Max Harris

Harris — Carnival and Other Christian Festivals (2003) [DECLARADA]

Harris — Sacred Folly (2011) [DECLARADA]

«One of my goals in this book is to apply the heuristic principle of public and hidden transcripts more broadly to the folk theater of these three festivals. It is not a matter of bringing prescriptive theory to the understanding of fiestas. The fiestas themselves take precedence over theory» — declara el objetivo del volumen y el orden que se impone: aplicar a tres fiestas el principio de las transcripciones pública y oculta, con las fiestas por delante de la teoría; el tramo se corta antes del nombre de James Scott

«In terms of methodology, for example, I have learned to pay more heed to the dramatic action of a fiesta and to the casual remarks of performers and audience than to the standard explanations offered to (and by) clergy, government agents, anthropologists, and other outsiders.» — el método que dice haber aprendido: atender a la acción dramática de la fiesta y al comentario casual de participantes y público antes que a las explicaciones establecidas

«I have learned to look for those details of performance that are quietly at odds with the public transcript, for it is amid these dissonances—just because they are apt to be regarded as innocuous, garbled, or irrelevant by scholars and others in authority» — y qué busca dentro de esa acción: los detalles de la ejecución que desafinan de la transcripción pública; el tramo se corta por el cambio de plana

«This, then, is my second heuristic principle: the hidden transcript—and hence the full complexity of meaning—of a fiesta is accessible in performance even if it is not confirmed by explicit textual or verbal statement.» — el segundo de los seis principios heurísticos que enuncia a lo largo de la primera parte; la capa de texto imprime la ligadura tipográfica en fiesta y en confirmed

«This, then, is my third heuristic principle: fiestas afford a fertile opportunity for the insinuation of a hidden transcript of folk theology into the public transcript of formal Catholic devotion.» — el tercero, que es el que da título al libro: la fiesta como ocasión para insinuar una teología popular dentro de la devoción católica formal

«I make no claims for the authority or constancy of folk theology, only for the balance it provides.» — el límite que le pone él mismo a esa teología popular

«Fourth, official explanations that locate the origin of a fiesta in the distant past, especially when backed by the authority of uncontested scholarship, are best treated with considerable suspicion. Such explanations rhetorically banish injustice and its needed remedy to the past, thereby obscuring the much more vibrant—and potentially threatening—social and theological commentaries enacted by the present fiesta. The conjunction of scholarship and local authority can be a formidable barrier to the fiesta’s hidden transcript.» — el cuarto, en la recapitulación que cierra la primera parte: la explicación oficial que pone el origen de una fiesta en el pasado remoto, sobre todo respaldada por erudición incontestada, se trata con sospecha

«Fifth, large-scale urban fiestas tend to be the most susceptible to this kind of official and scholarly obfuscation. An urban public transcript whose rhetoric privileges indigenous, ‘‘primitive,’’ ancient, or exotic peoples often conceals a hidden transcript of social and economic control by the powerful, indulges a frustrated middle-class fantasy of ‘‘noble savagery,’’ and further marginalizes the living descendants of indigenous or enslaved peoples. Since those on the lower rungs of the social scale have many ways of insinuating a hidden transcript of resistance even into so complex and romanticized a public transcript, such large-scale urban fiestas tend to be the most contested.» — el quinto, en la misma recapitulación: las fiestas urbanas grandes son las más expuestas a esa ofuscación y a la vez las más disputadas

«And so my sixth heuristic principle is this: the folk theology of a fiesta is more likely to reside in its mixed, syncretic, or inclusive elements than in those elements that aim at purity and fail.» — el sexto: la teología popular de una fiesta vive antes en lo mezclado y sincrético que en lo que busca ser puro

«I make no claim for their universality or comprehensive scope; I note only that they have helped me better understand the fiestas I describe in this book.» — y el grado con que presenta los seis: no reclama universalidad ni alcance exhaustivo, solo que le sirvieron

«None of this guarantees that my uncorroborated—or loosely corroborated —readings of fiestas are correct.» — la objeción que se plantea a sí mismo sobre su propio método, y que enuncia antes que nadie se la haga

«Such folk theology is neither quaint nor unsophisticated; nor is it a diluted version of the dogmatic theology of the church.» — cómo declara que NO hay que leer esa teología popular

«My thanks are due, first, to the many thousands of folk artists who each year give so much to preserve, sustain, and develop the festive performances about which I write. Their work is far more important than mine.» — a quién dice deber el libro, en la primera línea de los agradecimientos

«With this book I have tried to address Chérest’s call. I have separated the Feast of Fools from the many other festivities with which it has too often been confused.» — abre el cierre de Sacred Folly diciendo de qué llamado se hace cargo y qué separó de qué

«I have distinguished the fools who scorn God from the fools who are chosen by God because of their lack of worldly status. I have paid careful attention to changes over time. I have treated official hostility to the feast with considerable caution.» — las tres distinciones y la cautela que declara haber aplicado

«As a result, I have read the documentary history of the Feast of Fools with a growing conviction that its dominant motif is not one of disorderly clerical revels but one of orderly seasonal liturgy.» — la conclusión que declara como convicción crecida en la lectura: el motivo dominante de la Fiesta de los Locos no es la francachela clerical sino la liturgia estacional ordenada

«And at the heart of the Feast of Fools, I have found not a secular fool in a cap with ass’s ears but a subdeacon or a choirboy temporarily raised to a position of honor.» — y qué dice haber hallado en el centro de la fiesta: no un loco secular con gorro de orejas de asno sino un subdiácono o un niño de coro elevado por un rato

«It may be worth noting that I began my work on the Feast of Fools some years ago with the assumption that the story told by Tilliot, Petit de Julleville, and Chambers was essentially correct. This book therefore represents a considerable change in my own thinking.» — la nota al pie en que declara que empezó suponiendo correcta la historia recibida y que el libro es un cambio considerable en su propio pensamiento

«My aim in this book has been to separate the reliable from the misleading and to gather the former into a history of the Feast of Fools that, without minimizing its potential for abuse, does justice to its liturgical innovation, its devotional nature, its good humor, and even its beauty.» — el propósito que declara para el volumen entero

«This cautionary tale of monastic disorder serves as a final illustration of why I have learned to distrust the established narrative of the Feast of Fools.» — cómo dice haber llegado a desconfiar de la narración establecida

«I am not persuaded that the Herod games were parodic.» — una de las abstenciones que declara por su nombre

«I am not convinced by her assertion that identifiable festive societies were in place as early as 1220.» — otra, esta contra una datación ajena

«SACRED FOLLY A NEW HISTORY OF THE FEAST OF FOOLS Max Harris CORNELL UNIVERSITY PRESS» — la portada de Sacred Folly le adjudica el volumen; el escaneo arrastra la portadilla delante (sic)

«Harris, Max, 1949– Sacred folly : a new history of the Feast of Fools / Max Harris. p. cm. Includes bibliographical references and index.» — la ficha de catalogación de la Library of Congress que imprime la página de derechos de Cornell le da 1949 como año de nacimiento; es el único año que el corpus le imprime

«Carnival and Other Christian Festivals W FOLK THEOLOGY AND FOLK PERFORMANCE by Max Harris university of texas press, austin» — la portada del volumen anterior, de University of Texas Press; el escaneo arrastra una W del ornamento (sic)

«Harris, Max, 1949– Carnival and other Christian festivals : folk theology and folk performance / by Max Harris.» — y la ficha de catalogación de ese volumen repite el mismo año de nacimiento

«photographs by max harris» — la lista de ilustraciones le adjudica además las fotografías del volumen; el volumen imprime la línea en minúsculas

«I am grateful to the many librarians who have helped me during the writing of this book. The staff at the University of Wisconsin–Madison’s Memorial Library and Mills Music Library have been unfailingly helpful. In particular, I am thankful to John Dillon, Distinguished Academic Librarian and European Humanities Biographer, for tracking down so many obscure words and references in Greek, Latin, French, and Italian with such dazzling virtuosity and perseverance;» — los agradecimientos lo sitúan trabajando en las bibliotecas de la University of Wisconsin-Madison y nombran al bibliotecario John Dillon; es lo más cercano a una afiliación que el corpus le imprime

«Pamela Sheingorn, Robert L. A. Clark, and David Bevington read a late draft of this book and offered perceptive suggestions for its improvement.» — y nombran a los tres colegas que leyeron un borrador tardío del libro

«and, to my embarrassment, Harris, Carnival, 140.» — en una nota al pie de Sacred Folly se cuenta a sí mismo, con su libro anterior, entre quienes repitieron el detalle de las vestiduras vueltas del revés; se cita como aparato del propio volumen y no como voz de la obra