Some Animal Fables of the Chuh Indians

1915 ◽  
Vol 28 (110) ◽  
pp. 353
Author(s):  
J. Kunst
Keyword(s):  
Animal Fables

scholarly journals Az ut pictura poesis velencei mestere: Giovan Mario Verdizzotti és állatmeséi

2018 ◽  
pp. 113-136
Author(s):  
Éva Vígh
Keyword(s):  
Sixteenth Century ◽  
Italian Renaissance ◽  
Animal Fables ◽  
The Rich ◽  
Ut Pictura Poesis

The paper (The Venetian master of the ut pictura poesis: Giovan Mario Verdizzotti and his animal fables) is dedicated to a little-known author of the Italian Renaissance: Giovan Mario Verdizzotti, poet and painter, a pupil of Titian. His masterpiece (Cento favole morali / Hundred moral fables) belongs to the rich literature of the sixteenth-century fables, whose particularity lies in the fact that the illustrations were made by the author himself thus realizing in one person the principle of the Horatian ut pictura poesis. The paper analyzes some fables demonstrating the harmony between the story and the drawing, and at the same time compares the structure and style of his woodcuts with those of the collection of Faerno and Pavesi, declared sources of our author.

Slavery's Bestiary: Joel Chandler Harris's Uncle Remus Tales

Paragraph ◽  
2011 ◽  
Vol 34 (1) ◽  
pp. 30-47
Author(s):  
Christopher Peterson
Keyword(s):  
Critical Reception ◽  
Human Response ◽  
American Slavery ◽  
Animal Fables ◽  
Philosophical Questions

The critical reception of Joel Chandler Harris's Uncle Remus Tales has often interpreted these animal fables as allegories of American slavery. Such an approach, however, risks what Steve Baker calls the ‘denial of the animal’, which displaces animal signifiers onto human signifieds. Through readings of ‘The Wonderful Tar-Baby Story’ and ‘How the Birds Talk’, I ask what it might mean to take seriously the numerous historical, political and philosophical questions posed by the animal ‘form’ that these characters assume, including Heidegger's ontological differentiation between thing, animal and human, and Derrida's displacement of the conventional Cartesian distinction between animal reaction and human response. I argue that the racist equation of blacks with mimicry relies precisely on this dubious opposition. Remus's stories thus challenge our understandings of both race and language by showing how repetition and mimicry condition every ‘human’ response.

Indian Fables in Islamic Art

1941 ◽  
Vol 73 (4) ◽  
pp. 317-324 ◽  
Author(s):  
Hugo Buchthal
Keyword(s):  
World Wide ◽  
Sixth Century ◽  
Arabic Text ◽  
Islamic Art ◽  
Animal Fables

Seldom has a work had such world-wide success and been translated into so many languages as the Indian stories and animal fables known as the Panchatantra. In the sixth century of our era they were translated from Sanskrit into Pehlevi. Thence they passed into Arabic; and from the Arabic text, called by Muhammadans the Fables of Bidpai or the Book of Kalila wa Diṁna, were made all those different versions through which these stories were transmitted to the countries of Europe.

Between History and Fictionality: The Telescoping Advice in Ibn Ẓafar’s Sulwān al-muṭāʿ and Its Reception

2021 ◽  
Vol 8 (1) ◽  
pp. 104-141
Author(s):  
Francesca Bellino
Keyword(s):  
The Other ◽  
One Dimension ◽  
Final Part ◽  
Historical Narratives ◽  
Essential Tool ◽  
Animal Fables ◽  
Opening And Closing ◽  
The Relationship

Abstract The first part of the article focuses on the opening and closing chapters of Sicilian born polymath Ibn Ẓafar’s (d. ca. 566 /1171) mirror for princes, Sulwān al-muṭāʿ, which are devoted to “trusting [God]” (tafwīḍ) and “self-denial” (zuhd) respectively, and analyzes the combination of historical narratives and animal fables contained therein. In the complex “telescoping” structure devised by Ibn Ẓafar, both types of narratives represent an essential tool for reflecting on political circumstances related to the role of a local ruler. From this perspective, the analysis targets the relationship between history and fictionality set by the author and the transition from one dimension to the other. The final part of the article considers the reception of the Sulwān al-muṭāʿ by Ayyubid and Mamluk authors and their different approaches to various types of narratives when quoting (more or less substantial) parts of Ibn Ẓafar’s work.

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