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Resumen La fabula ha tenido desde siempre una funcion retorica e ilustrativa que se ha manifestado a lo largo de la historia de modo dual: mostraba para ensenar, lo que muchas veces implicaba el componente moralizador, o para criticar. Mientras se empenaba en conseguir una de las dos intencionalidades, o las dos simultaneamente, ha podido ser revestida de un tono humoristico, burlon, ironico o sarcastico. Partiendo de las observaciones sobre el genero de Fedro, Rodriguez Adrados o Mireya Camurati, en este trabajo nos proponemos analizar una seleccion de fabulas clasicas, medievales, dieciochescas y decimononicas, para demostrar que el aspecto critico e incluso subversivo del genero se mantiene abiertamente activo aun en las epocas en las que se potencia su intencion didactico-moralizante. Abstract The fable has always had a rhetoric and illustrative function that manifested itself during its long history in two different ways: on one hand, it represented an example in order to teach, which usually implied the moral component, or on the other hand, to criticize. While it strived to achieve one of these intentions, or sometimes both simultaneously, it could have been written in a humorous, mocking, ironic or sarcastic tone. In this paper, we analyze a selection of classical and medieval, 18th and 19th century fables written in Spanish, with definitions proposed by Phaedrus, Rodriguez Adrados and Mireya Camurati as starting points, in order to show that the critical aspect of this genre was openly maintained and taken benefit of even in the historical periods when its didactic and moralizing intention was preferred and strongly emphasized.

El poder subversivo de la fábula en sus diversas manifestaciones diacrónicas