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Relevant bibliographies by topics / Fables, Wolof

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Academic literature on the topic 'Fables, Wolof'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Fables, Wolof"

1

Torra-Mattenklott, Caroline. "The Fable as Figure: Christian Wolff's Geometric Fable Theory and Its Creative Reception by Lessing and Herder." Science in Context 18, no. 4 (December 2005): 525–52. http://dx.doi.org/10.1017/s0269889705000657.

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ArgumentIn his Philosophia practica universalis (1738–39), Christian Wolff proposes a “mathematical” theory of moral action that includes his statements on the Aesopian fable. As a sort of moral example, Wolff claims, the fable is an appropriate means to influence human conduct because it conveys general truths to intuition. This didactic concept is modeled on the geometrical figure: Just as students intuit mathematical demonstrations by looking at figures on a blackboard, one can learn how to execute complex actions by listening to a fable. Wolff's “scientific” fable theory met with an ambivalent reception. Lessing, who in his fable treatises re-translates Wolff's suggestions into the conceptual framework of poetics, interprets the geometric model as a stylistic ideal. The famous passage on Homer's successive descriptions in Lessing's Laokoon can be seen as another attempt to apply the representational model of geometry to literature. Herder, reading Wolff in a way that might be called deconstructive, replaces Wolff's geometric theory of poetry by a poetic anthropology of geometry.

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2

Naplocha, Anna. "Nie taki wilk straszny… O edukacji ekologicznej w kontekście bajki Wilk Ambaras Tomasza Samojlika i jej wpływie na kształtowanie postaw proekologicznych dzieci i młodzieży względem wilków." Studia Edukacyjne, no. 53 (June 15, 2019): 321–40. http://dx.doi.org/10.14746/se.2019.53.18.

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This article deals with the issue of achieving the goals of ecological education in the context of the fable The Wolf Called Ambaras by Tomasz Samojlik and its influence on shaping pro-ecological attitudes of children and adolescents towards wolves. The fable The Wolf Called Ambaras by Tomasz Samojlik is part of the literature trend promoting pro-ecological attitudes within the framework of ecological education. The main educational goal included in the story of the fable treating the adventures of the young wolf is to provide young readers and their parents the knowledge about the wolves’ life as well as public awareness of the need to protect the wolf by shaping positive attitudes of people towards this predator. Helpful in this assumption is taking up the problem of overthrowing negative stereotypes about wolves, on which the form of answers as well as attemption of demythologizing them are individual scenes of the fable. The plot of the analyzed fable attempts to answer the three main allegations of people towards wolves, which often appear in social, political and ecological discourse: the issue of wolves attacks on people, the impact of wolves hunting on forest game population and the public perception of a wolf as a bad animal, one unnecessary in the ecosystem. In addition, the bibliotherapeutic character of the fable was indicated. Through identificaiton with the character of the fable, readers can overcome their own fears related to their weaknesses and complexes based on the desensitization.

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BLOCH, R. H. "The Wolf in the Dog: Animal Fables and State Formation." differences 15, no. 1 (January 1, 2004): 69–83. http://dx.doi.org/10.1215/10407391-15-1-69.

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Núñez Molina, María Lourdes. "La Tonadilla de Noé: la tortuga y la ballena, protagonistas del diluvio universal en un cuento de María Teresa León." Lectura y Signo, no. 12 (February 6, 2018): 59. http://dx.doi.org/10.18002/lys.v0i12.5306.

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<p>Algunos cuentos de María Teresa León están protagonizados por animales que el lector relaciona con fábulas y cuentos populares (el oso, el lobo, el zorro, el águila…), pero sus historias suelen ser innovadoras. Así sucede en «La Tortuga 427» (publicado en Rosa-Fría, patinadora de la luna, 1934), donde la autora reescribe el mito del diluvio universal, destinando un papel crucial a dos animales literarios: uno vinculado con las fábulas ―la Tortuga―, otro con los bestiarios ―la Ballena―, para transmitir un mensaje moral. Además, destacaré cómo los recursos lúdicos contrastan con el desilusionado desenlace, conectando con textos posteriores de la autora.</p><p> </p><p>Some María Teresa León’s tales are starred by animals that the reader related to fables and folktales (bear, wolf, fox, eagle...), but their stories are often innovative. This happens in «La Tortuga 427» (published in Rosa-Fría, patinadora de la luna, 1934), where the author rewrites the Flood myth, allocating a crucial role to two literary animals: one linked with the fables ―the Turtle― the other with the bestiary ―the Whale―, to convey a moral message. In addition, I will highlight how the recreational resources contrast with the disappointed outcome, connecting with later texts of the author.</p>

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5

Williams, Peter S. "THE EMPEROR'S INCOHERENT NEW CLOTHES – POINTING THE FINGER AT DAWKINS' ATHEISM." Think 9, no. 24 (2010): 29–33. http://dx.doi.org/10.1017/s1477175609990194.

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With the publication of The God Delusion (Bantam, 2006) Richard Dawkins became enthroned as the unofficial ‘Emperor’ for a cadre of writers advancing a rhetorically robust form of anti-theism dubbed ‘The New Atheism’ by Wired Magazine contributing editor Gary Wolf. Many have cheered Dawkins and his court, seeing in their writings just what they long to see. For, after the fashion of the fairy-tale Emperor's fabled new clothes, the ‘new atheism’ has seen naturalism wrapping itself in a fake finery of counterfeit meaning and purpose.

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6

Honegger, Thomas. "'A Fox is a Fox is a Fox... ' The Fox and the Wolf Reconsidered." Reinardus / Yearbook of the International Reynard Society 9 (December 31, 1996): 59–74. http://dx.doi.org/10.1075/rein.9.06hon.

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Abstract The Middle English The Fox and the Wolf is the first piece of evidence that 'Renart' had crossed the 'linguistic channel' which separated the Anglo-Norman nobility from their English subjects. The article argues that the poet tries to take into account his audience's likely unfamiliarity with the scurrilous beast-epic hero by linking his poem with the already familiar traditions of the beast tale, the beast fable, as well as The Physiologus and the bestiary.

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Mason, Jeffrey D. "American Theatre in the Culture of the Cold War: Producing and Contesting Containment, 1947–1962. By Bruce A. McConachie. Studies in Theatre History & Culture. Iowa City: University of Iowa Press, 2003; pp. xiv + 347; 15 illus. $49.95 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 341–43. http://dx.doi.org/10.1017/s0040557405360200.

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From 1947 to 1962, Broadway audiences enjoyed major works by Tennessee Williams and Arthur Miller as well as plays ranging from A Thousand Clowns to Who's Afraid of Virginia Woolf? and a string of durable musical comedies offering light and dark visions of the urban streets (Guys and Dolls and West Side Story), inspirational fables (The Music Man and The Sound of Music), and war in legend and in recent memory (Camelot and South Pacific). Meanwhile, Judith Malina and Julian Beck founded the Living Theatre, José Quintero and Theodore Mann established the Circle in the Square, Joe Papp offered his first free Shakespeare productions in New York City parks, and Joe Cino and Ellen Stewart led the development of Off-Off Broadway. This heterogeneous theatre scene comprised diverse and even competing representations of a complex but interconnected culture, and Bruce A. McConachie has undertaken the task of elucidating the workings of such art not in isolation but as cultural and social production.

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8

Steiner, D. "“Wolf’s Justice”: The Iliadic Doloneia and the Semiotics of Wolves." Classical Antiquity 34, no. 2 (October 1, 2015): 335–69. http://dx.doi.org/10.1525/ca.2015.34.2.335.

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This article treats representations of the wolf in the Greek archaic and early classical literary and visual sources (with glances forward to later accounts). Using a close reading of the Iliadic Doloneia as a point of departure, it argues that wolves in myth, fable, and other modes of discourse, as well as in the early artistic tradition, regularly serve as a means of signaling the loss of distinctions that occurs when friend turns into foe and an erstwhile philos or “second self” betrays one of his kind. Prominent in the discussion are two further issues: the generic confusion or oscillation that characterizes so many textual and artistic versions of the tale, as well as the loss of distinction between two roles that normative representations more regularly contrast, those of warrior and hunter, martial victim and animal prey. Within the Doloneia, warfare proves indistinguishable from the hunt.

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9

Charrel, R. N. "Emerging infections and sensationalism: in Aesop's fable, the boy who cried wolf had a dreadful fate." Clinical Microbiology and Infection 20, no. 5 (May 2014): 467–68. http://dx.doi.org/10.1111/1469-0691.12606.

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10

Oliver, Kelly. "Between the She-Wolf and Little Red Riding Hood: The Figure of the Girl in Derrida's The Beast and The Sovereign." Derrida Today 4, no. 2 (November 2011): 257–80. http://dx.doi.org/10.3366/drt.2011.0020.

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This essay explores the important role played by the figure of the virgin girl at the centre of The Beast and The Sovereign. Derrida hints that she may offer a figure between the beast and the sovereign, between the two marionettes of Nature and Culture. Moreover, it seems that she is both what props up the fabled distinction between man and animal and at the same time that upon which man erects himself as sovereign lord and master. Taking Derrida's suggestions further, I argue that the virgin girl both does and undoes sovereign power as phallic power. She is the figure behind the erection of sovereignty. Indeed, her appearance is both necessary and threatening insofar as she both erects sovereign phallic power and threatens to reveal its impotence. In this way, the girl operates between feminine and masculine, between Nature and Culture, between the beast and the sovereign, particularly as her virginity and its deflowering are essential to the cut between the two sides of these traditional binaries. Finally, her appearance is telling in relation to the movements and rhythms of Derrida's deconstructive approach to philosophy and literature in this seminar and in his work more generally.

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Dissertations / Theses on the topic "Fables, Wolof"

1

Welborne, Eric Scott. "Tales of Thiès performance and morality in oral tradition among the Wolof of Senegal /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Siekmann, Henning [Verfasser], and Jörn [Akademischer Betreuer] Glasenapp. "Wolf und Lamm. Zur Karriere einer politischen Metapher im Kontext der europäischen Fabel / Henning Siekmann ; Betreuer: Jörn Glasenapp." Bamberg : University of Bamberg Press, 2017. http://d-nb.info/1151667439/34.

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Books on the topic "Fables, Wolof"

1

Seck, Abasse. Wollof wisdom. Kanifing, Gambia: Fulladu Publishers, 2009.

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Wollof wisdom. Kanifing, Gambia: Fulladu Publishers, 2009.

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3

Rose, Gerald. Wolf! wolf!: A fable by Aesop. New York: Aladdin Books, 1988.

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4

Lewis, Naomi. Cry wolf and other Aesop fables. New York: Oxford University Press, 1988.

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5

Wildish, Lee. The boy who cried wolf. New York: Sterling Pub., 2008.

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6

illustrator, Bogdan Enache, and Aesop, eds. The boy who cried wolf! Houston: Advance Publishing, 2014.

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7

Worley, Rob M. The boy who cried wolf. London: Wayland, 2013.

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8

Berendes, Mary. The wolf in sheep's clothing. Mankato, MN: Child's World, 2011.

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9

Wildish, Lee. The boy who cried wolf. New York: Sterling, 2008.

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10

Berendes, Mary. The boy who cried wolf. Mankato, MN: Child's World, 2011.

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Book chapters on the topic "Fables, Wolof"

1

Illés, Béla. "The Fairy Tale about the Bear, the Wolf and the Sly Fox (1925)." In Fairy Tales and Fables from Weimar Days, 181–89. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-69275-3_28.

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Bettinger, Elfi, and Gerhard Bauer. "“The passage to that fabled land”: Virginia Woolf, To the Lighthouse." In Möglichkeitssinn, 167–83. Wiesbaden: VS Verlag für Sozialwissenschaften, 2000. http://dx.doi.org/10.1007/978-3-322-90722-6_9.

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3

Still, Judith. "Man is a Wolf to Man1." In Derrida and Other Animals. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748680979.003.0002.

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This focuses on Derrida’s analysis of the figure of the wolf in the first volume of The Beast and the Sovereign, particularly in La Fontaine’s fables (where the wolf can represent the sovereign as well as the outlaw) and in political philosophy of the seventeenth and eighteenth centuries, notably Hobbes’s De Cive and Rousseau’s Discourses. This is developed with reference to other texts of the period such as the Encyclopédie in which wolves are represented as man’s enemies, rivals for scarce resources, notably food. The wolf is typically evoked as solitary and hungry; for Hobbes he, like man in the state of nature, is dangerous. For Rousseau, on the other hand, both wolf and pre-social man are shy rather than violent, preferring flight to fight – and food is naturally abundant for natural man who would in any case prefer fruit and vegetables to meat. The politics of food and taste are critical both in the self-fulfilling prophecy that man will become a wolf to man, and in the extermination of wolves.

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Ogden, Daniel. "The Curse of the Werewolf." In The Werewolf in the Ancient World, 18–59. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198854319.003.0002.

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This chapter traces the persistent association between werewolves on the one hand and witches and sorcerers on the other in the ancient world (and does same, in a brief way, for the earliest medieval werewolf tales). The Homeric Circe’s wolves should be understood as men transformed by the witch. Despite some modern claims, this was the position of the Odyssey itself, as well as the subsequent ancient tradition. Herodotus’ treatment of the Neuri not only asserts that they are sorcerers that turn themselves into wolves, but also implies that transformation into a wolf is a thing more generally characteristic of sorcerers. Like the Neuri, Virgil’s (Egyptian?) Moeris is projected as a sorcerer that specialises in turning himself into a wolf. Imperial Latin literature provides us with examples of individual witch-figures transforming into wolves, notably Tibullus’ bawd-witch and Propertius’ Acanthis, but, beyond this, there seems to have been a set of thematic associations between werewolfism and the terrible strix-witches. It may have been thought, in particular, that they had a propensity to transform themselves not only into child-stealing and child-maiming screech-owls or screech-owl-like creatures, but also into wolves. The notion that werewolfism could sometimes be effected by a divine curse, as in the Arcadian traditions and as in Aesop’s fable, was perhaps a variation or extension of the more typical and established idea that it could proceed from the cursing of a witch or a sorcerer.

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