Marina Tsvetáieva (18921941) escreveu a Anna Akhmátova (18891966), em carta de 1921: Eu sonhei com você, com o futuro livrinho... um tipo de magia antiga, algo como uma prece (o mais preciso seria dizer ao contrário). E, quando despertei, já sabia que o escreveria. Esse livrinho, em particular o ciclo de poemas Para Akhmátova, escrito por Tsvetáieva em 1916, será nosso objeto de tradução e análise neste trabalho. Essa característica de Tsvetáieva, esse escrever para seus poetas prediletos (e isso inclui outros de seus contemporâneos: Blok, Maiakóvski, Pasternak...), suas dedicatórias poéticas são aqui analisadas. Quanto ao Para Akhmátova, o que teria Tsvetáieva querido dizer com uma prece... ao contrário e de que modo isso se verifica no poema? É o que buscamos responder ao nos deter sobre essa imagem poética, usada por Tsvetáieva para descrever sua homenageada: Uma Mãe de Deus flagelante. Investigamos a seita religiosa dos khlisti, ou khlistovki (isto é, os flagelantes), que existiu na Rússia entre meados do século XVII e os fins da década de 1930. Que universo de implicações essa referência contém? De que maneira Tsvetáieva a usa para descrever certos traços religiosos (ou seria o caso dizer ao contrário) existentes na poesia akhmatoviana? Finalmente, analisamos a seita como um tema biográfico, narrado por Tsvetáieva em suas memórias de infância (As Flagelantes, 1934). Em que medida as relações amistosas de sua família com as Kirílovnas, flagelantes de Tarussa, e a atração da pequena Marina por aquelas religiosas, meio santas e meio heréticas (essa mesma atração pelo diabólico, a que Tsvetáieva se refere em outra narrativa da infância: O Diabo, 1935); em que medida essa inversão dos signos religiosos não estaria gravada na identidade da poeta e em sua poesia? Quais traços se averiguam, em sua obra poética, do que se poderia chamar uma consciência cismática? Enfim, falamos na existência do cenotáfio de Tsvetáieva, monumento funerário localizado na cidade de Tarussa, conforme desejo expresso pela poeta, no local onde ficava, naqueles tempos, o cemitério das flagelantes. / Marina Tsvetaeva (1892-1941) writes in a letter from 1921 to Anna Akhmatova (1889-1966). I dreamt of you, of the future little book... A kind of ancient magic, something like a prayer (it would be more precise to say the opposite). And when I woke up, I already knew what I would write. This little book, specially the cycle of poems To Akhmatova, written by Tsvetaeva in 1916, will be the subject of our translation and analysis in this work. We will analyze this trait of Tsvetaeva, this writing for her favorite poets (including some other contemporaries: Blok, Mayakovsky, Pasternak...), her poetic dedications. When it comes to Akhmatova, what would Tsvetaeva have meant by a prayer ... in reverse, and how does this takes place in the poem? This is what we seek to answer when we dwell on the poetic image used by Tsvetaeva to describe her honored poet: A flagellant Mother of God. We investigate the religious sect of the khlysty, or khlystovky (i.e., the flagellants), which existed in Russia between the mid-seventeenth century and the late 1930s. What universe of implications does this reference contain? In which way does Tsvetaeva use it to describe certain religious traits (or, maybe, the reverse) in Akhmatovas poetry? Finally, we examine the sect as a biographical fact, narrated by Tsvevaeva in her childhood memories (The Flagellants, 1934). To what extent did the friendly relations of her family with the Kirylovnas, flagellants from Tarussa, and the attraction of the small Marina to those religious people, half holy and half heretical (the same attraction to the devilish, to which Tsvetaeva refers in another childhood narrative: The Devil, 1935); to what extent would this inversion of religious signs be engraved on the poets identity and poetry? What traits can be observed in his poetic work of what might be called a schismatic consciousness? Finally, we speak about the cenotaph of Tsvetaeva, a funeral monument located in the city of Tarussa, according to her expressed desire, in the place where the flagellants cemetery was at the time.

Este trabalho propõe um estudo e a tradução direta dos ensaios escritos por Anna Akhmátova sobre a vida e a obra do escritor Alexander Púchkin. Tomar-se-á como bibliografia fundamental, portanto, o volume 6 da C (Coleção Completa) da autora. Tais ensaios têm o objetivo de preencher uma lacuna presente tanto nos estudos futuros sobre a poética de Anna Akhmátova quanto de Aleksandr Púchkin. Para tanto, a análise da obra também será contemplada, bem como o aprofundamento da vida e obra dos escritores à luz dos recursos teóricos e interpretativos oferecidos por Mikhail Bakhtin, Dominique Combe e Luiz Costa Lima. / This work proposes a study and translation of the essas written by Anna Akhmatova about Pushkins life and work. The Akhmatovas volume 6 of the C (Complete Works) will become the main bibliography. These essays have the objective to fill the void of future works not only about Anna Akhmatovas poetics but also Pushkins. For this purpose, a work analysis will be considered, as well as the deepening of the writers life and work in the light of theoretical and interpretative resources offered by Mikhail Bakhtin, Dominique Combe e Luiz Costa Lima.

Marina Tsvetáieva (18921941) escreveu a Anna Akhmátova (18891966), em carta de 1921: Eu sonhei com você, com o futuro livrinho... um tipo de magia antiga, algo como uma prece (o mais preciso seria dizer ao contrário). E, quando despertei, já sabia que o escreveria. Esse livrinho, em particular o ciclo de poemas Para Akhmátova, escrito por Tsvetáieva em 1916, será nosso objeto de tradução e análise neste trabalho. Essa característica de Tsvetáieva, esse escrever para seus poetas prediletos (e isso inclui outros de seus contemporâneos: Blok, Maiakóvski, Pasternak...), suas dedicatórias poéticas são aqui analisadas. Quanto ao Para Akhmátova, o que teria Tsvetáieva querido dizer com uma prece... ao contrário e de que modo isso se verifica no poema? É o que buscamos responder ao nos deter sobre essa imagem poética, usada por Tsvetáieva para descrever sua homenageada: Uma Mãe de Deus flagelante. Investigamos a seita religiosa dos khlisti, ou khlistovki (isto é, os flagelantes), que existiu na Rússia entre meados do século XVII e os fins da década de 1930. Que universo de implicações essa referência contém? De que maneira Tsvetáieva a usa para descrever certos traços religiosos (ou seria o caso dizer ao contrário) existentes na poesia akhmatoviana? Finalmente, analisamos a seita como um tema biográfico, narrado por Tsvetáieva em suas memórias de infância (As Flagelantes, 1934). Em que medida as relações amistosas de sua família com as Kirílovnas, flagelantes de Tarussa, e a atração da pequena Marina por aquelas religiosas, meio santas e meio heréticas (essa mesma atração pelo diabólico, a que Tsvetáieva se refere em outra narrativa da infância: O Diabo, 1935); em que medida essa inversão dos signos religiosos não estaria gravada na identidade da poeta e em sua poesia? Quais traços se averiguam, em sua obra poética, do que se poderia chamar uma consciência cismática? Enfim, falamos na existência do cenotáfio de Tsvetáieva, monumento funerário localizado na cidade de Tarussa, conforme desejo expresso pela poeta, no local onde ficava, naqueles tempos, o cemitério das flagelantes. / Marina Tsvetaeva (1892-1941) writes in a letter from 1921 to Anna Akhmatova (1889-1966). I dreamt of you, of the future little book... A kind of ancient magic, something like a prayer (it would be more precise to say the opposite). And when I woke up, I already knew what I would write. This little book, specially the cycle of poems To Akhmatova, written by Tsvetaeva in 1916, will be the subject of our translation and analysis in this work. We will analyze this trait of Tsvetaeva, this writing for her favorite poets (including some other contemporaries: Blok, Mayakovsky, Pasternak...), her poetic dedications. When it comes to Akhmatova, what would Tsvetaeva have meant by a prayer ... in reverse, and how does this takes place in the poem? This is what we seek to answer when we dwell on the poetic image used by Tsvetaeva to describe her honored poet: A flagellant Mother of God. We investigate the religious sect of the khlysty, or khlystovky (i.e., the flagellants), which existed in Russia between the mid-seventeenth century and the late 1930s. What universe of implications does this reference contain? In which way does Tsvetaeva use it to describe certain religious traits (or, maybe, the reverse) in Akhmatovas poetry? Finally, we examine the sect as a biographical fact, narrated by Tsvevaeva in her childhood memories (The Flagellants, 1934). To what extent did the friendly relations of her family with the Kirylovnas, flagellants from Tarussa, and the attraction of the small Marina to those religious people, half holy and half heretical (the same attraction to the devilish, to which Tsvetaeva refers in another childhood narrative: The Devil, 1935); to what extent would this inversion of religious signs be engraved on the poets identity and poetry? What traits can be observed in his poetic work of what might be called a schismatic consciousness? Finally, we speak about the cenotaph of Tsvetaeva, a funeral monument located in the city of Tarussa, according to her expressed desire, in the place where the flagellants cemetery was at the time.

Este trabalho propõe um estudo e a tradução direta dos ensaios escritos por Anna Akhmátova sobre a vida e a obra do escritor Alexander Púchkin. Tomar-se-á como bibliografia fundamental, portanto, o volume 6 da C (Coleção Completa) da autora. Tais ensaios têm o objetivo de preencher uma lacuna presente tanto nos estudos futuros sobre a poética de Anna Akhmátova quanto de Aleksandr Púchkin. Para tanto, a análise da obra também será contemplada, bem como o aprofundamento da vida e obra dos escritores à luz dos recursos teóricos e interpretativos oferecidos por Mikhail Bakhtin, Dominique Combe e Luiz Costa Lima. / This work proposes a study and translation of the essas written by Anna Akhmatova about Pushkins life and work. The Akhmatovas volume 6 of the C (Complete Works) will become the main bibliography. These essays have the objective to fill the void of future works not only about Anna Akhmatovas poetics but also Pushkins. For this purpose, a work analysis will be considered, as well as the deepening of the writers life and work in the light of theoretical and interpretative resources offered by Mikhail Bakhtin, Dominique Combe e Luiz Costa Lima.

The master’s thesis «“Poem Without a Hero” by Anna Akhmatova: Poetics of Inkompleteness» makes an attempt to investigate one of the main works of A. Akhmatova’s late period from the perspective of the phenomenon of incompleteness. The logic of studying is determined by two important aspects of the phenomenon – aesthetic and ontological. The first chapter is devoted to the theoretical grounds for the incompleteness. Some peculiarities of the verse ordonnance are considered in the second chapter. The specificity of the creative mind expressed in the fundamental text categories such as subjectival and spatiotemporal ordonnances is considered in the third chapter. Generally the master’s thesis is the basis for distinguishing some general principles of inkompleteness. These principles seem to be concerned with the «Poem Without a Hero» creative history. / В магистерской диссертации «“Поэма без героя” Анны Ахматовой: поэтика незавершенного» предпринимается попытка исследовать одно из главных произведений позднего творчества А. Ахматовой с позиции феномена незавершенного, выделение двух важнейших аспектов которого – эстетического и онтологического – обусловливает и логику работы. Первая глава посвящена обоснованию явления незавершенности, в том числе, разграничению понятий завершенное/незавершенное и законченное/незаконченное произведение; во второй главе рассмотрены некоторые особенности стиховой организации «Поэмы», в том числе специфика варьирования строфы; в третьей главе рассматривается специфика художественного сознания, явленная в таких текстообразующих категориях, как субъектная и пространственно-временная организации. В целом диссертация служит основанием для выделения нескольких принципов незавершенности, с которыми, как представляется, связана творческая история «Поэмы без героя».

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В магистерской диссертации рассматривается ключевая тема для позднего периода творчества Анны Ахматовой – тема поколения, отразившиеся и в Записных книжках поэта, которые велись с 1958 по 1966 год. Связующим звеном становится память, обеспечивавшая связь времен, а значит, и поколений внутри единого пространства истории В работе представлен анализ трех историко-литературных поколений, чью судьбу делила и видела Анна Ахматова на протяжении жизни: во-первых, это поколение 1910–1920-х годов, на время которых выпало две революции и Первая Мировая война; во-вторых, это поколение 1930–1940-х годы, ставших олицетворением репрессий, ежовщины и Второй Мировой войны; в-третьих, это поколение 1950–1960-х года, которое прежде всего отождествляются с «оттепелью». / The master's thesis examines the key theme for the late period of Anna Akhmatova's work – the theme of generation, reflected in the Notebooks of the poet, which were conducted from 1958 to 1966. The connecting link is memory, which provided a link between times, and therefore generations within a single space of history. The work presents an analysis of three historical and literary generations, whose fate was shared and seen by Anna Akhmatova throughout her life: firstly, this generation of the 1910s-1920s, during which two revolutions and the First World War fell; Secondly, this is the generation of the 1930s and 1940s, which became the personification of repression, Yezhovism and World War II; thirdly, this is the generation of the 1950s and 1960s, which is primarily identified with the "thaw".

The thesis focuses on the rendering of the poetics of Anna Akhmatova and Marina Tsvetaeva in Czech translations. The first part deals with the phenomenon of poetesses in the Russian literature and subsequently with Akhmatova's and Tsvetaeva's life, works, style and reception. The second part is focused on contrastive translatological analysis of different approaches to their poetry and detailed analysis of existing Czech translations of Akhmatova's poem Rekviem and Tsvetaeva's work Popytka revnosti. It defines the approach of all translators to translation and evaluates the quality and adequacy of individual translation solutions in relation to the author's style and intention.

Requiem for Netted Fish is an intermedia composition for sixteen-voice SATB choir, harp, six dancers, slide projections, and lighting. The text, taken from the poetry of Anna Akhmatova and Carolyn Forche, presents a universal, womanly rage against human repression and destruction. The poetry finds aural interpretation in sound, and visual interpretation in movement and lighting. Poetic inspiration contributes to the integration of elements in the work, as does the impulse-exchange method of coordinating mediums, which allows the dancers control of the timing of events. The resultant interdependent relationships necessary for performance contribute to the integration of the composition. The duration of this intermedia work is approximately fifteen minutes.

Магистерская диссертация представляет собой исследование переводов Анны Ахматовой из древнекитайской поэзии. Сопоставительный анализ «оригинал – подстрочник – перевод» ведется на трем основных уровнях: лексическом, образном и строфически-композиционном. В итоге делаются выводы о том, что из двух способов перевода – дословное воспроизведение языка оригинала и перевод, основанный на стремлении отразить "дух", Ахматова избирает второй. / This master's thesis is a study of Anna Akhmatova's translations from ancient Chinese poetry. The comparative analysis of "original - word for word translation - translation" is conducted on three main levels: lexical, figurative and strophic-compositional. The conclusion is that Akhmatova chooses the second of the two modes of translation - word for word translation of the original language and translation based on the desire to reflect the "spirit".