Entre 1922 e 1936, os poetas russos Marina Tsvetáieva e Boris Pasternak mantiveram intensa correspondência, na qual discutem suas ideias a respeito de arte, poesia, se dedicam poemas, falam sobre a vida cotidiana. Exilada, Tsvetáieva despontava como uma das principais vozes de poetas emigrados, primeiro em Praga e depois em Paris. Já Pasternak continuou nos círculos literários de Moscou. No verão de 1926, os dois poetas também trocaram cartas com Rainer Maria Rilke. Este trabalho propõe uma tradução do russo para o português das cartas entre Tsvetáieva e Pasternak desde o começo, em meados 1922, até 1926, momento da morte de Rilke. Além da tradução, esta tese discute a trajetória de ambos os poetas no sistema literário da época com base nos trabalhos de Catherine Cipiela, Olga Zaslavsky e Lazar Fleishman, entre outros, e procura contextualizar as discussões travadas e situá-las no formato epistolar. Por fim, são abordadas as questões de tradução e da linguagem de ambos, com base, entre outros, no estudo de Aurora Bernardini sobre a tradução da obra lírica de Tsvetáieva. / Between 1922 and 1936, Russian poets Marina Tsvetáieva and Boris Pasternak kept an intense correspondence exchanging ideas about art and poetry, dedicating poems to each other and discussing their everyday lives. Living in exile, first in Prague and then in Paris, Tsvetáieva emerged as one of the main voices among emigré poets, while Pasternak remained in Moscow, as a member of the literary circles of the new capital city. In the summer of 1926, both poets also exchanged letters with Rainer Maria Rilke. This thesis presents a translation from the Russian to Portuguese of the letters exchanged by Tsvetáieva and Pasternak from the beginning of their correspondence, by mid-1922, to the end of 1926, the time of Rilkes death. It discusses the trajectory of both poets in their times literary system based on the works of Catherine Cipiela, Olga Zaslavsky and Lazar Fleishman, among others , and puts in context such discussions, placing them in the frame of the epistolary format. The issues of translation and language of both poets are also addressed, based, amongst others, on the work of Aurora Bernardini about the translation of Tsvetáievas lyric works.

Denna studie undersöker och belyser sambanden mellan ryske författaren Boris Pasternaks erhållande av Nobelpriset i litteratur (1958) och spridningen av dennes författarskap. Syftet med studien är dels att definiera Nobelprisets roll som kulturspridare, men också att problematisera kulturprisers komplexa funktioner och inflytande över kulturell produktion. För att göra detta har två områden analyserats: Pasternaks utgivning på svenska samt dennes förekomst i svensk dagspress mellan 1953–2013.   I analysen påvisas Nobelprisets starka konsekrerande effekt på ett författarskap såväl som prisets förmåga att på lång sikt kanonisera en författare. I enlighet med Englishs teori om hur kulturpriser verkar som medium för kapitalutbyte, framgår det också i analysen hur flera involverade intressenter kapitaliserat på Pasternaks pris genom att växla in kulturellt, ekonomiskt och medialt kapital. I analysen förtydligas dessutom hur kulturprisapparaten skapar och förstärker kulturellt värde, och hur dess inflytande därmed inte inskränker sig till den kulturella scenen utan också har möjligheten att påverka den allmänna politiska opinionen. / This study explores and sheds light upon the relations between Russian author Boris Pasternak’s Nobel Prize in Literature (1958) and the subsequent proliferation of his authorship. The study’s aim is partly to define the Nobel Prize and its role as a distributor of culture, but also to problematize the complex nature of cultural prizes and their influence over cultural production. In order to do this two areas have been analysed: Pasternak’s publication in Swedish and his occurrence in Swedish daily press between 1953–2013.   The analysis exemplifies the strong consecrating power of the Nobel prize, as well as its ability to, in a longer perspective, solidify an author into a literary canon. In line with English’s theory on how cultural prizes have come to serve as forums for capital intraconversion, it is also evident in Pasternak’s example how several of the involved parties have capitalized on the prize by trading cultural, economic and medial capital. Furthermore, the analysis concretizes how the cultural prize apparatus produces and reinforces cultural value, and consequently not only influences the cultural scene, but also has the potential to sway public political opinion.

(in English): This thesis deals with a version of Boris Pasternak's novel Doctor Zhivago, translated into Czech by Jan Zábrana and Jiří Kovtun. The aims of the thesis are: (1) to follow the journey of the original exile edition from Italy to communist Czechoslovakia, (2) to clarify how both translators contributed to the poetry part of the novel, (3) to outline Zábrana's translation method a comparison of chosen typewritten versions of the translation from various phases of its creation. The primary source of material for all the individual objectives is Zábrana's inheritance, which answers the question why Jiří Kovtun's name does not appear in the first Czech edition of Doctor Zhivago (1990), although he is listed along with Zábrana as the translator of the poetry part in the remaining three editions (2003, 2005, 2011). The original material from the inheritance as well as Marie Zábranová's testimony emphasize the sequence of events that influenced the creation of Zábrana's translation. The final analysis compares chosen typewritten versions of the novel's eighth chapter with the first Czech edition and describes how Zábrana worked. The thesis aims to be beneficial for the Czech history of translation and contribute to the current knowledge about the translation method of Jan Zábrana. Keywords Jan...