Land of Fans and Music 3 is the third Land of Fans and Music compilation, containing 63 tracks:.Nevermore (Can't Sleep, Crows Will Find Me).Brofessor Layton (Every Puzzle Has A Brolution).Land of Fans and Music 2: We Still Have No Snappy Subtitle is, as promised, the second compilation of fanmade Homestuck music, made by over 40 musicians, including Dante Basco.SBURB Original Soundtrack is, as the name indicates, a hypothetical soundtrack for the SBURB game itself.The organizer behind the above album has confirmed more albums will come in the future, using both music that simply wasn't selected for the first album from the vast amount of fan music made, and directed projects revolving around a theme. In addition to music from fans, it contains tracks from some members of the music team dating from before they joined the team, as well as a handful of music team tracks that weren't released officially either due to sounding too similar to other songs or other legal reasons. Land of Fans and Music: Homestuck Fan Music Album One is a compilation of fanmusic, the tracks originating anywhere from the early days of Homestuck to the very recent.The Conclusion assesses Tynianov’s contribution to the 20th century fictional Pushkiniana and reflects on his innovative transgeneric historical novel which broke the normative restrictions of the genre, elevated it to the level of ‘serious’ literature and made it conducive to stylistic experimentation. Pushkin’s mythopoeia which reveals itself in Tynianov’s subversively ironical and playful use of myth in both novels. Chapter 4 investigates Tynianov’s scepticism about Abram Gannibal’s and A. Chapter 3 explores the concept of history underlying Tynianov’s interpretation of the characters and events and the historiographical practices he employed in his analyses of the factors that shaped Pushkin’s own historical thinking. Chapter 2 shifts the examination of Pushkin as a historical novel to its study within the generic framework of the Bildungs, Erziehungs and Künstlerromane with their particular problematics which allowed Tynianov to grapple with a cluster of moral, philosophical and educational issues, and to explore the formative influences on the protagonist’s identity as a poet. The conditions giving rise to contemporary interest in the genres of biography and the historical novel are deliniated and the critical issues surrounding these are examined Tynianov’s concern to secularise the rigid monolith of an all but sanctified ‘state-sponsored Pushkin’ and the difficulties of the task are also reviewed. Chapter 1 contextualises Tynianov’s contribution to the current debates on the novel’s demise, ‘large’ form and the worthy protagonist. This thesis is the first extensive study devoted to the generic originality of Iurii Tynianov’s representation of Pushkin in his two historical novels, Pushkin (1935-1943) and the abandoned The Gannibals (1932). The book will be of interest to scholars in Russian literature, comparative literature, applied linguistics, translation studies, and the rapidly developing field of self-translation studies. The unprecedented recent dispersion of Russian speakers over three continents has led to the emergence of a new generation of diasporic Russians who provide a more receptive milieu for multilingual creativity. Wanner argues that the perceived marginality of self-translation stems from a romantic privileging of the mother tongue and the original text. Investigating the parallel versions of self-translated poetic texts by Vladimir Nabokov, Joseph Brodsky, Andrey Gritsman, Katia Kapovich, Marina Tsvetaeva, Wassily Kandinsky, and Elizaveta Kul’man, Adrian Wanner considers how verbal creativity functions in different languages, the conundrum of translation, and the vagaries of bilingual identities. The Bilingual Muse analyzes the work of seven Russian poets who translated their own poems into English, French, German, or Italian.
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