IN NEED OF BIG BRAINS

what is a quick way to upload a webcam video of my phone?

Can we get a translate

persee.fr/doc/roma_0035-8029_1892_num_21_82_5717

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This post gave me the really long captchas, like at least 10.

Also I can confirm as someone with an iJew

Maybe try using zoom and capture the video. Or will this help?
answers.microsoft.com/en-us/windows/forum/windows_8-winapps/how-do-i-save-a-webcam-video-to-my-laptop/33e02fc3-81ef-48d5-aec3-b924d719ef1d

Siri probably found that the question was so widely searched that it had a specific answer that it could skip to.
Which is reasonable but also makes the whole situation stranger.

DON'T use zoom, shit is compromised as hell.
youtu.be/QOAz9T96WyU
My class has been using it to meet electronically, one of my classmates had his Apple ID hacked.

same, million captchas

The first two paragraphs:

The fragment of a Provençal poem, in Hebrew characters, which
follows, is in ms. n ° 28 (xvith century) from the collection of
mss. Hebrews belonging to Dr. Hermann Adler, Chief Rabbi of
London, following the parodies of the Talmudic passages adapted
tees at the Purim feast. To replace serious liturgies
in which we give Esther's story in poetic form,
Jewish scholars from the south of France had fun composing
Meïr parodies. d'Arles, Of this fact in nature Rome is between the writing 13 of the famous 19 and 1322 Calonyme, l. There are sons of
this work a second redaction which is attributed to Maître Léon
by Bagnols, contemporary with Calonyme 2. These parodies are in
Hebrew, except four lines in Provençal, which we reproduce
sounds further. Doctor Crescas (Provençal name from Israel),
son of Joseph the Levite 3 Caslari (from Caylar or Caslar4), composed
shortly after a poetic liturgy, in Hebrew, which contains history
Esther, after having made the Provençal poem on the same subject
which is the subject of this publication 5. Unfortunately this
the poem beginning is not in the entire manuscript upstart. of DrH. It does not Adler, remains to whom we that
let us express our sincere thanks for putting it on our
disposition. Caslari says, at the beginning of the Hebrew poem,
that he composed this poem in vulgar language for the use of
women and children and then in Hebrew for those who are
familiar with this language. The two texts, the Hebrew and the pro¬
vençal, are not translations of each other. The bottom of
ideas differ little, but the way to present them is not the
even. The Provençal poem presents a simple and
even vulgar; the Hebrew poem is more sought after. The character
specific to each of the two idioms, the difference in audio
roof wisely to whom these nuances were addressed. each of the two poems explain suffi¬

Our author is probably identical with the Jewish writer of the
same name which translated into Hebrew Arnaud's Regimen sanitatis
de Villeneuve, around 1322 J. Israël says he composed his two
poems based on glosses (line 19 a), glosses that
calls in "TQFl Hebrew 1PDN Midrasch

...

some paragraphs I can't copy in this pdf

...cont

We can see from our play that in the south of France, the
Jews wrote the vulgar language in Hebrew characters like
made their co-religionists from the North and the East. We
we found glosses on the Bible and the Talmud in both
country 1. Surely we have no Midi
a composition which approaches, even from afar, poetics and all
sings French elegy, so well explained by the late A. Darmesteter,
but all the Hebrew manuscripts of the langue d'oc countries
not yet been explored, and one should not despair of finding,
on this side, some work having a real literary value.

II.

It was last August, in Oxford, that Mr. Neubauer told me
made known the ms. in which he had found a composition
Provencal tion relating to Esther. We started to decipher
brother and we employed several sessions there. Mr. Neubauer me
was reading a text he didn't understand, while I was trying
to catch on the fly and transcribe the words that I was unable to
to read, and to which I subjected the modifications which the use
of the Hebrew alphabet allows, shifting consonants, substi¬
killing i to e, u to 0, f to p, d or% to r, etc., or vice versa,
until the meaning is revealed. It was the collaboration of
paralytic and blind. It was not without result. AT
strength of patience, after several revisions, we managed to
establish a transcription which at least gave the general meaning.
Mr. Neubauer then made me a copy as exact as possible of the
ms. I took this copy to Paris, and to be able to compare it
at the transcription made under the dictation of my collaborator, I

started studying the Hebrew alphabet. I succeed, at the cost of one
long and painful labor, to recognize myself between these letters of which
many are about the same, and I was able to surrender
account of the notation used by the Jewish author, which
allowed to significantly improve my transcription.
I will first explain the scoring system, making
know the relation of the Hebrew letters to the sounds pro¬
vençaux. We will see that this system is very defective. Without
doubt it was not possible to arrive at a very precise figuration
with an alphabet that is as poor in background as it is little
varied in form: however, it seems to me that, had I been
instead of jewish Crescas, I would have avoided making up to three
different sounds with the same sign, and, in other cases, em¬
bend her. three and even four separate notations for the same

i. a tonic and sluggish is generally rendered by N. En
in addition, for Y a final we find H, balansa 29, perdonansa 30,
plassa 32. Finally a (habet) is written with these two letters joined,
either PIN 2, and similarly Y has final preceded by z, in gelaria 138,
vilonia 243, baronía 244, etc., or in the conditional auria
330, seria 332, etc. At the time when our text was composed we
can believe that in general this final -ia was only one
syllable. two letters Finally, associated which which is enough to represent strange, Va final we find aton: encore consiroa- ces
espoxçi 353-4.

Crescas Du Caylar is a jewish physician and poet from 14 century.
en.wikipedia.org/wiki/Israel_ben_Joseph_Halevi_Caslari
en.wikipedia.org/wiki/Caslari_family

2. e, i, in the body or at the end of words, are rendered indifferent
start with \ so that, for example, me and mi, ne and neither,
qe and qi, se and si are not distinguished. At the beginning of
words, the notation is more complicated: it is also for
e or for i. Thus the conjunction e 3, 4, etc., and adv. of place
i (ibi) 74, are similarly written; cf. in 18, 24, esteron 25 and
idola 16. Naturally we do not see this notation appear
in d'el 19, nestem 29, etc., where Ye is not considered
initial (del, nestem). We will see later that this group
has yet another job. - Before the tonic, the aleph can
represent e; thus delicada 440 is represented dalicada, with three
aleph. E conjunction is also represented by a simple
3. 0, either open or closed, is returned by 1, vav, letter which
also used for Yu (û Latin), nulha 19, Juliens 21. But, at the com¬
words, the complex notation IN is uniformly applied to these various sounds: on 94, olhs 180, orre 303,
ostal 316, una 11, un 50, uses 278.
4. ai is written "3S, aisi 31, aiso 57, 160, ai% inas 53,
aitant 107, aital 157, bailes 80, lai ni, but 39, naisian ni,
pairols 97, ver ai 41, laissezarai 42. It may be that, for some of these words (aisi, aiso, ai% inas), the author has pronounced ei,
spelling which meets here and there in the same region from the
fourteenth century and which should not have been unknown to our author,
since he writes meion (mansionem) 93. I had to follow in
my most ordinary use transcription.

Type in Semitic or prosemitism or something like that and the autocorrect corrects it to “demotion.”

Looks Photoshopped ngl

gfycat weirdtautfoxterrier for those w/o jewphones

'The Provencal Esther poem written in Hebrew characters c.1327 by Crescas de Caylar' by Susan Milner Silberstein might be another book related to this topic.

Checked

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bump, we finally have an interesting thread don't let it die

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It means they are going to kill you

>Esther
>Esther is described in the Book of Esther as a Jewish queen of the Persian king Ahasuerus. In the narrative, Ahasuerus seeks a new wife after his queen, Vashti, refuses to obey him, and Esther is chosen for her beauty. The king's chief advisor, Haman, is offended by Esther's cousin and guardian, Mordecai, and gets permission from the king to have all the Jews in the kingdom killed. Esther foils the plan, and wins permission from the king for the Jews to kill their enemies, and they do so. Her story is the traditional basis for Purim, which is celebrated on the date given in the story for when Haman's order was to go into effect, which is the same day that the Jews killed their enemies after the plan was reversed.

fuck you and burn in hell , niggerjew

Hybridity in the Fourteenth-Century Esther Poems of Israel
Caslari
by
Jaclyn Tzvia Piudik

tspace.library.utoronto.ca/bitstream/1807/74812/1/Piudik_Jaclyn_T_201411_PhD_thesis.pdf

"We return to Old Occitan in Chapter 6 by turning to Crescas du Caylar’s Roman
de la Reine Ester. This Occitan text by a Jewish writer aims to instruct women and
children with his amplification of the Hebrew Bible Book of Ester. The central figure in
the text is Queen Vashti, who is led to her death for disobeying her husband to protect her
own honor. Her experience recalls that of the saints and suggests intertextuality between
Christian and Jewish literature."

etd.ohiolink.edu/!etd.send_file?accession=osu1343794962&disposition=inline
p. 10

The only people who use that memeflag are disgusting bugmen.
Soup yourself, Chang

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Interesting....
Have a bump

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etd.ohiolink.edu/!etd.send_file?accession=osu1343794962&disposition=inline

Chapter 6: Vashti, A Pagan Queen Turns Saint
A century later, despair scenes continued to use the narrative template established
by hagiographic texts and later adapted for vernacular romance. A woman features as the
primary character facing voluntary death in the Occitan Le Roman de la Reine Ester.
325
Crescas du Caylar, a fourteenth-century Occitan writer and Jewish doctor, read the story
of Ester in the Hebrew Bible and embellished it, giving Queen Vashti, a minor character
in the original story, a voice and a death. Crescas adapted the biblical book into JudeoProvencal verse form in 1327,326 enlarging what was originally a twenty-two-verse
chapter into two hundred octosyllabic rhyming couplets. Only one, incomplete, JudeoProvençal manuscript exists. Crescas asserts that his audience was composed mainly of
women and children, which perhaps explains his neglect of the male characters.
327
Vashti is not merely banished in his version of the story, she is burned alive for her
disobedience of a man. Much like a martyr, she holds to her ideals even in the face of
death. Despite the striking decision taken by Vashti, a saint-like woman in this Occitan
ext, very little attention has been given to it from the academic community. This story
shows one of the main differences between the depiction of men and women (and, now
that we have seen Yvain’s lion, animals) in facing shameful situations and desiring death.
Both the woman and animal could face it as an avoidance of shame, but the men could
not

p. 132-133

>"Are niggers closer to apes than to humans"
Kek

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Long time poster, first time lurker. Are americans always this stupid?

I am monitoring this thread.

Please include a TL;DR for convenience once the mystery has been solved so that I don't have to actually read the walls of texts.

Just include "TL;DR" somewhere in your post once you've solved the mystery so that I can ctrl-f it.

Super interesting, thank you.
This nigga putting in the real work.

Conclusions
This later medieval piece of Occitan literature, Le Roman de la Reine Ester,
provides a rendition of a Christian martyr approaching her death. The romance offers
insight to the portrayal of gender roles, personal agency, and the role of shame and honor.
To welcome death as a way to avoid dishonor became established as a way for a devout
female Christian to act under early persecution, and here it is established as a way to act
in order to salvage one’s own honor or protect another’s. Like the saints, Vashti, a
female character, may access steps toward death much more easily than the male
characters who lead her to her death. She may despair or die without fear of religious
consequences; Vashti goes to her death in defiance and disobedience but maintaining her
honor. The author does not judge her despair but rather judges her husband’s absurdly
rash behavior. By choosing a woman to defy orders even unto death, Crescas du Caylar
reflects the tradition of holy women in the past and shows such action as acceptable.
This hints at intertextuality between Jewish and Christian texts and further emphasizes
the availability of death as an escape from pain without external judgment.

>women have never been responsible for their own actions
>death can be a perfect escape

How this pertains to Siri returning his name when you ask "are Jews human" I have no fucking idea.

this shit is weird, i swear to god apple a bunch of weird os