Max Harris – författare

With a riotous mix of saints and devils, street theater and dancing, and music and fireworks, Christian festivals are some of the most lively and colorful spectacles that occur in Spain and its former European and American possessions. That these folk celebrations, with roots reaching back to medieval times, remain vibrant in the high-tech culture of the twenty-first century strongly suggests that they also provide an indispensable vehicle for expressing hopes, fears, and desires that people can articulate in no other way.In this book, Max Harris explores and develops principles for understanding the folk theology underlying patronal saints' day festivals, feasts of Corpus Christi, and Carnivals through a series of vivid, first-hand accounts of these festivities throughout Spain and in Puerto Rico, Mexico, Peru, Trinidad, Bolivia, and Belgium. Paying close attention to the signs encoded in folk performances, he finds in these festivals a folk theology of social justice that-however obscured by official rhetoric, by distracting theories of archaic origin, or by the performers' own need to mask their resistance to authority-is often in articulate and complex dialogue with the power structures that surround it. This discovery sheds important new light on the meanings of religious festivals celebrated from Belgium to Peru and on the sophisticated theatrical performances they embody.

In villages and towns across Spain and its former New World colonies, local performers stage mock battles between Spanish Christians and Moors or Aztecs that range from brief sword dances to massive street theatre lasting several days. The festival tradition officially celebrates the triumph of Spanish Catholicism over its enemies, yet this does not explain its persistence for more than five hundred years nor its widespread diffusion. In this insightful book, Max Harris seeks to understand Mexicans' "puzzling and enduring passion" for festivals of moros y cristianos. He begins by tracing the performances' roots in medieval Spain and showing how they came to be superimposed on the mock battles that had been a part of pre-contact Aztec calendar rituals. Then using James Scott's distinction between "public" and "hidden transcripts," he reveals how, in the hands of folk and indigenous performers, these spectacles of conquest became prophecies of the eventual reconquest of Mexico by the defeated Aztec peoples. Even today, as lively descriptions of current festivals make plain, they remain a remarkably sophisticated vehicle for the communal expression of dissent.

This introduction to the theatre also attempts to offer a meditation on the theatricality of the Incarnation. Arguing that both biblical and dramatic texts should be approached with a theatrical rather than a literary imagination, the author explores theatrical history.

The international monetary system imploded during the Great Depression. As the conventional narrative goes, the collapse of the gold standard and the rise of competitive devaluation sparked a monetary war that sundered the system, darkened the decade, and still serves as a warning to policymakers today. But this familiar tale is only half the story. With the Tripartite Agreement of 1936, Britain, America, and France united to end their monetary war and make peace. This agreement articulated a new vision, one in which the democracies promised to consult on exchange rate policy and uphold a liberal international system - at the very time fascist forces sought to destroy it. Max Harris explores this little-known but path-breaking and successful effort to revolutionize monetary relations, tracing the evolution of the monetary system in the twilight years before the Second World War and demonstrating that this history is not one solely of despair.

The international monetary system imploded during the Great Depression. As the conventional narrative goes, the collapse of the gold standard and the rise of competitive devaluation sparked a monetary war that sundered the system, darkened the decade, and still serves as a warning to policymakers today. But this familiar tale is only half the story. With the Tripartite Agreement of 1936, Britain, America, and France united to end their monetary war and make peace. This agreement articulated a new vision, one in which the democracies promised to consult on exchange rate policy and uphold a liberal international system - at the very time fascist forces sought to destroy it. Max Harris explores this little-known but path-breaking and successful effort to revolutionize monetary relations, tracing the evolution of the monetary system in the twilight years before the Second World War and demonstrating that this history is not one solely of despair.

This introduction to the theatre also attempts to offer a meditation on the theatricality of the Incarnation. Arguing that both biblical and dramatic texts should be approached with a theatrical rather than a literary imagination, the author explores theatrical history.

This introduction to the theatre also attempts to offer a meditation on the theatricality of the Incarnation. Arguing that both biblical and dramatic texts should be approached with a theatrical rather than a literary imagination, the author explores theatrical history.

At once scholarly and entertaining, Christ on a Donkey is a study of Palm Sunday processions and related royal entries as both spectacular instances of processional theater and highly charged interpretations of the biblical narrative to which they claim allegiance. Harris’s narrative ranges from ancient Jerusalem to modern-day Bolivia, from imperial white horses to wheeled wooden images of Christ on a donkey, from veneration to iconoclasm, and from Christ to Ivan the Terrible. A curious theme emerges: those embodied representations of Christ’s entry into Jerusalem that were labeled blasphemous, idolatrous, or superstitious by those in power were arguably most faithful to the biblical narrative of Palm Sunday, while those staged with the purpose of exalting those in power and celebrating military triumph were arguably blasphemous pageants.

At once scholarly and entertaining, Christ on a Donkey is a study of Palm Sunday processions and related royal entries as both spectacular instances of processional theater and highly charged interpretations of the biblical narrative to which they claim allegiance. Harris’s narrative ranges from ancient Jerusalem to modern-day Bolivia, from imperial white horses to wheeled wooden images of Christ on a donkey, from veneration to iconoclasm, and from Christ to Ivan the Terrible. A curious theme emerges: those embodied representations of Christ’s entry into Jerusalem that were labeled blasphemous, idolatrous, or superstitious by those in power were arguably most faithful to the biblical narrative of Palm Sunday, while those staged with the purpose of exalting those in power and celebrating military triumph were arguably blasphemous pageants.