Fable

This book recalibrates literature’s political role for the 21st century by excavating the deep history of storytelling as a civic agency. From Aristotle to Arendt and from the novella to the video story, short narrative forms hence become tangible as active vectors that enable and radically modulate the ontology of human encounters.

“Civic Storytelling lays bare the complex legacies and persistent powers of short narrative forms. Fuchs guides the reader with assurance and learning through fascinating moments in the history and theory of literature”
—Daniel Heller-Roazen, Princeton University

“Why has the novel stolen so much attention from the equally robust lineage of short forms? In his erudite and wide-ranging alternate literary history, Florian Fuchs rebalances accounts, revealing a long backdrop to our data floods and snippet reading. Short forms do not lead us out of the world, but into full engagement with it; they are the democratic media of the commons.”
—John Durham Peters, Yale University

“Civic Storytelling is a timely intervention in our age of debates about fact and fiction. Drawing on Hannah Arendt’s idea of enacted stories, Florian Fuchs makes a convincing case for the particular cognitive productivity of short narratives.”
—Eva Geulen, Humboldt University Berlin and ZfL Berlin

Dans le conte des frères Grimm on a une parfaite représentation de la maîtresse de maison qui attend d'être sauvée par une figure masculine: au début le chasseur décide de la libérer sans la tuer parce qu’il est apitoyé par la pauvre fille. Quand Blanche-Neige arrive chez les sept nains, ils acceptent de la garder mais à condition que: «Veux-tu prendre soin de notre ménage? lui demandèrent les nains. Tu ferais la cuisine, les lits, la lessive, la couture, le tricot, et si tu tiens tout bien propre et bien en ordre, nous pourrions te garder avec nous et tu ne manquerais de rien». Il faut de plus souligner la naïveté de la jeune fille qui subit par trois les ruses de la reine et qui est sauvée par un prince lorsqu’elle est encore inconsciente.
Dans le film Blanche-Neige et le chasseur on comprend que le personnage de la jeune princesse est totalement différent par rapport à l'imaginaire "classique" du conte dès le moment de sa libération.

This paper has tried to contextualize justice and human dignity as depicted in two tales adapted from La Fontaine’s Fables, examining the two terms from a bi-lingual and bi-cultural perspective. The two (2) fables titled “The Villager & the Serpent” and “The Horse and the Ass” were written in the 17th century by Jean de La Fontaine: French poet and fabulist. A man who experienced injustice many times before attaining fame, lost all material wealth and died a tenant. His Fables, usually called Les Fables de La Fontaine, were published over the last 25 years of his life. The first volume appeared when the author was 47 years. The book includes some 240 poems and timeless stories of countryfolk, heroes from Greek mythology, and familiar beasts from the fables of Aesop, from which La Fontaine unhesitatingly borrowed his material. The last of his tales were published posthumously. Each tale has a moral - an instruction on how to behave correctly or how life should be lived. Hence the cho...

La fable est un récit de fiction, généralement en vers, qui se termine par une leçon de morale ou une réflexion critique. L'origine du mot fable Fable est formée à partir du mot latin "Fabula", lui-même est issu du verbe " fari " signifiant "parler». Ce terme latin signifie tout d'abord "propos, paroles", avant de prendre le sens d' »histoire ». L'origine de ce genre « D'origine très ancienne, la fable se développe dans toutes les cultures et se transmet d'abord oralement. Les premières fables proviennent de l'Orient avec le Panchatantra qui rassemble contes et fables de la péninsule indienne, et de l'Occident avec les oeuvres du Grec Ésope. Réunies par le fabuliste romain Phèdre au 1 er siècle de notre ère, les fables d'Ésope inspirent les poètes du Moyen Âge. Au XVIIe siècle, Jean de La Fontaine adapte les fables d'Ésope et de Phèdre en cherchant tout autant à plaire qu'à instruire. Tous les auteurs qui ont succédé à La Fontaine l'ont plus ou moins imité. Aux XIXe et XXe siècles, le Livre de la jungle (1894-1895) de Rudyard Kipling ou la Ferme des animaux (1945) de George Orwell cultivent l'esprit de la fable. »

https://www.amazon.com/Book-Wisdom-Lies-Georgian-Discover/dp/9941961670/ref=sr_1_7?ie=UTF8&qid=1546537186&sr=8-7&keywords=book+of+wisdom+and+lies

The presented edition of Sulkhan-Saba Orbeliani's "Book of Wisdom and Lies" is a reprint of Sir Oliver Wardrop's translation that he published in 1894. The publisher was William Morris at the Jelmscott Press, in the County of Middlesex.The idea of republishing of this book was born, because it was Sulkhan-Saba Orbeliani's 360th anniversary in 2018 and Georgia dedicated this year to his commemoration. There were made several editions in Georgian, including illustrated edition, by Nino Gambashidze, together with Academic Book Publishing (acad.ge). The international community expressed their interest to get familiar to this author, and in particular with this text. To meet this interest we decided to publish this translation with minor corrections, such as: 1. changing 2nd person singular (thou) into 2nd person plural (you); 2. changing symbol & with conjunction "and"; 3. making more paragraphs, then they were done in existing publication, e.g. distinguishing dialogues.On edition of the text worked Maya Gambashidze and Nino Gambashidze, and the students of Guivi Zaldastanishvili American Academy in Tbilisi: Sopo Kevlishvili, Ana Zamtaradze, Ana Kostava and Giorgi Iashvil.About the design of the book worked Giorgi Kakabadze, who tried to bring the visual side of the text closer to modern reader

"This essay will explore the form and spirit of beast fable. After selecting this topic, I was heartened to read the closing sentences of W. Brian Altano's editorial page in the inaugural volume of Bestia; they seemed to confirm the utility of such and exploration. He wrote: 'There has been no attempt, in this first volume, at a precise delineation of the beast fable itself. In point of face, this will constitute a major thrust as the Society looks towards its second congress...in Copenhagen.' Although I cannot pretend to offer 'a precise delineation' in the brief span of this article, I can try at least to frame a few of the basic questions, beginning with the form and leaving the spirit for later."

Fedrus (I w. n.e.) jest autorem pierwszego łacińskiego zbioru bajek, niesłusznie uważanym jedynie za tłumacza greckich bajek Ezopa (ok. 620‒564 p.n.e.). Skorzystał wprawdzie z pomysłów poprzednika, ale rozbudował fabuły i opatrzył je morałem, przede wszystkim jednak ułożył wierszem, dodał także wiele własnych utworów, wyodrębniając bajkę jako gatunek poetycki. To właśnie jego wersje stały się wzorcem dla nowożytnych bajkopisarzy.
Utwory Fedrusa, będąc prototypem średniowiecznej bajki zwierzęcej, ożywiły zainteresowanie tym rodzajem twórczości i wywarły przemożny wpływ na europejską literaturę piękną. Służyły całym pokoleniom nie tylko podczas nauki języka łacińskiego, ale przekazywały też młodym ludziom wartości moralne godne naśladowania. Bajki wykorzystujące Fedrusowe motywy tworzyli m.in. Jean de La Fontaine, Johann Wolfgang Goethe, Iwan Kryłow, a z polskich autorów Biernat z Lublina, Mikołaj Rej, Franciszek Dionizy Kniaźnin, Adam Mickiewicz oraz Henryk Sienkiewicz.
Opowiastki Fedrusa, zawarte w niniejszym – pierwszym pełnym (160 bajek) – poetyckim przekładzie na język polski, nadal bawią, a czasami śmieszą do łez, uczą i skłaniają do refleksji dzięki celnym i błyskotliwym morałom, w kilku słowach przestrzegającym przed ludzkimi przywarami, bo to ludzie najczęściej skrywają się w bajce pod postacią zwierząt.

Czy zatem nadal myślisz, że bajki to żarty?
Nie chcesz być jak osioł – straszliwie uparty,
ni jak wilk – kłamliwy, ani jak paw – dumny,
lecz na pewno jak sowa – rozważny, rozumny,
a może jak lis ‒ sprytny, więc o radę pytasz?
Słuchaj: nie bądź baranem i Fedrusa czytaj!

Zoals elke student in Vlaanderen ontmoette ik de lepe vos op de middelbare school. Dit vossenverhaal, dat het midden houdt tussen een morele spiegel en een humoristische satire, is een essentieel deel van het West-Europese collectieve geheugen. De figuur van de vos staat voor het goede én het kwade en Reynaert is zowel elegant én moorddadig; een dier  om te bewonderen én tegelijk te haten, een monster of een schurk, een engel of een duivel?
In de komende pagina’s zal ik het over die ambiguïteit hebben, ik zal nagaan of Reynaert het label held of schurk verdient, of iets wat tussen beide archetypes ligt (deel 1 en 2), ik zal aan de hand van een reeks voorbeelden uit de tekst deze ambiguïteit kaderen (deel 3) en besluiten met de resultaten van een enquête die ik in mei 2019 hield bij een grote groep leerlingen (vijfde jaar secundair onderwijs) om na te gaan hoe zij Reynaert labelen en vooral om te weten te komen hoe zij deze vos en zijn ambiguïteit ervaren in de 21ste eeuw (deel 4).

Unique characteristics of children's literature bring along specific challenges to translation process. This field, just as other fields of translation, requires creativity of translator for the solution of such challenges. One of the most remarkable characteristics of children's books is that they are mostly written to be read aloud. Therefore, a translator needs to focus on sound effects being a part of figurative language in this genre. English poet and author Rudyard Kipling's renowned work Just So Stories is a good example for this feature of children's literature. Repercussions of the author's poetic style on this work, which is the collection of the stories written and read aloud by Kipling himself for his children, make read-aloud characteristics the most outstanding leitmotiv of the book. In addition, Turkish translations of the book offer a good deal of chances to analyze translation challenges. The book was translated into Turkish by Begüm Kovulmaz with title İşte Öyle Hikayeler in 2007 and Rojda Yıldırım with title Kipling'den Çocuklar için Öyküler in 2012. This study aims to analyze and compare these two Turkish translations with a specific focus on the sound effects divided under five categories; being repetition, alliteration, rhyme, onomatopoeic words and other sounds. The translation strategies offered by Newmark (1988) in specific to sound effects laid ground for the analysis and comparison of the strategies applied in the translations in question. The strategies were investigated to reveal whether the aesthetic or expressive purpose of the source text was preserved in the translations. According to the analysis conducted on the selected parts of the translations, substitution was found to be the most commonly applied strategy and it was found that Kovulmaz has more focus on the aesthetic function of the source text while the translation of Yıldırım had more focus on the expressive function. This study is believed to bring contribution to the discussions regarding the translation of sound effects in specific and figurative language in general.
Keywords: children’s literature, read-aloud, sound effects, figure of speech

ÖZET

Çocuk yazının kendine has özellikleri, bu alandaki çeviri sürecinde karşılaşılacak belirli zorlukları da beraberinde getirmektedir. Çevirinin diğer alanlarında olduğu gibi, bu alandaki sorunların çözümü için de çevirmenin yaratıcılığına gerek duyulmaktadır. Çocuk kitaplarının en önde gelen özelliklerinden biri de pek çoğunun sesli okunmak üzere kaleme alınmış olmasıdır. Bu bağlamda, söz konusu edebi türde çevirmenin değişmeceli dilin bir parçası olan ses etkilerine yoğunlaşması beklenmektedir. İngiliz şair ve yazar Rudyard Kipling’in ünlü eseri Just So Stories, çocuk yazının bu özelliği için başarılı bir örnek oluşturmakta olup, eserin Türkçe çevirileri de, çeviride karşılaşılan zorlukların analiz edilmesi bakımından pek çok imkan sunmaktadır. Yazarın şairane edebi tarzının, Kipling’in bizzat kendi çocukları için yazdığı ve onlara okuduğu hikayelerin derlemesinden oluşan bu eser üzerindeki yansımaları, “sesli-okuma” özelliklerini, söz konusu eserin ana motifi haline getirmektedir. Eser, Türkçe’ye Begüm Kovulmaz tarafından 2007 yılında İşte Öyle Hikayeler ve Rojda Yıldırım tarafından 2012 yılında Kipling’den Çocuklar için Öyküler isimleriyle kazandırılmıştır. Bu çalışma, söz konusu iki farklı Türkçe çevirinin ses etkileri bakımının analiz edilmesini ve karşılaştırılmasını hedeflemektedir. Ses etkileri tekrarlama, aliterasyon, kafiye, yankı-sözcükler ve diğer seslerden oluşan beş farklı başlık altında incelenmiştir. Newmark (1988) tarafından ses etkilerinin çevirisine özel olarak önerilen çeviri stratejileri, mevcut çalışmadaki çevirmenler tarafından uygulanan stratejilerin incelenmesi ve karşılaştırılmasında temel oluşturmuştur. Çevirilerde kullanılan söz konusu stratejiler, kaynak metnin estetik mi yoksa anlatımsal amacının mı korunduğunu belirlemek amacıyla incelenmiştir. Seçilen çeviri bölümleri üzerinde gerçekleştirilen incelemeye göre, yerine koyma stratejisinin en çok uygulanan çeviri yöntemi olduğu tespit edilmiştir. Buna göre, Kovulmaz’ın çevirisi kaynak metnin estetik işlevi üzerinde dururken, Yıldırım’ın çevirisi daha çok kaynak metnin anlatımsal işlevi odaklıdır. Bu çalışmanın, özelde ses etkilerinin çevirisi, genelde ise değişmeceli dil özelikleri gösteren eserlerin çevirisine ilişkin tartışmalara katkı sunacağına inanılmaktadır.
Anahtar sözcükler:  Çocuk yazını, sesli okuma, ses etkileri, söz sanatları

The Āpaddharmaparvan, 'the book on conduct in times of distress', is an important section of the great Sanskrit epic the Mahābhārata which, despite its significance for Mahābhārata studies and for the history of Indian social and political thought, has received little attention in scholarly literature. This book places the Āpaddharmaparvan within its literary and ideological contexts. In so doing it explores the development of a conception of brahmanic kingship morally justifiable within the terms of a debate largely set by various alternative social movements of the period. This book further explores the implications for our understanding of the Mahābhārata that follow from the Āpaddharmaparvan's presentation as a poetically cohesive unit within itself and within the wider parameters of the Mahābhārata.

Doctorat de littérature française de l'Université Paris-Sorbonne, obtenu après soutenance le 25 novembre 2017, pour une thèse intitulée : « Le "vieux magasin" de Jean de La Fontaine.
Les Fables, les Contes et la tradition européenne du récit plaisant (XVe-XVIIe s.) », sous la direction du professeur Patrick Dandrey.
Le jury comprenait :
Dominique BERTRAND (Université Clermont-Auvergne),
Catherine GRISÉ (French University of Toronto),
Marie-Claire THOMINE (Université de Lille),
Emmanuel BURY (Université Paris-Sorbonne),
Patrick DANDREY (Université Paris-Sorbonne),
et Michel JEANNERET (Université de Genève).

The Fabula de homine, written by the young Juan Luis Vives in 1518, has been interpreted in two different ways: homage of the dignity of man (e.g. E. De Bom), and a Renaissance vision of man as a social being (e.g. J. A. Fernández Santamaría). Even if this paper considers valid both interpretations, it explores nevertheless more points that haven’t been examined enough by scholars and that can enrich both interpretations. This paper tries to determine more accurately the role of both Christian and Greco-Roman literature influences in the Fabula.

"Jan M. Ziolkowski not only provides a comprehensive overview of the theoretical debates about fairy tale origins but includes an extensive discussion of the relationship of the fairy tale to both the written and oral sources. Ziolkowski offers interpretation of a sampling of the tales in order to sketch the complex connections that existed in the Middle Ages between oral folktales and their written equivalents, the variety of uses to which the writers applied the stories, and the diverse relationships between the medieval texts and the expressions of the same tales in the "classic" fairy tale collections of the nineteenth century."

https://www.press.umich.edu/1204480/fairy_tales_from_before_fairy_tales

Includes a review published in Marvels & Tales: Journals of Fairy-Tale Studies, 22.2, 2008.

The twelfth-century Latin beast epic Ysengrimus is one of the great comic masterpieces of the Middle Ages. This long poem, composed in what is today Belgium, recounts the relentless persecution of the wolf Ysengrimus by his archenemy Reynard the fox, in the course of which the wolf is beaten to a pulp, flayed (twice), mutilated, and finally eaten alive by sixty-six pigs. The cartoon-like violence of the narrative is not motivated by a gratuitous delight in cruelty but by a specific satiric aim: the wolf represents the hybrid ecclesiastic who is both abbot and bishop, whose greed is comparable to the wolf’s. The details of the narrative are carefully crafted to make the wolf’s punishment fit the abbot-bishop’s crime, creating a topsy-turvy world in which the predator becomes prey. In the elaborate rhetorical fantasies that accompany the narrative, the wolf’s tortures are represented as honors (for example, his flaying is mockingly represented as an episcopal consecration). This poem gave rise to a whole body of narratives, beginning with the earliest branches of the Romance of Renard and extending into most of the European vernaculars, so influential that the name Renard eventually became the standard word for fox in French.

Παρατίθενται εδώ εισαγωγικά γραμματολογικά στοιχεία και μεταφράσεις για το είδος των διδακτικών μύθων (μύθοι ζώων, μύθοι αισώπειου τύπου) σε διάφορους πολιτισμούς της Ανατολής: Αίγυπτο, Μεσοποταμία, Ισραήλ, Ινδία. Αποδίδονται στη γλώσσα μας πολλοί μύθοι ζώων και άλλες διδακτικές παραβολές, που σώζονται σε κείμενα αυτών των λαών. Σχεδόν για όλες αυτές τις ιστορίες ο έμπειρος αναγνώστης θα θυμηθεί χαρακτηριστικά παράλληλα από τις ελληνικές συλλογές του Αισώπου. Στο τέλος μεταφράζονται και μερικοί μύθοι λατίνων συγγραφέων: του Φαίδρου, του Αβιανού και του Όδωνα εκ Κεριτώνος.

Η εργασία αυτή συνεχίζει και συμπληρώνει προηγούμενες δουλειές μου σχετικά με το είδος των αισώπειων μύθων: τη μετάφραση της ελληνικής συναγωγής του Αισώπου, η οποία φιλοξενείται στον ιστότοπο του Κέντρου Ελληνικής Γλώσσας, καθώς και διάφορα μελετήματα που έχω δημοσιεύσει ή πρόκειται να δημοσιευτούν σύντομα. Αποτελεί ένα ακόμη δείγμα από την εν προόδω εργασία μου, η οποία ίσως κάποτε θα καταλήξει σε μεγάλο βιβλίο. Αν βρεθεί, ασφαλώς, εκδότης για να το τυπώσει.

Κάθε αναγνώστης είναι ελεύθερος να χρησιμοποιήσει το υλικό που ακολουθεί, να το μεταχειριστεί στη διδακτική πράξη, να το παραθέσει σε δικά του έργα ή μελετήματα-με έναν μόνον όρο: θα μνημονεύσει το όνομά μου, ως δημιουργού των μεταφράσεων και των λοιπών σημειωμάτων, και θα παραπέμψει στην παρούσα ακαδημαϊκή ιστοσελίδα (uoa.academia.edu/IoannisKonstantakos), στην οποία φιλοξενούνται τα κείμενα.

Tout le monde a eu l’occasion, un jour ou l’autre, de lire ou d’apprendre par cœur l’une des célèbres Fables de Jean de La Fontaine. Ce que l’on sait moins, en revanche, c’est que ces petits contes qui l’on fait passer à la postérité littéraire ne sont pas tous nés de l’esprit fécond du poète français. C’est notamment le cas de la fable très ancienne intitulée « Le lion et le rat ».

An attempt to render the famous ancient fables of Aesop into our Modern Greek idiom. The style I chose is colloquial and (hopefully) vivacious: something between a Greek Rabelais and a storyteller performing in a coffee-shop. The traslation is hosted by the Centre of Hellenic Language in its invaluable website "Mnemosyne: A Digital Library of Ancient Greek Literature" (www.greek-language.gr).

In the attached file, I give three additional fables of my own making. Everyone must create fables. This is the peculiar way of the human race to make sense of the world. Narro, ergo sum.

“La Favola in Aristofane” è la prima monografia espressamente dedicata allo studio dei testi favolistici presenti nelle commedie di Aristofane, principale esponente della commedia greca archaia e tra i maggiori drammaturghi di tutti i tempi.
Nella prima parte, l’autore focalizza la propria attenzione anzitutto sulla figura di Esopo, il favolista per antonomasia della letteratura greca, che Aristofane menziona in diverse occasioni e al quale si richiama sia in qualità di logopoiós, “creatore di favole”, che, più in generale, di sophós, “sapiente”, sulla base di una leggenda ‘biografica’ nota almeno a partire da Erodoto; analizza quindi le favole esopiche citate da Aristofane, indagandone funzioni e modalità di utilizzo nei drammi del commediografo.
La seconda parte è incentrata sulla disamina dei due mythoi, “favole” di creazione aristofanea, che compaiono nella Lisistrata, dedicati a Melanione e Timone.
Il volume si conclude con un’appendice dedicata alle storie sibaritiche delle Vespe, genere narrativo che presenta diverse affinità con la favola.

The ingenuous maiden, who has no idea of sex and cannot understand what the sexual act means, is a recurrent figure in the ancient Greek humorous tradition. The most famous example is an inserted scabrous novella in the Vita Aesopi (chapter 131), which also found its way into the corpus of Aesopic fables (386 Perry). The imbecile girl of this story is unable to recognize the act of copulation and is stupidly taken in by a rough rustic, who satisfies his lust upon her. The same story pattern was later developed by Boccaccio (Decameron III 10), who was perhaps acquainted with the ancient Greek model, through some lost intermediary source. In fact, the tale has a long literary ancestry. An implicit pun in the Greek text of the Vita Aesopi and the fables (noon – onon) indicates that the main narrative canvas must go back to an older Ionian novella (possibly one of Aristides’ Milesian Tales, or an even earlier source). Indeed, the Archaic Ionian tradition also offers a male counterpart of the theme: Margites, the fool who did not know what to do with his wife on their wedding night — clearly an age-old Near-Eastern Schwank, traced already in the Hittite Story of Appu (ca. 16th/15th century BCE), which may have passed into the narrative lore of early Ionia from Anatolian sources.

The Aesopic tradition also produced further versions of the theme. In fable 410 Perry the young girl is replaced by an ignorant old woman, who is raped by a lustful youngster without realizing what she is suffering. In this case the victim’s advanced age produces a more grotesque effect; the entire narrative can be read as a coarser variation of the old Ionian tale. The pattern was also exploited in comedy. A play by the Middle Comedy poet Amphis (fr. 46) burlesqued the myth of Callisto, Artemis’ virgin companion, who was raped by Zeus. The omnipotent god took the form of Artemis herself in order to seduce the ingenuous maiden; but Callisto did not understand what had happened, and later blamed Artemis for her defloration and pregnancy. In this paper I propose to comparatively investigate the literary history of this abominable, politically incorrect, sexist, but also hilarious theme.

La fable a toujours été associée à la didactique de la morale sociale. Pourtant au-delà de sa visée éducative, elle est un genre littéraire. Or, peu d’études littéraires ont jusque-là planché sur elle comme genre littéraire contrairement aux recherches qui ont exploré ses fonctions pédagogiques. Mais cette étude n’a aussi pas pour objet de mener une analyse de la fable comme genre littéraire afin de déterminer sa morphologie socio-discursive. Au contraire, elle tend plutôt à attester que la dimension pédagogique de la fable est consubstantielle à sa nature en tant que genre littéraire. En effet, en tant que genre, c’est-à-dire une pratique socio-discursive, la fable est un acte de langage truffé d’une visée praxique qui apporte une consistance théorique à sa dimension didactique.

This essay challenges the assumption that all beast fables - a genre that uses animals to speak of apparently human concerns - can have no place in literary animal studies by offering a reading of Ben Jonson's Volpone. It argues that pre-Cartesian conceptions of the human might allow fables to have something important to say about animals as well as humans.

Sözlü edebiyat devrine kadar uzanan bir geleneğin eseri olan fablların ortaya çıktığı coğrafya olarak Mezopotamya işaret edilmiştir . Fabllar, birçok medeniyet havzasından beslenmiş, farklı kültürlere ait motiflerle zenginlik kazanmış ibretamiz mesellerdir. Batı dünyasında edebî bir tür olarak Ezop ile temeyyüz eden fabl, XVII. yüzyılda Fransız sanatkâr La Fontaine ile seçkin bir mevki kazanır. Latince “fabula”dan Fransızcaya geçmiş olan “fable”; tahkiyeli, mecazi ve mitolojik manzum kısa anlatı anlamına sahiptir . Fablların manzum olma esası zaman sonra mensur olabileceği şeklinde değişmiştir. Manzum ve mensur kısa hikâyeler olan fabllar eğlenceli bir anlatım ile hayata dair nasihatler verme amacı güder. Konuşan ve insanoğluna mahsus diğer özellikleri haiz hayvan figürlerinin yer aldığı bu alegorik kısa anlatıların sonunda kimi zaman dolaylı kimi zaman ise açıktan, bir ahlaki ilkeye referans verilerek anlatının bir bütün hâlinde anlaşılması amaçlanır .
Fransızca fabllar Türk edebiyatının yenileşme döneminde ilgiyle karşılanmıştır. Dergi ve gazetelerin edebî sütunlarından, şiir kitaplarına, hikâye antolojilerine ve müstakil çeviri eserlere kadar bu ilgi görülür. İlk fabl çevirileri için edebiyat tarihlerimizde 1850 sonrası dönem işaret edilmiştir . Kayserili Doktor Rüştü’nün Nuhbetü’l-Etfâl’inde  ve Şinasi’nin Terceme-i Manzûme  adlı eserlerinde ilk örneklerle karşılaşılır. Müteakip yıllarda birçok şairin eserlerinde manzum fabllara rastlamak mümkündür. Hikâye antolojileri de bu edebî türe yer ayırmıştır. Manastırlı Mehmed Rifat’ın Hikâyât-ı Müntahabe’sinde , yazarı bilinmeyen Mecmuâ-yı Hikâyât’da , Markar Kabrielyan’ın Gülşen-i Letâif’inde  ve Müdirzâde Ahmed Nuri’nin Gülünçlü ve İbretâmiz Hikâyeler’inde  fablllar mevcuttur. Mezkûr eserler tamamıyla fablları ihtiva eden eserler değildir. Bu eserlerde şiir ve hikâyelerle birlikte fabllara da yer verilir. 
Osman Rasih’in Ezop’tan çevirdiği Menâkıb-ı Hayvan Bera-yı Teşhiz-i Ezhan  isimli eserle matbaamız ilk müstakil fabl çevirisine sahip olur. Sonrasında Rıfat’ın La Fontaine’den çevirdiği Gürk-i Kaza İber ve Hikmet Şamildir  isimli eseri yayımlanır.  Hacı Zahid’in yine La Fontaine’den çevirdiği Güldeste-i Ahlak  isimli eserleri, onu takip eden bir diğer eserdir. Mehmed Ali Ayni’nin Çocuklarımıza La Fontaine Hikâyeleri  isimli küçük hacimli antolojisi ise farklı çevirmenlerin eserlerini ihtiva eder.
Yapılan çevirilere rağmen, edebî bir tür olarak fablların ilk dönem edebiyat tarihlerimizde ve edebiyat bilgisi kitaplarında çok fazla dikkat çekmediği; bu türe dair özel bahisler açılmadığı ve tanımlamalara yer verilmediği görülmektedir. Çeviri edebiyat tarihlerinde ise Ezop  ve La Fontaine’in  bahsi geçtiği yerlerde “hikâye” kavramı ile fablların karşılık bulduğunu görüyoruz. Diyarbakırlı Çelebizade Agop Lütfü’nin Tercüme-i Yezepos  isimli eseri bir fabl yazarı hakkında yazılmış ilk biyografi olsa da bu eser içinde fabllara dikkat çekilmediği görülür. Cumhuriyet öncesi hazırlanan Fransızca Türkçe sözlüklerde Fransızca “fable” kelimesine halk edebiyatından gelen bir alışkanlıkla farklı karşılıklar verildiği görülmektedir

In Clouds 340–355 the deified Nephelai are described as shape-shifters, i.e. marvellous beings able to change their appearance at will. This fabulous concept was widespread in ancient Greek and Near Eastern myth and folklore; shape-shifting qualities are attributed to Olympian gods (Zeus, Dionysus), lesser demons (Proteus, Nereus, Thetis, Nemesis), heroic mortals (Periclymenus, Mestra), but also personages of the folk imagination, such as bogeys, wizards, and witches. Aristophanes loved this magical motif, which ultimately expresses the inexhaustible transformations of comic art. Philocleon in the Wasps, a paragon of vitality, performs a long series of simulated metamorphoses in the scenic space, imitating the movements and gestures of various animals or natural elements. The personified Nephelai, however, do not simply turn into anything they like. Rather, they select their form each time in such a way as to reflect the vices of the particular person they meet; they become e.g. deer before a coward, wolves in front of a greedy embezzler, or Centaurs before a lustful man. The Clouds’ serial metamorphoses are thus subjected to an ethical typology of the animal world, similar to the one found in animal fables. Aristophanes combines the magical motif of the shape-shifter with the moral allegory of the Aesopic corpus, and thus turns the folktale patterns into satirical weapons against contemporary politicians. The shape-shifting Nephelai represent the polymorphous poetics of comedy, which uses mimetic forms to visibly criticize the evils of Athenian public life.

NB. The new volume (7, 2017) of the Logeion, our journal on ancient theatre and drama, is now in print. It will be gradually uploaded in the journal website, http://logeion.upatras.gr/. Check regularly the site, in order to read online a range of stimulating papers on ancient drama and its modern performance and reception: from Aeschylus, Sophocles, Euripides, and Aristophanes to George Cram Cook, Sikelianos, the Karagiozis shadow theatre, and the American avant-garde. Authors include renowned university scholars, such as Stavros Tsitsiridis, Theodoros Stephanopoulos, Vayos Liapis, Savvas Patsalidis (all from the editorial board), Michael Tiverios (of the Academy of Athens), Stella Drougou, Katerina Arvaniti, Helen Gasti; dynamic researchers of the calibre of Anthi Hotzakoglou, Constantina Ziropoulou, Agis Marinis; and notable representatives of the younger generation, such as Milo Rengel, G. Seferiadi, and above all two brilliant former students of ours in the University of Athens, Dimitrios Kanellakis and Nikos Manousakis, whose contributions would make any department of classical philology extremely proud.

Bu makale, 15. Yüzyıl Timur devri, Herat ve Şîraz sanat okullarındaki nakkaşlar tarafından gerçekleştirilen Kelîle ve Dimne yazmalarına ait fabllardan birinin 4 ayrı yazma eserde yer alan minyatürlerinin incelemesini içerir. Bu yazma eserler; TSMK. R.1022, TSMK. R.1023, SK. Fatih3682 ve İnebey K. Nr. Hüseyin Ç.763 envanter numaralarında kayıtlıdır. İlk üç yazma eser Herat ve Şîraz bölgelerindeki sanat okullarında gerçekleştirilmiş minyatürlü yazmalardır. İnebey kütüphanesinde bulunan Kelîle ve Dimne yazması ise 15.yy Osmanlı İmparatorluğu topraklarında İstanbul’da üretilmiştir. Yazma eser Osmanlı İmparatorluğunda o dönemin Şîrazlı\Tebrizli nakkaşları tarafından gerçekleştirilmiştir. Eser bu ayırt edici özelliğinden dolayı tercih edilmiştir. Araştırmada konu edilen hikâye ikonografik bir yaklaşımla ele alınmış ve farklı dönem üsluplarının kurgusal olarak değerlendirmesiyle anlatılmıştır. Desen analizi, sayfa düzeni, renk değerlendirmesi, dönemler arasındaki teknik, imge ve kavram karşılaştırmaları üzerinde durularak son bulmaktadır.
This article includes a review of the miniatures in one of the four manuscripts of the Kalila and Dimna manuscripts to painted by the 15th century Timur era, the miniaturists of the Herat and Shiraz art schools. These manuscripts are registered in the inventory numbers of TSMK R.1022, TSMK R.1023, SK Fatih3682 and İnebey K. Hüseyin Ç.763. The first three manuscripts are miniaturized in the art schools of the Herat and Şhiraz regions. One of the manuscript was painted by artist from Shiraz on the Ottoman Empire in Istanbul in the 15th century.The story was preferred because of this distinctive reason. One of the manuscript was painted by artist from Shiraz\ Tebriz on the Ottoman Empire in Istanbul in the 15th century. The story was preferred because of this distinctive reason. The story covered in the research has been handled with an iconographic approach and has been told by the fictional evaluation of the styles of different periods. Pattern analysis, page layout, color evaluation, technical image and concept comparisons between periods are finally found with emphasis.

Ο αισώπειος μύθος είναι πλαστή αφήγηση με δύο επίπεδα σημασίας, η οποία υποκρύπτει κωδικοποιημένο μήνυμα και αναφέρεται σε κατάσταση της εμπειρικής πραγματικότητας. Πρωταρχική κοιτίδα των μύθων αισώπειου τύπου ήταν η αρχαία Μεσοποταμία, από όπου σώζονται τα παλαιότερα καταγεγραμμένα δείγματα του είδους (τέλη τρίτης χιλιετίας π.Χ.). Από τη Μεσοποταμία το είδος διαδόθηκε προς τη δυτική Ασία, την Αίγυπτο και την Ινδία. Η ελληνική αισωπική παράδοση έχει επίσης ανατολική προέλευση, αλλά μπορεί να επηρέασε σε μεταγενέστερη περίοδο τη μυθογραφία της Ινδίας και της Αιγύπτου. Εκατοντάδες παραβολικοί μύθοι αυτού του τύπου περιλαμβάνονται στις σουμερικές συλλογές παροιμιών, μαζί με ποικίλα άλλα είδη της διδακτικής γραμματείας (γνωμικά, παραγγέλματα, παροιμιώδεις εκφράσεις κ.λπ.). Οι σουμερικές συλλογές συμπιλήθηκαν για διδακτικούς σκοπούς, για εκμάθηση της λόγιας σουμερικής γλώσσας από τους μαθητές της παλαιοβαβυλωνιακής περιόδου. Υπάρχουν πολλά παράλληλα ανάμεσα στους σουμερικούς αυτούς παροιμιόμυθους και στην ελληνική αισώπεια παράδοση, κυρίως όσον αφορά θέματα και ακολουθίες μοτίβων, ενίοτε και ολόκληρες πλοκές. Εικοσιοκτώ περιπτώσεις εξετάζονται στο παρόν άρθρο.