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Este trabalho é composto pela tradução anotada do ensaio (Meu Púchkin, 1937), da poeta russa Marina Tsvetáieva, bem como por uma apresentação da obra em prosa da autora, de um modo geral, e do ensaio Meu Púchkin, em particular. Para tanto apontaremos seus principais procedimentos compositivos à luz de Mikhail Bakhtin, Tzvetan Todorov, Elisabeth Burgos, entre outros. / This research is composed by twou parts: a commented translation of the russian poet Marina Tsvetayevas essay (My Pushkin, 1937) and a presentation of her prose literary production, in a general way, as well as a particular focus on My Pushkin essay. To accomplish this task, the main compositive procedures have been pointed out in the light of Mikhail Bakhtin, Tzvetan Todorov, Elisabeth Burgos and other authors view.

Este trabalho é composto pela tradução anotada do ensaio (Meu Púchkin, 1937), da poeta russa Marina Tsvetáieva, bem como por uma apresentação da obra em prosa da autora, de um modo geral, e do ensaio Meu Púchkin, em particular. Para tanto apontaremos seus principais procedimentos compositivos à luz de Mikhail Bakhtin, Tzvetan Todorov, Elisabeth Burgos, entre outros. / This research is composed by twou parts: a commented translation of the russian poet Marina Tsvetayevas essay (My Pushkin, 1937) and a presentation of her prose literary production, in a general way, as well as a particular focus on My Pushkin essay. To accomplish this task, the main compositive procedures have been pointed out in the light of Mikhail Bakhtin, Tzvetan Todorov, Elisabeth Burgos and other authors view.

Poetry by Russian women which has been published since the fall of the Soviet Union reveals that the quest to explore female identity and experience is no longer inviolable in Russian literature. This thesis examines female personae, gender and cultural identity in the work of Russian poets Nina Iskrenko (1951--1994), Tatiana Voltskaia (b. 1960), and Iuliia Kunina (b. 1966). Although the poetics of these writers' texts are broad-ranging, all of their work takes up the subjects of gender and cultural identity. Their poems explore identity as a discursive practice, rather than a fixed construct within the strictures of authoritative metanarratives' binary oppositions (male/female, feminine/masculine, Russian/non-Russian). This lends their poetry to postmodern analysis, an approach that heretofore has rarely been applied to poetry by Russian women. Within this theoretical framework, Judith Butler's formulation of "performativity" and Mikhail Epstein's theory of "transculturalism" are particularly well-suited to the task, as each entails non-essentialist conceptions of identity. Donna Haraway's formulation of "woman" as cyborg" is also a fitting theoretical complement, as it suggests the hybridization of identity, as well as the increasing role of the Internet in contemporary and future developments in Russian literature. The rapid changes in the late- and post-Soviet cultural landscape have engendered in contemporary poetry by Russian women powerful, new expressions of gender and cultural identity, which are resulting in startling subversions of authoritative discourses while at the same time forging coalitional "transmodern" identities.

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The thesis follows the emergence of Joseph Brodsky`s work in the Czech Republic, it comments on the very first publications. The author enumerates and describes all of the Czech translations: poetic and prosaic (essays, dramas and dialogues) . Present work proposes very detailed analysis of translated poetry (translations were made by different authors from 1960`s till nowadays), characterizes stylistic approaches, methods of translation and provides comparison. The author gives information about Saint-Petersburg`s meetings of Joseph Brodsky and Václav Daněk - Czech poet and his further translator. On the basis of interviews, dialogues and memoires of the contemporaries the work illustrates poet`s attitude to famous people of Czech culture; it also mentions poetic translations of Joseph Brodsky made from Czech language. The work demonstrates Brodsky`s opinion on the creation of good translation. Also the author presents a number of Czech articles devoted to Josepf Brodsky and his work.

Este trabalho consiste na tradução dos três dramas líricos de Aleksandr Blok: Teatrinho de feira, O rei na Praça e A desconhecida, todas escritas em 1906, acompanhados do prefácio à primeira edição do volume Dramas líricos (1908) e do diálogo dramático Sobre amor poesia e serviço civil (1906). O nosso breve comentário procura contextualizar esta primeira obra dramática de Blok recorrendo aos poemas de Júbilo inesperado (1906), seu segundo livro de poemas. / This work is a translation of Aleksandr Bloks lyrical dramas: The Showbooth, The King on the Square and The Unknown Woman, all written in 1906, together with the preface to the book Lyrical Dramas (1908) and the dramatic dialogue On love, poetry and the public service (1906). The brief context given for these plays are the poems of his second poetry book, Unexpected Joy (1906).

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