Aesop's Fables With the possible exception of the New Testament, no works written in Greek are more widespread and better known than Aesop’s Fables. For at least 2500 years they have been teaching people of all ages and every social status lessons how to choose correct actions and the likely consequences of choosing incorrect actions. … Continue reading Aesop's Fables →.

This book is an exploration of Plato's Republic that bypasses arcane scholarly debates. Plato's Fable provides refreshing insight into what, in Plato's view, is the central problem of life: the mortal propensity to adopt defective ways of answering the question of how to live well. How, in light of these tendencies, can humankind be saved? Joshua Mitchell discusses the question in unprecedented depth by examining one of the great books of Western civilization. He draws us beyond the ancients/moderns debate, and (...) beyond the notion that Plato's Republic is best understood as shedding light on the promise of discursive democracy. Instead, Mitchell argues, the question that ought to preoccupy us today is neither "reason" nor "discourse," but rather "imitation." To what extent is man first and foremost an "imitative" being? This, Mitchell asserts, is the subtext of the great political and foreign policy debates of our times. Plato's Fable is not simply a work of textual exegesis. It is an attempt to move debates within political theory beyond their current location. Mitchell recovers insights about the depth of the problem of mortal imitation from Plato's magnificent work, and seeks to explicate the meaning of Plato's central claim--that "only philosophy can save us.". (shrink)

Prior's hitherto unpublished "Fable of the Four Preachers" illuminates the connection of the metaphysical issues of trans-world identity with moral trans-world continuity. The paper shows Prior's position with regard to genuine de re temporal possibility of individuals on the basis of chapter VIII of his Papers on Time and Tense. His position is that radical coming-into-being is not a genuine de re temporal possibility of individuals since there is no identifiable individual, before birth, who could be the subject of such (...) possibility. The paper strengthens Prior's claim by showing how an uncomfortable consequence of this intuitively appealing position can be avoided. As a result, the proper claim would be that the possibility of origin is general or de dicto: it is possible that someone be born to such and parents, but it is not possible of someone that he should be born to these or other parents. (shrink)

Bernard Mandeville's The Fable of the Bees outraged its eighteenth-century audience by proclaiming that private vices lead to public prosperity. Today the work is best known as an early iteration of laissez-faire capitalism. In this book, Robin Douglass looks beyond the notoriety of Mandeville's great work to reclaim its status as one of the most incisive philosophical studies of human nature and the origin of society in the Enlightenment era. Focusing on Mandeville's moral, social, and political ideas, Douglass offers a (...) revelatory account of why we should take Mandeville seriously as a philosopher. Douglass expertly reconstructs Mandeville's theory of how self-centred individuals, who care for their reputation and social standing above all else, could live peacefully together in large societies. Pride and shame are the principal motives of human behaviour, on this account, with a large dose of hypocrisy and self-deception lying behind our moral practices. In his analysis, Douglass attends closely to the changes between different editions of the Fable; considers Mandeville's arguments in light of objections and rival accounts from other eighteenth-century philosophers, including Shaftesbury, Hume, and Smith; and draws on more recent findings from social psychology. With this detailed and original reassessment of Mandeville's philosophy, Douglass shows how The Fable of the Bees-by shining a light on the dark side of human nature-has the power to unsettle readers even today. (shrink)

Empathy is essential in story comprehension as it requires understanding of the emotions and intentions of the characters. We evaluated the sensitivity of an emotional perspective-taking task using Aesop’s Fables in relation to empathy. Participants (N = 301) were presented with 15 short fables and were asked to rate the intensity of the emotions they would feel (anger, sadness, disgust, fear, surprise, joy, trust, and anticipation) by adopting the perspective of one of the characters (offender, victim) or the (...) observer’s perspective. A data-driven approach revealed that participants’ responses were aligned with the characters’ intentions, suggesting successful emotional perspective-taking. Participants sympathized with the victim rather than the offender, demonstrating affective sharing processes. Further, participants with higher empathy scores exhibited stronger negative emotions from the victim’s perspective, independently of their level of distress. Our task was not influenced by gender effects. We suggest that the Aesop’s Fables task could provide an indirect instrument to study empathy. (shrink)

Few would deny that Mandeville’s Fable of the Bees was an effective satire. In it, Mandeville confronted his readers with the unpleasant fact that a flourishing commercial society depended on the m...

Two studies examined children’s developing understanding of Aesop’s fables in relation to reading comprehension and to theory of mind. Study 1 included 172 children from Junior Kindergarten through Grade 6 in a school-wide examination of the relation between reading comprehension skills and understanding of Aesop’s fables told orally. Study 2 examined the relation between theory of mind and fables understanding among 186 Junior (4-year-old) and Senior (5-year-old) Kindergarten children. Study 1 results showed a developmental progression in (...) class='Hi'>fables understanding with children’s responses becoming increasingly decontextualized as they were able to extract the life lesson. After general vocabulary, passage comprehension predicted fables understanding. Study 2 results showed a relation between young children’s theory of mind development and their understanding of fables. After general vocabulary, second-order theory of mind predicted children’s fables understanding. Findings point to the importance of developing mental state awareness in children’s ability to judge characters’ intentions and to understand the deeper message embedded in fables. (shrink)

In contrast to Velázquez's most debated painting,Las Meninas, no consensus has yet coalesced around the interpretation of hisLas Hilanderas. On the one hand this is due to the fact that this painting defies iconographical classification, and on the other hand to the favored method of interpretation which excludes formal elements. The starting-point of art-historical interpretation should be the indivisibility of form and content. As the author demonstrates in his article this approach produces surprising as well as convincing results.

will point out that Mandeville makes a fundamental distinction between �self-love� and �self-liking�; �self-love� being the immediate orientation towards our self-preservation and �self-liking� being comparative: it is our inclination to overrate ourselves in comparison with others. We are more or less conscious that we overestimate ourselves and for this reason we constantly have to nourish our �self-liking�. To do this we even have sometimes to conquer our �fear of death� (self-love), e.g. when we commit suicide to avoid shame. The presupposition (...) that mankind according to Mandeville is consistently motivated by �self-interest� apparently is in need of quite a few adjustments. This implies, further, that a difference between Mandeville and Hobbes becomes manifest, which undermines the supposition of their basic similarity. This is clearly illustrated by the suicide example: in the Hobbesian world suicide can only be understood as a sort of mental disease. After all, a suicide acts against the principle of self-preservation. In the Mandevillean world committing suicide belongs to the same category of phenomena as brave behaviour during wars and fighting a duel: in all of these cases the �fear of shame� (self-liking) conquers the �fear of death� (self-love). (shrink)

『이솝우화』는 그리스의 노예 신분이었던 아이소포스가 만든 우화작품으로 고대 이후 인간들의 행동적 특성을 설명하거나 도덕적 판단이 필요한 상황에서 개인의 심리 상태 등을 예화적으로 보여줄 목적으로 만든 작품이다. 단순히 동화적인 요소뿐만 아니라 도덕적인 딜레마 상황을 묘사하고 있어서 아동들을 대상으로 바람직한 인성 형성에 보조적 수단으로 현대에도 많이 사용하고 있다. 그리고 우화에는 거의 모든 편에서 우화의 마지막 부분에 교훈을 붙여서 이해를 돕고 이기도 하다. 『이솝우화』에서는 인간의 심리 상태나 행동특성을 설명하기 위한 장치로서 Anthropomorphism이 등장한다. Anthropomorphism은 인간중심주의의 입장에서 신과 인간은 같은 형상과 같은 특성을 가지고 있다는 (...) 의미(신인 동형 동성설)와 아울러 동물과 여타의 생명체를 인간으로 유비하여 의인화의 의미를 가진다는 점에서 중의적인 표현이다. 이 논문이 의도하는 것은 『이솝우화』에서 Anthropomorphism의 사용례를 분석하고, 그러한 분석을 바탕으로 『이솝우화』 안에서 Anthropomorphism의 특징을 살피는 것이다. 연구자는 Anthropomorphism의 용례를 분석하여 『이솝우화』의 Anthropomorphism은 신인 동형동성설의 특징보다는 의인화의 특징을 가진다는 사실을 확인하였다. 용례에서 신인 동형동성설보다는 주로 의인화의 특징을 가지면서 동시에 표유류를 의인화하는 경우가 월등하게 많은 점을 확인할 수 있었다. 이러한 현상은 인간의 형상과 더 유사한 대상에의 근친성을 통해서 인간을 잘 표현하리라는 희망에서 출발한 것으로 보이고 있다. (shrink)

Summary In about 1735, Emilie Du Châtelet began to translate Mandeville's Fable of the Bees. Her work, which is largely ignored by scholars, did, as this article demonstrates, turn out to be one of transformation rather than of translation and came at a crucial moment in the emerging French luxury debate. So far commercial society and luxury had been defended in purely economic terms, for instance in Melon's Essai politique, or as an aspect of divine providence for fallen man, by (...) Pierre Nicole amongst others. There was as yet no coherent defence on the level of secular ethics. As this article shows, Du Châtelet set out to remedy this. In co-operation with Voltaire, with whose recent praise of English society in the Lettres philosophiques she strongly identified, she rewrote the Fable to offer a defence of modern commercial society as both natural and moral. The article argues that she was able to do so by taking recourse to classic Epicureanism in the guise of Lucretius' De rerum natura, as an alternative to the Neo-Epicureanism, with its Augustinian overtones, as espoused by Mandeville. Voltaire in turn used her translation to lay the foundations for his defence of commercial society and progress in his Traité de métaphysique in which he uses the precise passages she had inserted into Mandeville's original. This article analyses the further aspects Voltaire adds to her arguments. Taken together, Du Châtelet's ?translation? and Voltaire's Traité offer a coherent defence of bourgeois society that would underlie Voltaire's later historiographical and philosophical works and which were crucial to his concept of ?Enlightenment? and ?progress? (shrink)

Ce texte a pour objet d’étudier le rôle de l’agrément et du plaisir dans le bon usage cartésien de l’imagination, usage qui conditionne la connaissance du monde matériel et en particulier le déploiement de la « fable du monde ». Pour étayer cette lecture de l’œuvre cartésienne, ce texte s’appuie sur certaines remarques de Malebranche portant sur le contentement que procure l’usage de la géométrie dans la recherche de la vérité et dans la physique, des remarques qui explicitent certaines perspectives (...) cartésiennes. Cependant, dans un second temps, le texte aborde différentes difficultés que soulève la conception cartésienne d’une matière agréable et facile à imaginer. (shrink)

Bernard Mandeville's poem "The Grumbling Hive: or, Knaves turn'd Honest" explores the subtle interplay between morality and business practices, particularly through the lens of the term "knave". This article examines Mandeville's use of "knave" in juxtaposition with the value of honesty portrayed in the poem's title. In contrast to the spiritual transformation depicted in the poem, in which all the bees in the hive become honest through divine intervention, Mandeville suggests a different kind of change in moral practice, one that (...) incorporates previously unacceptable behavior into the social fabric. Through a varied historical reconstruction of the uses and understandings of the term in question, the study explores Mandeville's concerns about the acceptance and normalization of dishonesty in various segments of society, as illustrated by the anecdote in Observation B, which shows how dishonesty permeates all aspects of commerce, involving buyers, sellers, merchants, traders, and dealers. By analyzing Mandeville's portrayal of dishonesty and its integration into social dynamics, this study aims to elucidate the underlying tensions between ethical standards and the pursuit of self-interest. (shrink)

With the publication of The God Delusion 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. (shrink)

This article considers a strange, understudied work of eighteenth-century musical theatre, Thomas D’Urfey’s Wonders in the Sun (1706). This highly intertextual, generically heterogeneous comic opera is a pastiche of literary and performative modes and ultimately a machine for generating wonder; it draws on elements from Aristophanes’ The Birds, seventeenth-century masque and semi-opera, as well as the lunar fictions. The article situates this play not only within a history of literary wonder and stage spectacle, but within the English tradition of politicized (...) animal fable. Discussing D’Urfey’s comic opera against selections from John Gay’s Fables, it argues that the utopian/dystopian animal in these imaginative satires reveals the period’s twinned fascinations with discovery and alterity, as well as emergent discomfiture with anthro- and Eurocentric Enlightenment beliefs. (shrink)

This article considers a strange, understudied work of eighteenth-century musical theatre, Thomas D’Urfey’s Wonders in the Sun (1706). This highly intertextual, generically heterogeneous comic opera is a pastiche of literary and performative modes and ultimately a machine for generating wonder; it draws on elements from Aristophanes’ The Birds, seventeenth-century masque and semi-opera, as well as the lunar fictions. The article situates this play not only within a history of literary wonder and stage spectacle, but within the English tradition of politicized (...) animal fable. Discussing D’Urfey’s comic opera against selections from John Gay’s Fables, it argues that the utopian/dystopian animal in these imaginative satires reveals the period’s twinned fascinations with discovery and alterity, as well as emergent discomfiture with anthro- and Eurocentric Enlightenment beliefs. (shrink)

This is the first comprehensive study in English of Voltaire's contes philosophiques--the philosophical tales for which he is best remembered and which include his masterpiece Candide. Pearson situates each story in its historical and intellectual context and offers new readings in light of modern critical thinking. He rejects the traditional view that Voltaire's contes were the private expression of his philosophical perplexity, and argues that it is narrative that is Voltaire's essential mode of thought. His book is a witty, lucid, (...) and scholarly guide to the "fables of reason" through which Voltaire's skepticism undermined the contemporary religious and philosophical explanations of human experience. (shrink)

Aesop's fables are used to gather HR fables and these fables are told mainly in the words of the protagonists of these moral stories, HR practitioners. Leaving the moral meaning of the fables for the reader to interpret so the reader can ethically connect with the morality of HR work, the personal narratives of practitioners and their humanity, the fables conclude with a critical commentary by the author, the promotion of a human virtue and HR (...) moral maxim. The article, itself, then ends with an explanation of the research methodology adopted to compile the HR fables. (shrink)

ArgumentIn his Philosophia practica universalis, 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. (shrink)

: A transitional text in other respects as well, De Cive differs from Hobbes's earlier Elements of Law and later Leviathan by claiming points of agreement between his own political philosophy and that embodied allegorically in the fables of classical antiquity (as explicated by himself). Though he did not begin with and subsequently abandoned this unconvincing approach, it reveals how late in his intellectual development he was still tempted to find some way of establishing classical precedents for his views, (...) and thereby calls into question his frequent assessment as an arch-modern. (shrink)

Carnap famously argued that metaphysics unavoidably involves a confusion between science and poetry. Unlike the lyric poet, who does not attempt to make an argument, the metaphysician attempts to make an argument while simultaneously lacking in musical talent. Carnap’s objection that metaphysics unavoidably involves a blend of philosophy and poetry is not a 20th century insight. Plato, in his beautifully crafted Phaedo, presents us with the imprisoned Socrates, who having been condemned to death for practicing philosophy in the Apology, has (...) a dream in which he realizes that he ought to make music. In this dialogue, however, Plato indicates no hint of the scorn that Carnap has for metaphysics—rather Socrates’ friends find him setting Aesop’s fables to verse. In the modern era, Nietzsche re-introduced the ‘music making Socrates’ in his Birth of Tragedy. But Nietzsche is not the first to revive the concept in modern philosophy. Before Nietzsche’s call for a new music-making Socrates, the early German Romantics, in particular Schlegel, explicitly called for the identification of poetry and science in the concept of Poesie. As Schlegel writes: ‘Alle Kunst soll Wissenschaft werden, und alle Wissenschaft Kunst werden; Poesie und Philosophie sollen vereinigt sein.’ On the one hand, in Ion Socrates is not wrong to critique Ion for not knowing the significance of his own work. On the other hand, Socrates himself recognizes in Phaedo that he is guilty of failing to heed the call to make music. Long misunderstood, the Romantic concept of Poesie is not mere irrationalism, for it offers an aesthetic metaphysics of the Absolute. Romanticism is indeed a philosophy of the Absolute, but one which cannot conceive of any solution to the profound impasses that confront philosophical knowing except by learning to make music. (shrink)

A valuable gain of our times is that many fables—true, some of the most terrible ones—have become true stories, and many allegories and metaphors have become almost literal. Take this verse: today we hardly hear in it any poetic convention; everything is the commonplace reality of our age—both its brutishness and its blood, and even the gluing together of its vertebrae after various great breaks. Therefore a clear question is posed; and surely the age is coming to an end (...) and an answer is needed. So then, who was able to do it? Who managed to glue things together? Among the few names and fates that may be given in reply, one of the most indisputable is the name of Aleksei Fedorovich Losev. Yes, he had occasion to do so. (shrink)

Each is for the other the middle term, through which each mediates itself with itself and unites with itself; and each is for itself, and for the other, an immediate being on its own account, which at the same time is such only through this mediation. They recognize themselves as mutually recognizing one another. Scholars seeking an account of recognition will be familiar with the seminal section on lordship and bondage in Hegel’s Phenomenology of Spirit. In these passages we learn (...) that the dialectic of mutual recognition is the key to actualized self-consciousness, that moment in which the “I” transcends its immanence in the life process to become a self-reflective subject, actively superseding the.. (shrink)