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Journal articles on the topic 'Fables, Wolof'
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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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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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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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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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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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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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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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Rubini, Luisa. "Virginia Woolf and the Flounder. The Refashioning of Grimms'“The Fisherman and His Wife”(KHM 19, AaTh/ATU 555) in“To The Lighthouse”." Fabula 47, no. 3-4 (September 2006): 289–307. http://dx.doi.org/10.1515/fabl.2006.031.
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Bibring. "In Ictu Oculi Reflections on “Wolf and Beast” by Berechiah Hanaqdan in the Context of Its Contemporary Versions in Medieval Fable-Lore." Comparative Literature Studies 56, no. 2 (2019): 374. http://dx.doi.org/10.5325/complitstudies.56.2.0374.
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Buckles, Johnny Rex. "The Rattlesnake, the Red Wolf, and the Labrador Puppies: A Fable for our Times." SSRN Electronic Journal, 2016. http://dx.doi.org/10.2139/ssrn.2860691.
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Campbell, Sandy. "Lesson for the Wolf by R. & S. Qitsualik-Tinsley." Deakin Review of Children's Literature 5, no. 4 (May 4, 2016). http://dx.doi.org/10.20361/g2xw34.
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Qitsualik-Tinsley, Rachel and Sean Qitsualik-Tinsley. Lesson for the Wolf. Illus. Alan Cook. Iqaluit, NU: Inhabit Media, 2015. Print.The writing duo of Rachel and Sean Qitsualik-Tinsley are back with a story about being comfortable in your own skin, literally. The wolf in this story is not happy to be a wolf, so with the help of “the magic of the land”, he acquires owl’s feathers, the wolverine’s tail and the caribou’s antlers. But he cannot fly like the owl or eat lichen like the caribou and he is too different from the wolves, so he becomes sad, lonely and starves. Eventually he learns the beauty of being himself and the magic of the land restores him. The story is a lovely Arctic fable on the lesson of being true to one’s self. Alan Cook’s paintings capture the wildness of the Arctic, with sweeping brush-strokes and suggestions of distant landscapes. The animals are all cartoon-like creatures, sometimes verging on caricature. Both the wolves and the caribou are drawn with over-accentuated face length and extreme thinness of the abdomen. Children who are struggling to be satisfied with and confident in their identities may be able to identify with the wolf. This book would be a good starting point for discussion. Highly recommended for elementary school libraries and public libraries.Highly recommended: 4 stars out of 4Reviewer: Sandy CampbellSandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.
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Davies, Lissa. "The Fathomless Fire by T. Wharton." Deakin Review of Children's Literature 2, no. 3 (December 24, 2012). http://dx.doi.org/10.20361/g2wg6t.
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Wharton, Thomas. The Fathomless Fire. Toronto: Doubleday Canada, 2012. Print. The Fathomless Fire is a sequel to Wharton’s first fantasy novel, The Shadow of Malabron. In Shadow, we met Will Lightfoot, an angry young teen catapulted into the magical world of the Perilous Realm. This land consists of all the characters and plot conventions of the fairy and folk tales of our world. They have been deftly altered to place them in a realistic medieval setting, with a few twists. Stories are the key to the magic of the Realm, and the power of the land is in the hands of those who understand these stories. There, Will meets Rowen and her grandfather, the Loremaster. The Perilous Realm is under siege by Malabron, the Dark Lord, who wishes to end all stories but his own, bringing the land into shadow. Sound familiar? It should, as Wharton has brought all of the traditional archetypes and elements of fantasy to bear in these tales: Troubled young protagonist, the dark lord, the wise wizard, the knight, and the companions who are assembled for the quest, to assist the protagonist in his fight against the evil in a medieval setting. Wharton has used these conventions to his own advantage here, creating a rich and detailed world. Shadow of Malabron ended with Rowen discovering that she is the new Loremaster, and Will’s return to our world. The Fathomless Fire begins with Will discovering that his friends need his help, so he revisits the Realm. This time, the narrative is divided between Will and Rowen’s separate storylines. Will is off to find his friend Shade, a talking wolf who was his closest companion. Rowen is in the town of Fable, working with her grandfather to develop her skills as a Loremaster. Of course, neither journey is as easy as it seems, and both Will and Rowen must be flexible to follow the twists and turns of their fates. Wharton has obviously done his homework. He has built a vibrant and interesting world, full of detail and character. However, it appears that Wharton, in his eagerness to introduce as many recognizable stories from our world, misses opportunities to flesh out situations which would allow the reader to fully experience his world. Characters remain blocky, lacking the in-depth characterization which would deepen our connection to them. While the multiplicity of story threads Wharton has woven throughout this book may be overwhelming for some younger readers, those with a good understanding of the fantasy genre will be drawn to this series. Wharton is an accomplished writer, and his language and descriptive passages draws the reader into the Perilous Realm and the journeys of Will and Rowen. I recommend reading Shadow of Malabron first, to become familiar with the Realm, before embarking on this second novel. Readers who are looking for a new high fantasy novel, but who are not quite ready for The Lord of the Rings will find this tale intriguing and enjoyable. Recommended: 3 out of 4 stars Reviewer: Lissa Davies Lissa Davies is an elementary teacher-librarian in Edmonton. She is a passionate reader, and is always excited to share new books and engage readers!
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Quirk, Linda. "The Fathomless Fire by T. Wharton." Deakin Review of Children's Literature 2, no. 4 (April 9, 2013). http://dx.doi.org/10.20361/g2r01v.
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Wharton, Thomas. The Fathomless Fire. Toronto: Doubleday Canada, 2012. Print. In the first book of The Perilous Realm fantasy trilogy for young adults, The Shadow of Malabron (2010), Will Lightfoot travels to the city of Fable in the land of Story and he is told that it “is not just a world with stories in it,… this world is story” (60). In this place, Will learns about his own special talents and discovers that he must play his part in the story that is unfolding around him if there is to be any chance of averting catastrophe. Together with his friend Rowen, her loremaster grandfather, Nicholas Pendrake, and a wolf named Shade, Will undertakes a perilous journey in the hopes that he can help his new friends and find his own way home. The second book of the trilogy, The Fathomless Fire (2012), picks up the adventures of Will, Rowen, and Shade where The Shadow of Malabron left off. Will returns to the land of Story only to discover that his past exploits have become the stuff of legend, but that the land of Story is imperilled because one story is growing so powerful that it is changing and warping everything, even the past, and there is now a very real risk that this dark story will become the only story “everywhere and for ever. No one will remember that there was ever anything else before, or imagine that things might be different” (325). This novel is recommended for young adults (16+). This is an intriguing book for those who are interested in the idea that we are each, as individuals, the product of the stories (or histories) that we tell ourselves and others, and that we have the power to change the narrative. Thomas Wharton has imagined a complex world of adventure, but one in which meanings can be both unfathomable and unstable. Like many of the books in this category, “The Perilous Realm” series can be understood by young adult readers but will offer greater depth to moremature and knowledgeable readers.Follow the links below to view my interview with Thomas Wharton videotaped for The Deakin Review of Children’s Literature in December 2012. In this interview, the author discusses two of his earlier novels – Icefields (1995) and The Logogryph (2004) – before turning to the first two books in his The Perilous Realm trilogy: The Shadow of Malabron (2010) and The Fathomless Fire (2012). ¤ Access the interview here: http://youtu.be/aRUVHma7ZS4 Recommended: 3 out of 4 stars Reviewer: Linda Quirk Linda taught courses in Multicultural Canadian Literature, Women's Writing, and Children's Literature at Queen's University (Kingston) and at Seneca College (Toronto) before moving to Edmonton to become the Assistant Special Collections Librarian at the Bruce Peel Special Collections Library at the University of Alberta. Her favourite children's book to teach is Hana's Suitcase, not only because Hana's story is so compelling, but because the format of this non-fiction book teaches students of all ages about historical investigation and reveals that it is possible to recover the stories of those who have been forgotten by history. For another perspective on this novel, please see the review by Lissa Davies in The Deakin Review of Children’s Literature, Vol. 2, No. 3 (2012).