di SMP N 4 Jambi. Tujuan penelitian ini meningkatkan keterampilan, motivasi dan membantu peserta didik mengatasi kesulitan dalam bercerita fabel, dengan menggunakan media boneka.Penelitian ini dilakukan dengan 2 (dua) siklus dengan masing-masing siklus dirancang 4 (empat) kegiatan, yaitu tahap perencanaan, pelaksanaan, pengamatan, serta refleksi. Data diambil dengan menggunakan instrument lembar pengamatan, data tampilan unjuk kerja atau hasil belajar peserta didik, sikap, dan pengetahuan. Analisis data secara deskriptif dengan teknik persentase. Hasil observasi guru menyatakan aktivitas peserta didik mengalami peningkatan hasil belajar dari Siklus I , siklus I, dan siklus II, yaitu aspek keterampilan 55,60%, aspek sikap 30,49%, aspek pengetahuan 71,34%. Penggunaan media Boneka meningkatkan keterampilan, motivasi, dan aktivitas belajar peserta didik.
Kata kunci: Media Boneka, Keterampilan Bercerita Fabel Bahasa Indonesia
Abstract
This research started from the low ability to speak, The lesson recounts the fable that are read/heard by 7th graders at junior high school 4 Jambi, The purpose of this research is increasing skills, motivation, and helping the learners to overcome difficulties in telling fables by using the puppet medium, This research was conducted with 2 (two) cycles with each cycles was designed 4 (four) activities that is planning, implementation, observation and reflection, Data was taken with using instrument observation sheet, data display performance or learning outcomes of learners, attitude, and knowledge. Analysis of data descriptively with percentage technique. The result of teacher observation claim the activities of learners have increased learning outcomes from precycle, cycle I, cycle II, that is skill aspect 55,60%, attitude ascpect 30,49%, knowledge aspect 71,34%. The use puppet media enchances motivation skill and learning activity of learners.
Keywords: Puppet media, the skill of telling Indonesian fables
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Juanda, Juanda. "EKSPLORASI NILAI FABEL SEBAGAI SARANA ALTERNATIF EDUKASI SISWA." Jurnal Pendidikan Bahasa dan Sastra 18, no. 2 (February 15, 2019): 294–303. http://dx.doi.org/10.17509/bs_jpbsp.v18i2.15517.
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Children’s character must be built since their early age. Children should be educated and habituated with good characters so that good character will be embedded until they are grown up. A diversity of fables can be used as a medium to build the children's character. The goal in this research is exploration character educational values which are contained in the fable “Kisah Sahabat Rimba” by Yosep Rustandi. The research method uses qualitative descriptive with content analisys to describe the characters in fable “Kisah Sahabat Rimba” by Yosep Rustandi. The result of the research, it was known that there are some universal characters which can be exemplified from the fables “Kisah Sahabat Rimba” by Yosep Rustandi such as thorough, politeness, humble, honest, and respectful.
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Lestari, Anggar Tri, Subyantoro Subyantoro, and Ahmad Syaifudin. "PENGEMBANGAN MEDIA POP-UP BOOK BERMUATAN NILAI BUDAYA PESISIR PADA PEMBELAJARAN TEKS FABEL UNTUK PESERTA DIDIK SMP." Jurnal Pendidikan Bahasa dan Sastra Indonesia 8, no. 2 (November 11, 2019): 92–97. http://dx.doi.org/10.15294/jpbsi.v8i2.29143.
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Abstrak
Teks fabel merupakan salah satu jenis teks yang banyak mengandung pesan moral bagi pembaca. Hampir setiap cerita fabel memiliki nilai-nilai yang dapat diterapkan dalam kehidupan sehari-hari. Permasalahan dalam penelitian ini adalah pengembangan media pop-up book pada pembelajaran teks fabel untuk peserta didik SMP. Tujuan dari penelitian ini adalah menghasilkan sebuah produk prototipe media pop-up book bermuatan nilai budaya pesisir pada pembelajaran teks fabel. Penelitian ini dilakukan dengan menggunakan desain penelitian research and development (R&D). Prototipe media berdasarkan struktur isi meliputi bagian awal media pop-up book, lembar kegiatan peserta didik, bagian berbentuk tiga dimensi yang terdiri atas pengantar, materi teks fabel, teks fabel, serta berdasarkan struktur penyajian meliputi bentuk, kebahasaan, penulisan, tampilan/visual, dan grafika. Hasil penilaian ahli memeroleh skor 71,23 dengan kategori baik.
Kata Kunci: fabel, pengembangan media pop-up book, nilai budaya pesisir.
Fable text is one type of text that contains many moral messages for readers. Almost every fable story has values that can be applied in everyday life. The problem in this study is the development of pop-up book media in fable text learning for middle school students. The purpose of this study is to produce a pop-up book media prototype product containing coastal cultural values in fable text learning. The design of the study uses Research and Development (R&D). Media prototypes based on content structure include the initial part of the pop-up book media, student activity sheets, three-dimensional sections consisting of introductory material, fable text material, fable text, and based on the presentation structure including form, language, writing, display/visual, and graphics. The results of the expert assessment obtained a score of 71.23 in the good category.
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Gaston, Sean. "The Fables of Pity: Rousseau, Mandeville and the Animal-Fable." Derrida Today 5, no. 1 (May 2012): 21–38. http://dx.doi.org/10.3366/drt.2012.0026.
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Prompted by Derrida's work on the animal-fable in eighteenth-century debates about political power, this article examines the role played by the fiction of the animal in thinking of pity as either a natural virtue (in Rousseau's Second Discourse) or as a natural passion (in Mandeville's The Fable of the Bees). The war of fables between Rousseau and Mandeville – and their hostile reception by Samuel Johnson and Adam Smith – reinforce that the animal-fable illustrates not so much the proper of man as the possibilities and limitations of a moral philosophy that is unable to address the political realities of the state.
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Slerca, Anna. "Le Roman de Renart et la fable de l’Aigle et du Serpent." Reinardus / Yearbook of the International Reynard Society 21 (December 17, 2009): 173–81. http://dx.doi.org/10.1075/rein.21.12sle.
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La fable ésopique du l’Aigle et du Renard trouve son homologue dans une fable mésopostamienne du XVIIe siècle avant notre ère, en caractère cunéiformes. Il s’agit de la fable de l’Aigle et du Serpent, qui fait partie d’un texte d’une certaine ampleur, la légende d’Etana. L’intérêt d’une étude comparative à ce sujet réside dans le fait que la fable en question traite entre autres quelques motifs qui ne se rencontrent pas chez Ésope dans ce cas-ci, mais qui font partie du contenu du Roman de Renart. Dans le texte mésopotamien, en effet, nous voyons que le serpent, pour se venger de l’aigle qui a rompu le pacte d’amitié, obtient du dieu du Soleil de pouvoir dresser une embûche à son rival. L’aigle est pris au piège, et il adresse à son tour une prière à la divinité, qui lui permet de se libérer. Dans le Roman de Renart, le goupil ayant offensé Isengrin, ce dernier fait un appel à l’autorité, et ce motif est relié à une embûche dont Renard est la victime, avec la complicité du chien Roonel. Bien entendu, il n’est pas question d’établir forcément un rapport direct entre le texte français et la fable orientale. Il s’agit plutôt de mettre en évidence l’appartenance possible à un groupe de contes, à une tradition qui n’est pas très éloignée. D’autres fables antiques traitent quelques-uns des motifs en question: en particulier, les fables ésopiques de l’Aigle et de l’Escarbot et de l’Homme et du Serpent.
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Hoshino, Masashi. "Humphrey Jennings's ‘Film Fables’: Democracy and Image in The Silent Village." Modernist Cultures 15, no. 2 (May 2020): 133–54. http://dx.doi.org/10.3366/mod.2020.0286.
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This essay explores modernism's aesthetic and political implications through examining the works of Humphrey Jennings. The essay takes as a starting point the tension inherent to the democratic aesthetic of Mass Observation between the individual observers and the editors who write up. This tension can be effectively examined in terms of what Jacques Rancière calls ‘film fables’: the Aristotelian ‘fable’ of dramatic action and cinema's ‘fable’ of egalitarian treatment of ‘passive’ images. The essay argues that the paradox between the two ‘fables’ can be observed in Jennings's works, especially in his essays on Thomas Gray, his ‘report’ poems, and The Silent Village (1943), a dystopian propaganda film set in a Welsh village invaded by Nazis Germany. By looking at these works, the essay illustrates how the utopian longing for ‘pure art’ in modernism is related to the impossible idea of ‘democracy’.
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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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Laïd, Baptiste. "Le couronnement de l’aigle." Reinardus / Yearbook of the International Reynard Society 31 (December 31, 2019): 58–79. http://dx.doi.org/10.1075/rein.00026.lai.
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Résumé Le recueil de fables de Marie de France, le premier recueil de fables en français, reprend à plusieurs reprises, mais toujours dans des fables narrativement isolées, le motif de la cour du qui connaît, presque simultanément, une expansion majeure en français sous la forme du Roman de Renart. Cette métaphore politique, dans laquelle le lion-roi est entouré d’animaux incarnant divers types sociaux, s’accompagne cependant dans le recueil du développement parallèle d’une société aviaire nettement distincte de celle des quadrupèdes. C’est l’aigle qui y règne, l’autour est son sénéchal et cette cour des oiseaux est confrontée à des conflits nouveaux qui permettent d’illustrer des problématiques politiques différentes de celles de la cour des animaux. Quoique les fables qui traitent de cet autre monde, certaines antiques, d’autres entièrement nouvelles, soient éparpillées dans le recueil, elles sont néanmoins reliées par un personnel et des thèmes précis, inscrivant l’ensemble dans une pratique narrative à mi-chemin entre la fable et l’épopée animale. Un tel tissage de fables sous forme de récit discontinu est inédit dans un recueil de fables.
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Mombello, Gianni. "Une supercherie littéraire." Reinardus / Yearbook of the International Reynard Society 14 (December 3, 2001): 223–34. http://dx.doi.org/10.1075/rein.14.15mom.
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Description de deux éditions de fables que l’éditeur de Cologne Michel Demenius avait publiées, en 1640 et en 1662, sous le nom de Pierre de La Serre. Il s’agit d’éditions pirate qui reproduisent mot à mot la traduction française que Jean Meslier avait publiée, à partir de 1629, dans son recueil trilingue des fables d’Esope. On signale aussi que la source du fablier de Jean Meslier est le recueil qu’Aldo Manuzio l’Ancien avait publié à Venise, en 1505 et qui avait été repris, en 1610, par Isaak Nicolaus Nevelet dans la première partie de saMythologia Æsopica.
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Stevens, Katharina. "Trump, Snakes and the Power of Fables." Informal Logic 38, no. 1 (March 15, 2018): 53–83. http://dx.doi.org/10.22329/il.v38i1.4959.
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At a recent rally, Donald Trump resumed a habit he had developed during his election-rallies and read out the lyrics to a song. It tells the Aesopian fable of The Farmer and the Snake: A half frozen snake is taken in by a kind-hearted person but bites them the moment it is revived. Trump tells the fable to make a point about Islamic immigrants and undocumented immigrants from Southern and Central America: He claims the immigrants will cause problems and much stricter immigration-policies are needed.
I assume that Trump treats the fable as an argumentative device for supporting his stance on immigration. He uses it as a source-analogue both for the conclusion that immigrants will cause problems and for changing the frame in which immigrants and those willing to let them enter are seen. This gives me opportunity to examine the effect fables have as argumentative devices. Fables are a popular and effective choice for political argumentation. They are slimmed down, semi-abstract narratives, well suited for directing the audience's attention to a few properties of an otherwise complex situation. However, this also makes it easy to use them for manipulating an audience into oversimplifying complex contexts and stereotyping human beings.
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Campo, Roberto E. "Tyard's Graphic Metamorphoses: Figuring the Semiosic Drift in the Douze Fables de fleuves ou fontaines." Renaissance Quarterly 54, no. 3 (2001): 776–800. http://dx.doi.org/10.2307/1261924.
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Ponttis de Tyard, a lesser-known member of the Pleiade poets of mid-sixteenth-century France, was deeply influenced by the concerns of his comrades and contemporaries about the elemental remoteness of all “reality “ and the resulting “semiosic drift “ undermining any attempt to denote it. He expresses this preoccupation during the mid 1550s, in the Douze Fables de fleuves ou fontaines, his long underrated collection of twelve mythological fables, each accompanied by directions for a fable-based painting and an explanatory sonnet. Like the author's more highly regarded Discours du temps from the same years, the Douze Fables registers traces of not only the “strong” hermeneutic paradigm of the hermetic Neoplatonic tradition, but also the anxiety-ridden mannerist aesthetic of the period.
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Moses, David. "Lyrical liars, animal desires and figurative kinship: Robert Henryson's defence of poetry in the prologue to The Morall Fabillis." Innes Review 72, no. 1 (May 2021): 27–48. http://dx.doi.org/10.3366/inr.2021.0280.
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This article cites Robert Henryson's Fables in order to contextualise the history of the medieval notion that the world of imaginary, poetic fiction, needs justification; and examines the theological sources which served as the foundation of that debate and provided the validation for the use of fable animals as moral exemplars.
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Puttero, Giorgia. "Julien Macho et Jean Baudoin relus par François le Moine: Étude de contenu." Reinardus / Yearbook of the International Reynard Society 20 (December 12, 2008): 92–106. http://dx.doi.org/10.1075/rein.20.07put.
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François le Moine, avocat presque méconnu de Rouen, est l’auteur d’un fablier laissé manuscrit, daté de 1656 et intitulé Les fables d’Esope et autres fables de divers Auteurs. Les sources auxquelles Le Moine a puisé son inspiration ont été savamment repérées par Gianni Mombello; il s’agit de Jean Baudoin, de Julien Macho, du prieur Audin, de Mathurin Reigner. Notre analyse se propose de comprendre comment maître Le Moine a adapté le texte de Jean Baudoin et celui plus ancien de Julien Macho, en mettant en lumière l’emploi de certaines techniques littéraires, telles le décalque ou l’emboîtement. Les résultats littéraires auxquels notre auteur aboutit se révèlent assez surprenants.
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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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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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Borek, Małgorzata. "Сказки Эдуарда Успенского (лингвистический и дидактичесий аспекты)." Zeszyty Naukowe Uniwersytetu Rzeszowskiego. Seria Filologiczna. Glottodydaktyka 12 (2021): 26–35. http://dx.doi.org/10.15584/znurglotto.2021.12.2.
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The article is devoted to fables of Edward Uspienski, who is popular not only in Russia, but also abroad. The author tries to answer the question what lays behind the popularity of literary works, which won the hearts of children and adults. Fable’s themes, composition qualities and figures of speech are taken into consideration in the article. Uspienski’s fables can be helpful in learning the Russian language.
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SHIPOV, Sergey O., and Sergey A. KOMAROV. "DISCURSIVE AND POETOLOGICAL ELEMENTS OF RECONSTRUCTING THE VALUE ORDER IN THE NINE VOLUMES OF FABLES BY I. A. KRYLOV." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 2 (2021): 160–72. http://dx.doi.org/10.21684/2411-197x-2021-7-2-160-172.
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This article examines the conjugation of discursive formations in the nine books of fables by I. A. Krylov as structural elements of the final design of the author. This study mainly analyzes the texts related to the vertical or celestial sphere of the fable world. Since spherical segmentation in a fable is constitutive due to a number of reasons: a significant difference in approaches to reconstructing the value order; sacralization of the heavenly sphere; a shift in the logic of events, predetermined by mythological and religious views of a person; as well as the folklore tradition — the analysis of texts through it is justified and productive. The purpose of this article is to identify and describe the discursiveness as one of the meaning-generating elements of Krylov’s nine books of fables, correlated with his axiology and worldview. This allows recording shifts in the architectonics of Krylov’s fables to indicate his connections with the spiritual dynamics of the literary life in Russia and Europe in the first half of the 19th century, as well as to more clearly clarify his place in the transition from the traditionalist phase of literature to the individual-creative phase. The authors prove their conclusions including more than two dozen fables by I. A. Krylov in this article’s text. The contemporary academic apparatus gives their analysis a new scale and scope of vision regarding the entire creative heritage of the great Russian fabulist. This apparatus helps in reconstructing the complexity and diversity of the so-called broad educational foundations of the experience of the aged poet, who survived three literary generations that followed him and was inspired by their art searches.
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Nhemachena, Artwell. "Hakuna Mhou Inokumira Mhuru Isiri Yayo: Examining the Interface between the African Body and 21st Century Emergent Disruptive Technologies." Journal of Black Studies 52, no. 8 (June 15, 2021): 864–83. http://dx.doi.org/10.1177/00219347211026012.
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Colonially depicted as a region distinctive for fables and fabrications, Africa has ever since not been allowed to reclaim anything original. Dispossessed of their original wealth, Africans have been forced to live in fabled and fabricated houses, eating fabled, and fabricated food—closer to animals. Similarly, dispossessed of their original human identities, Africans have been forced to adopt fabricated identities. With the 21st century not promising any return to original African human identities, Africans are set to be further nanotechnologically (using tiny nanoparticles) fabricated into cyborgs that speak to ongoing posthumanist and transhumanist experiments with emergent disruptive technologies. Inhabiting not only fabricated houses but also increasingly inhabiting nanotechnologically fabled and fabricated bodies, Africans should learn to, in terms of the Shona (a people of Zimbabwe) proverb, hakuna mhou inokumira mhuru isiri yayo (no cow lows for a calf that is not its own), repossess original mastery over their own lives.
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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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Mak, Cliff. "Joyce's Indifferent Animals: Boredom and the Subversion of Fables in Finnegans Wake." Modernist Cultures 11, no. 2 (July 2016): 179–205. http://dx.doi.org/10.3366/mod.2016.0134.
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This piece explores the multitude of animal figures in Joyce, especially with regards to his engagement with the classical moral mode of the beast fable. Drawing from a number of texts throughout Joyce's corpus – from his early essays on Dante and Defoe to the fables in Finnegans Wake – I show how a young Joyce's poetics of boredom (as derived from Giordano Bruno) informs his later work through the figure of the animal. Granting his animal figures a certain amount of agency, Joyce uses them to subvert the didacticism of fables, the colonial instrumentalization associated with this didacticism, and even the cultural authority of modernism itself, his own work included.
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Lefkowitz, Jeremy B. "Innovation and Artistry in Phaedrus’ Morals." Mnemosyne 70, no. 3 (May 10, 2017): 417–35. http://dx.doi.org/10.1163/1568525x-12342148.
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In his creative and original deployment of the ‘morals’ attached to his fables, Phaedrus boldly asserts his independence from the prosaic fable tradition and embeds his work within the framework of a broadly fictionalized poetic career. Whilepro- andepimythiain Phaedrus have attracted scholarly attention as aides in calculating his chronology or deciphering his perspective on life in Rome, Phaedrian ‘morals’ do more than express a particular historical or socio-political outlook. Indeed, in his morals Phaedrus repeatedly challenges the idea that fables carry any universal or even coherent meaning, and in so doing he transforms the traditional framing devices into sites for the development of his complex poetic persona.
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Duverger, Hervé. "La Fable et les fables chez La Fontaine." Le Fablier. Revue des Amis de Jean de La Fontaine 20, no. 1 (2009): 53–66. http://dx.doi.org/10.3406/lefab.2009.1171.
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Zillén, Erik. "The dancing bear from Spain." Reinardus / Yearbook of the International Reynard Society 31 (December 31, 2019): 252–68. http://dx.doi.org/10.1075/rein.00034.zil.
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Abstract The article depicts the intense and at times unpredictable fable transfer in eighteenth-century Europe by tracing the source text of one of the most acclaimed works in Swedish fable history, Anna Maria Lenngren’s “Björndansen” [The dance of the bear]. This verse fable, published in Stockholms Posten in 1799 and bringing questions of literary quality and literary criticism into focus, was classified by the poet herself as “Original.” Twentieth-century scholars have identified a prose fable, “Björnen, Apan och Swinet” [The bear, the ape, and the swine], printed in the same daily paper in 1784 and translated from Spanish, as her probable source text. Eagerness to safeguard the poetical autonomy of Lenngren seems, though, to have restrained scholars from trying to find the Spanish original of the prose translation or to detect its author. Following the trails of French and German renderings of the Spanish fable about the dancing bear, the article demonstrates that “Björndansen” is a skilful Swedish recasting of “El Oso, la Mona y el Cerdo” [The bear, the ape, and the swine], one of the 67 verse fables in Tomás de Iriarte’s innovative Fábulas literarias (1782), a collection presenting a neoclassical poetics in the form of fable. Placing “Björndansen” within this larger international fable historical context, the article also manages, by means of comparative analysis, to throw new light on the literary devices of the Swedish masterpiece.
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Septianingsih, Yesi, and Afnita Afnita. "STRUKTUR DAN UNSUR KEBAHASAAN TEKS FABEL KELAS VII SMP NEGERI PEMBANGUNAN PADANG." JURNAL PENDIDIKAN ROKANIA 5, no. 2 (July 17, 2020): 219. http://dx.doi.org/10.37728/jpr.v5i2.309.
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ABSTRACT
The purpose of this study is to describe the errors that occur in grade VII students of the SMP Negeri Pembangunan Padang. The population in this study were eighth grade students of SMP Negeri Pembangunan Padang. This type of research is qualitative, the research analyzed does not use statistics. The instrument of this research was the research itself and the fable text written by VII grade students of the SMP Negeri Pembangunan Padang. Data collection techniques in this research is by means of documentation. The data analysis technique of this research went through several processes, namely (1) reading fable texts of students' work, (2), reading fables of students' work, (3) looking for language errors (use of spelling) in fable texts of students' work, (4) grouping errors free fable text of student work, and (5) discusses errors in fable text of student work. The results of the first study, the structure in the fable text of VII students of SMP Negeri Pembangunan Padang 99% was made correctly and properly. Second, non-linguistic errors in fable texts written by VII grade students of SMP Negeri Pembangunan Padang, namely mistakes in the use of capital letters, mistakes in prepositions of use, and errors in making particles. Errors found were published, (1) errors in capital letters using 175 cases of errors, (2) errors in prepositions as many as 50 cases of errors, and (3) Third, steps to overcome errors in writing fable texts for VII grade students of SMP Negeri Pembangunan Padang.
Keywords: Structure and Language Elements of Fable Text.
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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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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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Revolti, Matteo. "Bees on paper: the British press reads the Fable." Erasmus Journal for Philosophy and Economics 9, no. 1 (March 11, 2016): 124. http://dx.doi.org/10.23941/ejpe.v9i1.217.
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The British press played a significant role by influencing public debates following the publication of Mandeville’s The fable of the bees. Between 1714 and 1732, British newspapers published over three hundred reports on the Fable that circulated in the form of editorials and advertising announcements. These publications not only offered general information on the Fable, they also fueled controversy surrounding Mandeville's text. In this article I will analyse how the British press introduced the Fable to its readers and influenced its reception. Specifically, my aim is to show how the Fable's reception was shaped by the political and economic orientation of the newspapers in question. In doing so, I will analyze appearances of the Fable and its critics in the British press. I will then examine the language and topics used by two popular essay-papers, the Mist weekly journal and the Craftsman, who presented Mandeville’s book.
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Putri, Ranti Dwi, and Syahrul R. "PENGARUH PENGGUNAAN TEKNIK THINK TALK WRITE (TTW) TERHADAP KETERAMPILAN MENULIS TEKS FABEL SISWA KELAS VII SMP NEGERI 31 PADANG." Pendidikan Bahasa Indonesia 8, no. 2 (June 10, 2019): 66. http://dx.doi.org/10.24036/104513-019883.
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ABSTRACT The purpose of this study there are three. First, describe the skills of writing fable text of grade VII students of SMP Negeri 31 Padang before using Think Talk Write (TTW) technique. Second, describe the skills of writing fable text of grade VII students of SMP Negeri 31 Padang after using Think Talk Write (TTW) technique. Third, analyze the influence of Think Talk Write (TTW) technique to the writing skill of fable text of grade VII students of SMP Negeri 31 Padang. Kata Kunci: Pengaruh, Teknik Think Talk Write, Teks Fabel
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Roth, Ulli. "“RUDIMENTA REUCHLINIANA”." Daphnis 35, no. 1-2 (May 1, 2006): 25–50. http://dx.doi.org/10.1163/18796583-90000970.
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Dieser Aufsatz untersucht, wie stark der franz�sische Humanist Faber Stapulensis auf die hebraistischen Schriften Johannes Reuchlins zur�ckgreift, und gew�hrt damit einen Einblick in die Werkst�tten der Philologie der Renaissancezeit. Dazu wird vor allem die Rezeption des bedeutenden Hebr�ischlehrbuches De rudimentis hebraicis (1506) in Fabers Psalmenkommentar Quincuplex Psalterium (1509/1513) verfolgt. Dabei zeigt sich, da� Faber viel st�rker als bisher angenommen Reuchlins Werk benutzt und in Fragen zum hebr�ischen Psalmentext von ihm abh�ngt. Zugleich wird die Eigenart der Denk- und Arbeitsweise der beiden Renaissancephilologen herausgearbeitet, denn Faber bleibt im Umgang mit den theologischen Autorit�ten und der traditionellen Auslegung der Heiligen Schrift viel bed�chtiger und vorsichtiger als Reuchlin.
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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.