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She arrived with a bag of awesome clothing and accessories, including this epic wig. She said, "I want to make this a fun and playful shoot! Mama Cax was such a cool and down to earth girl and we had an awesome time shooting and chatting. It's always the best when you meet a role model who is so nice and relatable. Scroll around below to see the full shoot and read our interview! Mama Cax has some powerful words to share. Mama Cax! Where are you originally from and what's your full name?
I was born in Brooklyn but originally from Haiti. I spent most of my childhood in Haiti before moving back to New York in Mama Cax is my blogging name but most people call me Cax. I hold a B. A and M. A in International Studies but currently I'm a full time blogger and model.
How would you describe all you do? Aside from blogging and modeling, I often get to speak at events and conferences and the topic of discussion varies from intersectional feminism, body image and sex positivity. Ultimately I like to bring the perspective of a disabled woman to these platforms as we are often not present in those discussions. I love hearing how you went from working in a government office to being a fashion icon and jet setting around the world.
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These three songs were first transcribed and translated into Hebrew by Moshe Lazar in There are some copying differences between the two manuscripts. However, generally speaking and taking into account the copying mistakes, the two versions are quite similar. The composite reading delivers a generally coherent text.
For more details on this manuscript see Riera For more details on this manuscript see Pagis —; Riera — Journal of Jewish Languages 4 1—37 4 Baum from these songs, to this day, no other piyyutim or songs of Catalonian Jews in which Catalan is the base language have been found. However, he insists on the Catalan origins of the poems.
It seems that the difference of opinions between Lazar and Riera should be settled. But, again, these are only the incipits; see Seroussi , , Elsewhere the language of the troubadours is generally referred to as Old Occitan. That being said, we can assert that the songs were originally written by a Jewish poet from Catalonia. The dialectal characteristics13 and the external data regarding Catalan Jewry14 support this stance. However, none of the hypotheses can be verified. Later Riera ; declared that he no longer supports this hypothesis, without, however, supplying any further explanation.
My own additions are given between square brackets. Hebrew words are marked in bold. The translation offered here is by no means poetic in character, but rather a highly literal translation that approximates the original in order to allow readers to follow the text. The digraph -ss- represents [s] in intervocalic position. Stressed -a is always indicated with a grave accent e.
Stress is also indicated when it is not final in a word ending in any other consonant e. Hebrew elements were also transcribed and accentuated by Riera according to Catalan. Since this might cause confu- sion among readers who know Hebrew, the Hebrew components are transcribed accord- ing to the transcription system of Encyclopedia Hebrew Language and Linguistics. These are marked in the footnotes. The old man goes to sleep in his bed. The young girl awakens him with great vigor.
You will have food and clothing, but not satisfaction. You have no virtue, nor a drop of strength! All you keep doing is but utter futility! Listen, my child, to these proverbs: Now is not the time to speak nonsense. With a brave young man I want to cross the sea, in a boat or a ship. Euphemisms The song begins by condemning the marriage of a young girl to an old man, an act which was strongly condemned by the Sages of Israel.
The Hebrew component carries a euphemistic meaning. Such a playful use of the Hebrew brings laughter to the audience in connec- tion to what would otherwise be a very serious issue. Using the Hebrew component within the Catalan to represent the old man and the young girl who ends up committing adultery and becom- ing a harlot creates an even greater contrast between right and wrong, sacred and profane. Thus the parodic and satirical effect is enhanced. The most familiar Jewish languages, Judeo-Spanish, Judeo-Arabic, and Yiddish are characterized by the fusion of the Hebrew component into the language, including the use of inflected forms.
Moreover, these languages are known for using Hebrew morphemes alongside the morphemes of the adopting language. On the contrary, I believe that embedding Hebrew elements was used for sophisticated word-plays that can be considered to have added aesthetic value.
The incorporation of Hebrew elements was probably more common among rabbis and the educated milieu, while the general public had much more limited knowledge. Journal of Jewish Languages 4 1—37 Hebrew-Catalan Medieval Wedding Songs 11 scheme and poetic meter are embedded with Hebrew elements, the result cre- ates a cynical tone.
A third and noticeable influence can be attributed to Al-Andaluz. Indeed, the strophic Heb. In our Catalan wedding songs we find the oppo- site phenomenon, where the stanzas are in Catalan, and the concluding refrain cites a biblical refrain in Hebrew Argenter — The songs demonstrate a clear influence of Jewish Hispanic traditions that, in turn, were the product of the great admiration of the Arabic culture of Al-Andaluz.
This Arabic influ- ence is mediated by its incorporation into Hebrew poetry in Muslim Spain. On the other hand, they maintain Jewish traits going back to ancient Jewish traditions, and a playful use of Hebrew. All of this creates a unique prod- uct that negotiates between the Jewish traditional models and local trends. Journal of Jewish Languages 4 1—37 12 Baum The Four Wedding Songs The texts of the four wedding songs were adapted to a traditional melody and perhaps sung or at least recited during the wedding celebration Lazar —; Riera Each strophe gives advice to the newlyweds on their wedding night.
The advice includes, among other things, waking up early, eat- ing an egg yolk as a remedy for impotency, and a recommendation for the bride to speak tenderly to her husband and obey his will, etc. All four songs have the same format. The verses are usually verbatim quotations from the Scriptures mostly from Psalms or Proverbs that fit the general context and the rhyme scheme of the three previ- ous lines in Catalan.
The authoritative voice that refers back to generations of Hebrew poetry is contrasted with the new context given to the biblical verse. This mechanism has a clear comical role. Let us examine the sophisticated role of the Hebrew component in these songs: 1. This could perhaps be explained by the influence of the verb topar.
The word-play36 creates a comical and satirical effect for the amusement of the bride and groom, their families, and the guests. This increases the anticipation and the comic effect. Hence, the day was divided into four parts. The first hour the hour of sunrise around 6 a. She demonstrates how the understanding of this wedding song would have been different depending on different levels of proficiency in Hebrew and knowledge of Jewish religious texts.
Fudeman — suggests that full understanding of the composition and the sexual innuendo would have been limited to Jewish men, members of the French-speaking community, excluding women, children, and gentiles, who could follow only the lines in French or in Hebrew, when it came to other Jewish visitors. Journal of Jewish Languages 4 1—37 14 Baum 2. Dry bread with peace is better than a fattened ox served with hatred. We are no longer dealing with a direct verbatim quotation, but rather with a more sophisticated mechanism that entertained the public.
To your parents you shall give honor. That is what the wise man said. New song. The change in order is a playful act which must have entertained the public. It is not a simple incorpo- ration of a biblical verse, but a sophisticated use of the Scriptures while obey- ing the rhyme scheme and the context of the stanza. At times the biblical citation is used in a similar context as in the original verse. But at others, the literal meaning is used with a very different meaning and context. Let us examine the next two strophes: 4.
Using the Holy Tongue out of its original context creates a comical effect. You should take care of your wife with shoes and proper clothing. Anything else—as much as you can suffer, Break up your fallow ground. Groom: If you cannot do it, take the yolk out of the egg, a sardine or a palm tree. Perhaps he will be deceived; then we can overcome him.
The euphemistic use of this verse, which has such a serious context, in a poem about impotency, providing tips for virility such as eating an egg yolk , creates a surprising, parodic, and satiri- cal effect. The satirical effect in the songs is produced by giving a new context to the biblical verse and by exploiting double meaning that highlights the contrast between the two languages in contact, Hebrew and Catalan.
All the more so when adjusted to fit the rhyme scheme. These rare songs serve as a unique documentation of the satirical way in which Hebrew component and biblical verses were embedded in medi- eval Jewish-Catalan poetry. Five popular or popularized songs do not con- stitute a comprehensive corpus of the verbal practices and traditions of Catalonian Jews. However, this could imply a wider oral tradition lost in great part, or perhaps assimilated into the rich post-Expulsion Sephardic traditions.
Jewish Conservatism vs. Jewish Integration Having mentioned the local influences from Provence, Catalonia, and even Muslim Spain, the question still remains: to what extent are these songs Jewish? The Hebrew-Catalan poems manifest both Jewish cultural integration as well as Jewish conservatism. Indeed, one of the Jewish characteristics of these songs lies in the very mul- tilingualism and linguistic playfulness, along with the negotiating of models that are inherent to the Jewish experience in the Diaspora.
Journal of Jewish Languages 4 1—37 18 Baum The Hebrew poetry45 in medieval Spain or Sefarad , Catalonia, and Provence is characterized by a common stylistic use of biblical words or verses embedded in the text Schirmann Hebrew poets specialized in creating an ironic and satirical tone.
This tone was readjusted to their contemporary context by changing the orthography of a word, by combining various fragments of different verses, or by employing the description of biblical figures in reference to known figures of their own community. The Jewish poets of medieval Catalonia were considered to be very erudite.
They practically knew the Bible by heart. More than one hundred and twenty Jewish authors of Catalan-speaking origin wrote in Hebrew in medieval times Riera b—47; , 10— Among the prominent Jewish poets of medi- eval Catalonia48 we find Joseph ben Meir ibn Zabara born ca. On the meticulous work of Hebrew poets in Catalonia see Riera — Moreover, Fudeman —; — has shown the sophis- ticated use of Hebrew in Hebrew-French weddings songs, where pairing the Hebrew lines with the following French lines emphasizes the sexual implica- tions.
Fudeman believes that this reading was meant for the entertainment of Jewish men, virtually excluding women. After the Expulsion, Sephardic Jewry maintained the custom of humorous writing in Judeo-Spanish while incorporating the Hebrew component and biblical verses for satirical purposes Bunis —; , For a discussion on the identity of Ben-Aaron and his origins in the South of France, see Davidson n.
In the context of Purim the use of the Hebrew component is definitely of humorous use. Journal of Jewish Languages 4 1—37 20 Baum only speculate as to whether the humorous and playful traditions of the Jews of Catalonia were incorporated into the broader Sephardic identity. Those techniques were found in rhymed verses for Purim in which the embedded Hebrew component has a central role Bunis — The common features found in Jewish languages are most notably use of Hebrew script; incorporation of direct quotations from the Scriptures; a Hebrew lexical component; calque translations from the Bible and other Jewish literature, such as the Haggadah; and the archaic use of language Bar- Asher a:II — The badkhn chants or sings about the bride, groom, family, and other figures or recent events.
The cus- tom of a badkhn doling out practical advice for married life is based on a long tradition of piyyutim and other para-liturgical Jewish songs Baumgarten ; , — He does so by using improvised rhymes with schematic references and quotations from the Scriptures Roskies ; Baumgarten —; — Though Bar-Asher discusses the common char- acteristics of modern Jewish languages, I find the criteria also relevant for the discus- Journal of Jewish Languages 4 1—37 Hebrew-Catalan Medieval Wedding Songs 21 As has already been shown, the Hebrew-Catalan wedding songs discussed here meet some of these basic criteria for Jewish varieties, including sophisti- cated use of a Hebrew lexical component and direct quotations from the Bible.
Some examples of archaisms will be demonstrated below. Even if we accept that the the Catalan spoken by the Jews was one-hundred percent identical to the language spoken by the Christians in a specific region, it is impossible to say that their linguistic repertoire was also identical. Moreover, so far, the texts of Jewish-Catalan origin have not been systematically analyzed. His notion of a continuum stretches from those Jewish varieties exhibiting the most prominent param- eters to those with only a few or almost unnoticeable traits.
This theoretical framework allows for a better treatment of those less prominent Jewish varieties and Jewish diglossia. This is attested in the Siddurim used by the Catalan conversos. See the Siddur of a crypto Jew in Catalan in Latin characters that was published in three parts Riera —; —; — This is also the case in the Ox. Bodley Or.
This Siddur in Hebrew includes a literal word-for-word interlineal translation into Catalan in Latin characters. Its first pages were published by Studer — Journal of Jewish Languages 4 1—37 22 Baum sources, whereby the boundaries between the spoken and the written are blurred. This phenomenon has generally gone unnoticed among the research- ers of Jewish languages.
This prob- ably occurred because they did not have to adhere to the writing conventions of Romance languages, which were marked by the tendency to conserve the historical Latin etymological spelling. I believe that this variable should also be dealt with in the framework of linguistic repertoires, where the expected question would be: to what extent does a given Jewish written repertoire display traits attributed to the spoken language?
These traits are either not attested in non-Jewish written sources of the time or attested only in works of popular or popularized nature, with clear colloquial or dialectal characteristics. In an attempt to answer this question regarding the linguistic repertoire of the Jews of Catalonia, I will introduce examples of phonetic, lexical, morpho- logical, and semantic features revealed in these texts.
Some of them are either completely undocumented or found very rarely in Catalan dictionaries and corpora. Lexicon 1. These processes in the formation of Judeo-Spanish exhibit a clear tendency toward simplified forms with greater phonetic economy and of common or popular use. This phenomenon became characteristic of Judeo-Spanish both in the spoken and written registers Quintana It is worth mentioning again that these were apparently written by two different poets, perhaps hailing from different regions.
This is also the only case of such an omission in the poems. But since eating eggs containing blood drops is generally forbidden according Jewish law, this interpretation is not probable. In any case, rossell in the masculine is also undocumented with the meaning of rossella. Gen is registered in the diction- aries of Levy and Honnorat, as also under the entry of gent in Mistral and Raynouard.
Journal of Jewish Languages 4 1—37 24 Baum A copyist mistake seems unlikely since it appears on three occasions two of which are documented in both the relevant manuscripts. All throughout the manuscripts there are no other confu- sions between bet and gimel. First I will say what needs to be done. You are my hiding place. Upon the expulsion of Jews from France in , many of the Jews of Montpellier first found their way to Perpignan and nearby cities, at least as a passing point Roth Journal of Jewish Languages 4 1—37 26 Baum 4.
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