A Female Houdini: Popular Culture in Margaret Atwood's Lady by John Thieme

By John Thieme

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Additional resources for A Female Houdini: Popular Culture in Margaret Atwood's Lady Oracle

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I went in search of my clerk, and found him right beside me. That clerk is mine—I am his— that’s no one else’s business. That starched shirt looks so good on him! 1: Üsküdara gider iken, transcribed as recorded on 16 September 1980 by Ümit Takcan for the King Records CD Turkish Folk Songs and Instrumental Music. A second theory postulates that Üsküdara originated as an Ottomanera Õark 2. A Bulgarian-Armenian friend living in Sofia told me that her elderly mother, who was born in Istanbul in the early 1900s, categorized the song, which she remembered from her youth, in this manner.

5: Apo kseno topo ki apo alaryino. Baud-Bovy 1935:114–15, No. 45. Buchanan ki ematha pos to vre, fos mou, mia ap’ ta Plitharia. I lost a handkerchief filled with a hundred golden coins, aman, aman, and I heard that a maiden from Plitharia found it. Dos mou to mantili krata ta flouria ki’ im’ aravoniasmenos sta Dabakaria. “Give me the handkerchief but keep the coins, for I am engaged [to a girl] in Dabakaria. Sa de mou to doseis the na rtho mia vradia tha se filo sto stoma ki apano stin elia. 6: Ehasa mantili.

Katsarova reports that in 1963 she encountered a variant in Tel Aviv, where it was sung by seventy-year old Bracha Menachim, who was born in Aden, South Yemen, with a religious text as part of a Shabbat celebration (1973:127). 6). 26 The hymn was performed for the early summer Lag ba-‘omer festival, which typically entails “two days of spectacle and processions accompanied by music making” (Davis 2002:523). Ethnomusicologist Ruth Davis has found that, even in the early twentieth century, the Djerba Jewish community frequently set sacred texts to secular melodies, some taken from external sources to which they were exposed especially through the Lag ba-‘omer celebration (2002: 529–31).

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