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By the end of the 16th century, European people discovered the land of the rising sun and brought Western culture. Japanese people needed to improve the translation of foreign languages. In that context and thanks to christians missionaries, the Aesop's Fables were the first Western literature to be translated in Japan. During Japan's isolationist foreign policy, the translated version took the name of Isoho's Fables and became quickly a part of Japanese culture. Despite this unfavorable environment for foreign texts, the Aesop's fables remained a unique piece of foreign literature for almost 200 years. Even nowadays, they are still recognized as famous stories. Therefore, we first took a look at its impact on Japanese culture. Then, we compared several esopian books to understand why those Greek texts managed to get accepted in this faraway country, as well as how translators and writers succeeded on adapting them. Aesopian's fables were not only present in literature, but they were also used at school. That is why, we have also analysed textbooks in order to discover how and why Japanese people have used the Aesop's Fables throughout ages, societies, politics and culture. ; A la fin du XVIème siècle, les Européens découvrirent le Pays du Soleil Levant et ils apportèrent la civilisation occidentale. Les Japonais eurent besoin de développer le travail de traduction d'oeuvres étrangères. Dans ces conditions, Les Fables d'Ésope furent traduites et devinrent le premier texte occidental connu au Japon grâce aux missionnaires chrétiens. Cette oeuvre a été nommée Les Fables d'Isoho et intégra rapidement la culture japonaise pendant la période d'isolationnisme. Malgré cette situation politique défavorable pour le texte étranger, les fables ésopiques avaient survécu en tant qu'unique texte littéraire occidental pendant presque 200 ans. Même après la réouverture du pays, la popularité de cette oeuvre n'a pas changé. Nous avons donc regardé comment cette première littérature occidentale laissa des traces dans la culture ...

By the end of the 16th century, European people discovered the land of the rising sun and brought Western culture. Japanese people needed to improve the translation of foreign languages. In that context and thanks to christians missionaries, the Aesop's Fables were the first Western literature to be translated in Japan. During Japan's isolationist foreign policy, the translated version took the name of Isoho's Fables and became quickly a part of Japanese culture. Despite this unfavorable environment for foreign texts, the Aesop's fables remained a unique piece of foreign literature for almost 200 years. Even nowadays, they are still recognized as famous stories. Therefore, we first took a look at its impact on Japanese culture. Then, we compared several esopian books to understand why those Greek texts managed to get accepted in this faraway country, as well as how translators and writers succeeded on adapting them. Aesopian's fables were not only present in literature, but they were also used at school. That is why, we have also analysed textbooks in order to discover how and why Japanese people have used the Aesop's Fables throughout ages, societies, politics and culture. ; A la fin du XVIème siècle, les Européens découvrirent le Pays du Soleil Levant et ils apportèrent la civilisation occidentale. Les Japonais eurent besoin de développer le travail de traduction d'oeuvres étrangères. Dans ces conditions, Les Fables d'Ésope furent traduites et devinrent le premier texte occidental connu au Japon grâce aux missionnaires chrétiens. Cette oeuvre a été nommée Les Fables d'Isoho et intégra rapidement la culture japonaise pendant la période d'isolationnisme. Malgré cette situation politique défavorable pour le texte étranger, les fables ésopiques avaient survécu en tant qu'unique texte littéraire occidental pendant presque 200 ans. Même après la réouverture du pays, la popularité de cette oeuvre n'a pas changé. Nous avons donc regardé comment cette première littérature occidentale laissa des traces dans la culture japonaise. Nous avons ensuite comparé plusieurs ouvrages ésopiques afin de comprendre pourquoi ces fables réussirent à être acceptées dans ce pays et comment les traducteurs et les auteurs adoptèrent ces textes grecs dans un pays si lointain. La réception des fables ésopiques ne se limite pas au monde littéraire mais se retrouve aussi dans le cadre pédagogique. C'est pourquoi nous avons également analysé des manuels scolaires pour savoir comment et dans quel but les Japonais employèrent les fables selon la société, l'époque, la politique et la culture.

By the end of the 16th century, European people discovered the land of the rising sun and brought Western culture. Japanese people needed to improve the translation of foreign languages. In that context and thanks to christians missionaries, the Aesop's Fables were the first Western literature to be translated in Japan. During Japan's isolationist foreign policy, the translated version took the name of Isoho's Fables and became quickly a part of Japanese culture. Despite this unfavorable environment for foreign texts, the Aesop's fables remained a unique piece of foreign literature for almost 200 years. Even nowadays, they are still recognized as famous stories. Therefore, we first took a look at its impact on Japanese culture. Then, we compared several esopian books to understand why those Greek texts managed to get accepted in this faraway country, as well as how translators and writers succeeded on adapting them. Aesopian's fables were not only present in literature, but they were also used at school. That is why, we have also analysed textbooks in order to discover how and why Japanese people have used the Aesop's Fables throughout ages, societies, politics and culture. ; A la fin du XVIème siècle, les Européens découvrirent le Pays du Soleil Levant et ils apportèrent la civilisation occidentale. Les Japonais eurent besoin de développer le travail de traduction d'oeuvres étrangères. Dans ces conditions, Les Fables d'Ésope furent traduites et devinrent le premier texte occidental connu au Japon grâce aux missionnaires chrétiens. Cette oeuvre a été nommée Les Fables d'Isoho et intégra rapidement la culture japonaise pendant la période d'isolationnisme. Malgré cette situation politique défavorable pour le texte étranger, les fables ésopiques avaient survécu en tant qu'unique texte littéraire occidental pendant presque 200 ans. Même après la réouverture du pays, la popularité de cette oeuvre n'a pas changé. Nous avons donc regardé comment cette première littérature occidentale laissa des traces dans la culture japonaise. Nous avons ensuite comparé plusieurs ouvrages ésopiques afin de comprendre pourquoi ces fables réussirent à être acceptées dans ce pays et comment les traducteurs et les auteurs adoptèrent ces textes grecs dans un pays si lointain. La réception des fables ésopiques ne se limite pas au monde littéraire mais se retrouve aussi dans le cadre pédagogique. C'est pourquoi nous avons également analysé des manuels scolaires pour savoir comment et dans quel but les Japonais employèrent les fables selon la société, l'époque, la politique et la culture.

Strategic management courses focus on top managers'efforts to guide organizations to greater prosperity. Unfortunately, most undergraduate students lack experience with high organizational levels. As a result, such students often struggle to relate to and grasp strategic management concepts. The authors argue that classic literature offers poignant, straightforward, and memorable lessons about strategy. As such, classic literature can be a useful addition to strategy professors'"teaching toolbox." In particular, Aesop's fables are used to illustrate key pedagogical points. The authors conclude with a discussion of other classic works that may be applied to the strategy field and implications for classroom usage.

Fables, characterized by their featuring animals and containing a moral, are among the earliest forms of storytelling. With its aim to simultaneously teach and entertain, playfully imparting wisdom, fabulist thinking has been used as a complex medium of political analysis and resistance against tyranny or royal negligence, for example (see Patterson, 1991). Although they occupy a marginal position, fables are still present in children's literature. While new fables are being written, old ones are retold in a variety of ways. "The Ant and the Grasshopper" has become a master-narrative that has been adapted throughout the ages. First written by the slave Aesop in 6th century B.C., it was famously retold by Lafontaine in a version that emphasized language playfulness, avoiding the direct moral ending. Many more popular rewritings have given it a ludico-parodic twist, even a vulgar subject (the grasshopper becomes a whore, for instance, Genette 40). This famous fable already contained eternal political oppositions between the provident one and the carefree one, the human dilemma between deep-rooted anticipation and a passionate happy-go-lucky attitude. Recent web adaptations that turn the grasshopper into the poor taking advantage of the welfare system illustrate how the fable has been used in conservative circles to convey a Manichean contrast between the hard-working rich and the lazy poor, promoting a tendency to blame the victim. More recent children's literature adaptations confirm its value. Amy Lowry Poole's version (2000) transposes it to a Chinese Emperor's palace setting to emphasize how the grasshopper can appreciate the beauty around her, something the ants fail to do. Mark White's retelling (2004) adapts it to a children's audience: "There's a time for play and a time for work," the ant says (24). Other works like Leo Lionni's Frederick use a similar trope and theme but with different titles. Last but not least, comics have also adapted the famous fable to the dialogue of image/text. While Jessica Abel's adaptation depicts the grasshopper walking all over her friend, Harvey Kurtzman's beatnik version pokes fun at the 1960s beat generation. The non-conformist be-bop grasshopper eventually deciding to move away from empty talking is paralleled by the ant's realization that he needs culture (or power, or women, it is not clear which).

Fables, characterized by their featuring animals and containing a moral, are among the earliest forms of storytelling. With its aim to simultaneously teach and entertain, playfully imparting wisdom, fabulist thinking has been used as a complex medium of political analysis and resistance against tyranny or royal negligence, for example (see Patterson, 1991). Although they occupy a marginal position, fables are still present in children's literature. While new fables are being written, old ones are retold in a variety of ways. "The Ant and the Grasshopper" has become a master-narrative that has been adapted throughout the ages. First written by the slave Aesop in 6th century B.C., it was famously retold by Lafontaine in a version that emphasized language playfulness, avoiding the direct moral ending. Many more popular rewritings have given it a ludico-parodic twist, even a vulgar subject (the grasshopper becomes a whore, for instance, Genette 40). This famous fable already contained eternal political oppositions between the provident one and the carefree one, the human dilemma between deep-rooted anticipation and a passionate happy-go-lucky attitude. Recent web adaptations that turn the grasshopper into the poor taking advantage of the welfare system illustrate how the fable has been used in conservative circles to convey a Manichean contrast between the hard-working rich and the lazy poor, promoting a tendency to blame the victim. More recent children's literature adaptations confirm its value. Amy Lowry Poole's version (2000) transposes it to a Chinese Emperor's palace setting to emphasize how the grasshopper can appreciate the beauty around her, something the ants fail to do. Mark White's retelling (2004) adapts it to a children's audience: "There's a time for play and a time for work," the ant says (24). Other works like Leo Lionni's Frederick use a similar trope and theme but with different titles. Last but not least, comics have also adapted the famous fable to the dialogue of image/text. While Jessica Abel's adaptation depicts the grasshopper walking all over her friend, Harvey Kurtzman's beatnik version pokes fun at the 1960s beat generation. The non-conformist be-bop grasshopper eventually deciding to move away from empty talking is paralleled by the ant's realization that he needs culture (or power, or women, it is not clear which).

The ability to reason about causality underlies key aspects of human cognition, but the extent to which non-humans understand causality is still largely unknown. The Aesop's Fable paradigm, where objects are inserted into water-filled tubes to obtain out-of-reach rewards, has been used to test casual reasoning in birds and children. However, success on these tasks may be influenced by other factors, specifically, object preferences present prior to testing or arising during pre-test stone-dropping training. Here, we assessed this 'object-bias' hypothesis by giving New Caledonian crows and 5-10 year old children two object-choice Aesop's Fable experiments: sinking vs. floating objects, and solid vs. hollow objects. Before each test, we assessed subjects' object preferences and/or trained them to prefer the alternative object. Both crows and children showed pre-test object preferences, suggesting that birds in previous Aesop's Fable studies may also have had initial preferences for objects that proved to be functional on test. After training to prefer the non-functional object, crows, but not children, performed more poorly on these two object-choice Aesop's Fable tasks than subjects in previous studies. Crows dropped the non-functional objects into the tube on their first trials, indicating that, unlike many children, they do not appear to have an a priori understanding of water displacement. Alternatively, issues with inhibition could explain their performance. The crows did, however, learn to solve the tasks over time. We tested crows further to determine whether their eventual success was based on learning about the functional properties of the objects, or associating dropping the functional object with reward. Crows inserted significantly more rewarded, non-functional objects than non-rewarded, functional objects. These findings suggest that the ability of New Caledonian crows to produce performances rivaling those of young children on object-choice Aesop's Fable tasks is partly due to pre-existing object preferences. ; This research was funded by the European Research Council under the European Union's Seventh Framewor k Programme (FP7/ 2007-2013)/ERC Grant Agreement No. 3399933, awarded to NSC (funding RM, SAJ, EL & NSC). AHT was funded by a Rutherford Discovery Fellowship from the Royal Society of New Zealand.

Sheep feature in various animal fables. Marino & Merskin suggest that "we" view sheep as "docile, passive, unintelligent, and timid," but animal fables do not support this view. In Aesop's and Phaedrus's fables, sheep are a primary target of injustice; but they are not passive targets. Sheep endure injustice actively and honestly. They are intelligent, aware and outspoken about their own condition.

The Hare and the Tortoise Part II: We do not race anymore won the '7 Book Awards' of 2005 as the best work of children's literature. This book borrows its plot from a well-known Aesop's fable and creates some new content and philosophy. Instead of ignorantly running a race against the aggressive Hare, the Tortoise refuses to compete but rather walks slowly and happily to his destination. In addition to the plot from Aesop's fable, the writer H. Nikhooky applies Buddhist doctrines with regard to defilements, i.e., lust, greed, anger, and delusion, as well as the Four Sublime States of Mind or the "Brahm-Vihara4", i.e., kindness, compassion, sympathy, and equanimity in the many episodes during the long journey of the Tortoise family. Also, the book suggests that the best way of bringing people and the world to real happiness is through gratitude, forgiveness, consciousness, wisdom and sufficiency.