44
Избранная библиография
Основные источники
Chambers, E. K. The Medieval Stage. Oxford: Clarendon, 1903.
Hone, William. Ancient mysteries described, especially. . . the festivals of fools and
asses, the English boy-bishop.. . . London, 1823.
Вторичные источники
Bakhtin, Mikhail. Rabelais and His World. Trans. Helene Iswolsky. Bloomington:
Indiana UP, 1984.
Boucquey, Thierry. Mirages de la farce: Fete des fous, Bruegel, et Moliere.
Amsterdam: John Benjamins, 1991.
Bristol, Michael. Carnival and Theater: Plebeian Culture and the Structure of
Authority in Renaissance England. New York: Methuen, 1985.
Cox, Harvey. The Feast of Fools: A Theological Essay on Festivity and Fantasy.
Cambridge, MA: Harvard UP, 1969.
Erasmus, Desiderius. Praise of Folly. Trans. Betty Radice. Middlesex, England:
Penguin, 1971.
Gilhus, Ingvild Salid. "Carnival in Religion: The Feast of Fools in France." Numen
37.1 (1990): 24-52.
Heers, Jacques. Fetes des fous et carnavals. Paris: Fayard, 1983.
Knight, Alan E. "The Image of the City in the Processional Theater of Lille."
Research Opportunities in Renaissance Drama 30 (1988): 153-165.
"The Sponsorship of Drama in Lille." In Studies in Honor of Hans-Erich Keller,
ed. Rupert T. Pickens. Kalamazoo, MI: Medieval Institute, 1993. 275-285.
Lever, Maurice. Le sceptre et la marotte. Paris: Fayard, 1983.
Morley, John David. The Feast of Fools. New York: St. Martin's, 1995.
Swain, Barbara. Fools and Folly during the Middle Ages and the Renaissance.
New York: Columbia UP, 1932.
45
Turner, Victor. Dramas, Fields, and Metaphors. Ithaca, NY: Cornell UP, 1974
46
ЗАКЛЮЧЕНИЕ
Учитывая рост объема информации и повышение скорости, с которой
эту информацию необходимо потреблять, актуальность умения представлять
сложную информацию простым языком будет играть всѐ большую роль. В
силу всѐ более активного взаимодействия носителей разных языков,
ответственность за это будет в значительной мере ложиться именно на
переводчиков. Поскольку материалы подобного рода часто представляют
собой как минимум вторичный продукт – исследование цитирует другое
исследование, автор которого, в свою очередь, цитирует тексты,
переведенные кем-то другим с другого языка – задача переводчика
становится несколько сложнее. Он должен не только выполнить перевод, но
и определить, в какой мере он может доверять достоверности оригинального
текста.
Стремясь решить поставленные в начале работы задачи, мы
продемонстрировали на конкретных примерах, какие трудности могут
встречаться при работе с текстами подобного рода. Подробно разобрав
особенности языковых и стилистических структур, приводящих к их
возникновению, мы определили причину их существования и системы,
знание которых является необходимым для преодоления этих трудностей и
решения возникающих проблем. Представив конкретные решения и
объяснив логику, которой мы следовали при их поиске, мы
продемонстрировали основу общего алгоритма работы с текстами подобного
типа.
Изучив конкретные примеры изменений, которые мы внесли в
оригинальный текст при переводе, а также подробно аргументировав
принятые решения, мы представили те принципы, которым переводчик
должен следовать при работе с подобными текстами. Помимо этого, мы
представили примеры тех случаев, когда переводчик может принять
47
аргументированное решение исправить при переводе недостатки, найденные
им в оригинале.
Мы хотели бы ещѐ раз подчеркнуть важность понимания цели и
обстоятельств создания оригинального текста, а так же его целевой
аудитории, так как данная информация играет важнейшую роль в принятии
конкретных решений в процессе перевода.
48
Список использованных источников
1. Аверинцев С. С. Бахтин, смех, христианская культура. Наука, 1992
2. Аверинцев С. С.; Давыдов Ю.Н.; Турбин В.Н. и др., М. М. Бахтин как
философ. Наука, 1992;
3. Бахтин М. М. Творчество Франсуа Рабле и народная культура средневековья
и Ренессанса. Худож. лит ,1990;
4. Карасѐв Л. В. Мифология смеха. Вопросы философии, 1991
5. Карасѐв Л. В. Опыт несмеяние. Российский гуманитарный университет,
1992;
6. Карасѐв Л. В. Философия смеха. РГТУ, 1996;
7. Контекстный онлайн переводчик linguee.com (языковые пары
русский/латынь/английский/французский).
8. Контекстный онлайн переводчик ontext.reverso.net (языковая пара
русский/английский).
9. Лихачѐв Д. С., Панченко А. М. «Смеховой мир» Древней Руси. Наука,1984.
10. Лосев А. Ф. Эстетика возрождения. Мысль, 1978.
11. Boucquey, Thierry. Mirages de la farce: Fete des fous, Bruegel, et Moliere.
John Benjamins Publishing Company, 1991.
12. Bristol, Michael. Carnival and Theater: Plebeian Culture and the Structure of
Authority in Renaissance England. Methuen, 1985.
13. Chambers, E. K. The Medieval Stage. Oxford: Clarendon, 1903.
14. Cox, Harvey. The Feast of Fools: A Theological Essay on Festivity and
Fantasy. Cambridge, 1969.
15. Erasmus, Desiderius. Praise of Folly, trans. Betty Radice. Princeton University
Press, 1974.
16. Gilhus, Ingvild Salid. Carnival in Religion: The Feast of Fools in France. Brill,
1990.
17. Hone, William. Ancient mysteries described, especially. . . the festivals of
fools and asses, the English boy-bishop. London, 1823.
49
18. Knight, Alan E. The Image of the City in the Processional Theater of Lille.
Droz, 1988.
19. Lever, Maurice. Le sceptre et la marotte. Fayard, 1983.
20. Morley, John David. The Feast of Fools. Abacus – St. Martin’s Press, 1995.
21. Swain, Barbara. Fools and Folly during the Middle Ages and the Renaissance.
Columbia University Press, 1932.
22. Turner, Victor. Dramas, Fields, and Metaphors. Cornell, 1974
50
Приложения
Приложение 1: Оригинальный текст главы «Bishop of fools» из
книги «Fools and Jesters in Literature, Art, and History»
The Bishop of Fools
(France and England: 1180s-1600s)
Simonette Cochis
The Bishop of Fools is the principal character in a most extraordinary
religious celebration known as the Feast of Fools, held throughout the Middle Ages
and Renaissance in churches and cathedrals on or about New Year's Day. The
Bishop of Fools headed the role reversal and irreverent parody that was the Feast
of Fools: a multifaceted mockery of the liturgy of the Mass where sacred song was
replaced by obscenities or gibberish; regal priestly garb was derided by masks;
clothes were worn inside out; women's garments were worn by men; nudity
replaced robes; the holiness of the altar was desecrated by the presence of an ass,
by scurrilous gestures, and by unholy games; and the rituals of censing and of the
Eucharist gave way to censing with old shoes and consuming pudding instead of
the Host. Yet in its origins and in this very irreverence and sacrilege, ' 'never, upon
close observation, did the Feast of Fools depart from the domain of the sacred"
(Lever 20).l The script for the feast was molded on the liturgy of the Mass, its
costumes were a takeoff of priestly garb, its lyrics mimicked sacred song, and its
actions followed the rites of the holy offices.
BACKGROUND
The Bishop of Fools was popular particularly in France from the late twelfth
century well into the Renaissance, though England also had a Boy Bishop who
enjoyed great popularity until the Reformation. Though the most common title
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for this figure is the Bishop of Fools, there were also archbishops, popes, abbots,
abbesses, and even patriarchs of fools. The Feast of Fools turned the church
hierarchy upside down: the lower clerics elected their own "bishop" to officiate in
farcical holy offices and lead jests, cavalcades, and boisterous merrymaking
that became the hallmark of the feast. So unruly were the pranks and festivities
that the higher clergy periodically issued fulminous bans of this very popular
celebration that continued to resurface for more than four centuries.
The figure of the Bishop of Fools is inextricably linked with the rituals of
the church, as the Feast of Fools was a festivity incorporated within the church's
liturgical celebrations of the end of the year. It was the day when the subdeacons,
and later all the lower clerics, held a special day of revelry. One of the earliest
mentions of the Feast of Fools is in the Rationale Divinorum Officiorum (1182—
1190) by the rector of theology at Paris, Joannes Belethus. He describes the
subdeacons' feast as held either on New Year's Day, on the Feast of the
Circumcision, on Epiphany, or on the octave of Epiphany. It was one of the feasts
of the liturgical year known as the tripudia. There were others: St. Stephen's
was the deacons' feast, St. John the Evangelist's was the priests', and the Day
of Innocents was the feast of the choirboys, who also elected their "bishop"
(Chambers 1:275).
Following the outline of the church's liturgy, the Feast of Fools duplicated
in parody the rituals, the symbols, the text, and the songs of the holy offices.
The irreverent revelries eventually spread from the churches to engage the
participation of the town. Though each church or cathedral followed its own
customs, the celebration of the Feast of Fools throughout the Middle Ages and the
Renaissance provides us with enough similarities to establish a general pattern
for the feast.
Its motto can be summed up in this verse from the strains of liturgical song:
"Deposuit potentes de sede: et exaltavit humiles" (depose the powerful from
their seat and exalt the humble) (Chambers 1:278). The twelfth-century subdeacons
of Notre Dame in Paris repeated this verse of the Magnificat so many times
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and with such enthusiasm that a decree of 1199 by Eudes de Sully (bishop of
Paris from 1196 to 1208) states that the "Deposuit" is to be sung five times at
most and only where it occurs (Chambers 1:278). The reversal of roles authorized
by this verse encapsulates the essence of the Feast of Fools and provides
the grounds for the election of the Bishop of Fools. The verse marked the
passing of the baculus, the staff used by the precentor, the leader of the choir,
to a newly elected Bishop of Fools who was to officiate throughout the festivities.
The donning of masks, the singing of ludicrous songs, and a "farced"
mass (Chambers 1:277) followed the consecration of the Bishop of Fools.
A "missal of fools," the Offtcium Circumcisionis in usum urbis Senonensis,
which was used at the cathedral of Sens from the early thirteenth century, provides
us with a script for the performance of the Feast of Fools, which was
known there as the asinaria festa. It also brings to light another important character
in the Feast of Fools: the ass. This choirbook of text and music points to
the already-well-established rituals of the Feast of Fools. In it, we find that the
newly elected Bishop of Fools was led in pomp throughout the church to the tune
of a conducts (Chambers 1:283-284) or to the reciting of a Prose of the
Ass such as this one used at Sens, Beauvais, and Bourges:
Orientis partibus Departed from the Orient
Adventavit Asinus, The Ass comes to us
Pulcher et fortissimus, Beautiful and so strong
Sarcinis aptissimus. To carry his heavy load.
Hez, Sire Asnes, car chantez, Hey, Sir Ass, do sing,
Belle bouche rechignez, Your fair mouth a grimace,
Vous aurez du foin assez You will have enough hay
Et de l'avoine a plantez. And oats aplenty. (Chambers 1:280)
The litany continues in the same vein, with the verses in French as refrain. In
this farcical text, the mockery of liturgical song is effected by investing the ass
53
With noble virtues while still evoking its humble animal nature. Alternating Latin
with the vernacular brings this duality to light: the role of the ass in sacred
history is sung in Latin, while the references to its braying and its link to the
earth that gives it sustenance are in French. In Beauvais, an ass was brought to
the altar of the church carrying a pretty girl with a child in her arms, representing
the Flight to Egypt, and a solemn sung mass ended with braying by the celebrants
ahd the people (Chambers 1:287). In the Feast of Fools, the ass symbolizes
a role inversion similar to the one embodied by the Bishop of Fools. They
both incarnate an essential duality: spirit and matter, divine essence and animal
nature. Therefore, it is not surprising to see these two figures together at Chalons-
sur-Marne in 1570, when the Bishop of Fools was mounted on a gaily
trapped ass and rode in procession toward the cathedral to the sound of bells
and music (Chambers 1:305).
DESCRIPTION AND ANALYSIS
The Bishop of Fools of 1570 at Chalons-sur-Marne, like many others before
him, mimicked the actions of the real bishop, gave benedictions, sang the office,
and had crosses borne before him as if he were on visitation. He also wore the
traditional episcopal garb of cope, miter, pectoral cross, gloves, and crozier. Yet
it was not the role reversal itself that habitually incited the indignation of
ecclesiastical authorities, but the traditionally outrageous behavior of the lower
clergy during the feast. Newly elected Bishops of Fools were regularly
"dunked" by the horde of unruly clerics, as told by a prohibition issued at Sens
in 1444 stating that "not more than three buckets of water at most must be
poured over the precentor stultorum at Vespers" (Chambers 1:298). At St. Omer
in 1264, a Bishop arid a Dean of Fools, censed in burlesque fashion, took part
in a holy office recited entirely "at the pitch of voice and even with howls"
(Chambers 1:289). A Ceremonial dated 1365 from Viviers details the incidents of
a drinking bout led by the Bishop of Fools where "even the bishop, if present,
must do him honor" (Chambers 1:315) and where the inferior clergy were pitted