By John Thieme
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It is a replica of a booklet released prior to 1923. This booklet can have occasional imperfections akin to lacking or blurred pages, terrible photos, errant marks, and so forth. that have been both a part of the unique artifact, or have been brought through the scanning approach. We think this paintings is culturally vital, and regardless of the imperfections, have elected to convey it again into print as a part of our carrying on with dedication to the maintenance of published works all over the world.
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Additional info for A Female Houdini: Popular Culture in Margaret Atwood's Lady Oracle
Regarding the former, as noted previously a significant amount of my data (and lived experiences) reflect the time period of 2003–2005. Upon return to the United States in 2005, however, I continued to carry out research, including online ethnography70 (largely discussions and informal interviews 28 chapter 1 with old and new contacts via email and chat sites, as well as regular perusing of gay-themed Russian websites and forums), discussions and informal interviews with gay Russian and Russian-speaking Ukrainian men (some of whom were met during the time I lived and worked in Sheepshead Bay and Brighton Beach, Brooklyn, neighborhoods with sizable Russian-speaking populations), and habitual reading and viewing of—and listening to—all types of Russian media, including television programs, newspapers, music, and films.
Petersburg (which was often). Notably, however, Gleb often 20 chapter 1 chose not to stay there, as he said he felt odd living alone. Several of my informants, in fact, did not understand why I had opted to rent an apartment and live on my own, some assuming it was because I didn’t know people in St. Petersburg (or Moscow); when I informed them that I simply preferred to live by myself, they found it strange and possibly proof of their assumptions that Americans were self-absorbed, materialistic, and unable to have truly dushevnye relations with others.
In this chapter, I examine the relationship between gay Russian men and both Western and Russian popular musics, including a discussion of the formal attributes of the latter that distinguish it from the former, and highlighting the ways in which lived experience—apprehended, in part, as a porosity of borders and operating as both a material and conceptual dynamic—inflects the interaction between these men and audible culture. The material and conceptual aspects of these musical contacts, in an explicitly gay male context, may be seen as operative in two products released in St.