Faculty of Philology
Lomonosov Moscow State University
Faculty of Arts
State Institute for Art Studies
Gerasimov Institute of Cinematography (VGIK)

On the Occasion of the 100th Anniversary of the Birth of Tonino Guerra


Conference Programme

16 March
Faculty of Philology, Lomonosov Moscow State University
GSP-1, Leninskie Gory
The Pushkin Room (972)

Naum Kleiman (film historian, founder of the Moscow Cinema Museum)
Opening Remarks

11:30 – 14:00
Session 1 – Hybrid Images: Verbal, Visual and Performative

Salnikova Ekaterina (SIA). Textures of the Desert: Universal Metaphors in the works of Tonino Guerra
Tatiana Levchenko (HSE). Tonino Guerra’s Il Miele directed by Yuri Lyubimov: Observations of a Reader and a Viewer
Natalia Balandina (SIA). Word and Image in Theo Angelopoulos’ Film Collaborations with Tonino Guerra
Olga Frolova (MSU). Women in Blow Up
Nina Moroz (MSU). The Grey-Bearded Lion, or I Remember

14:00 – 14:30 Coffee Break

14:30 – 16:00
Session 2 – Interculturality as Creative Strategy

Tatiana Danilyants (film director, poet). An Armenian Trace in the Life and Work of Tonino Guerra
Cheti Traini (University of Urbino). Sceneries of Memory and Heart: Tonino Guerra’s La pioggia tiepida. A Journey from Russia to Italy
Tatiana Bystrova (MCU). Moscow and St. Petersburg in the Creative Mind of Tonino Guerra

16:00 – 16:15 Coffee Break

16:15 – 18:15
Session 3 – Tonino Guerra’s Screenplays: the Sacred, the Magic and the Political

Alexandra Bibikova (MSU). Love Sacred and Love Profane in Tonino Guerra’s Last Screenplay The Forbidden Dance
Ekaterina Kalinina (MSU). Amarcord as a Lyric Cycle
Polina Pronina (RSUH, Ca’ Foscari University of Venice). Making the Irreal Real: Phantasmagoria in the Screenplays of Tonino Guerra
Denis Viren (SIA). Politics, Ethics and Poetics in the 1970s Films of Francesco Rosi

18:30 Reception

17 March
State Institute for Art Studies
5, Kozitsky pereulok
The Mirror Room

11:00 – 13:00
Guerra, Tarkovsky, Sokurov: Real and Imaginary Dialogues

Lev Naumov (independent researcher). Tarkovsky and Guerra – from A Voyage to Italy to Nostalgia, or A Motherland Shared by a Russian Filmmaker and an Italian Scriptwriter
Giulia Carnevali (Associazione Tonino Guerra). Un poeta nel cinema: l’incontro non occasionale fra Tonino Guerra e Andrej Tarkovskij
Diane Nemec Ignashev (Carleton College, MSU). Tonino Guerra – the Unsung Hero of Aleksandr Sokurov’s Moscow Elegy
Cristina Matteucci (University of Urbino). The Fool in the Work of Tonino Guerra: from Rural Madman to Jurodivyj

13:00 – 14:00 Break

14:00 – Tempo di viaggio (1983 / 62 min.) by Andrei Tarkovsky. Presented by Natalia Balandina

15:15 – 15:30 Break

15:30 – Seven Episodes from the Life of a Director (2017 / 95 min.) by Tatiana Levchenko (The Research Centre for the Studies of Creative Work of Yuri Lyubimov and the Theatre of 20-21st century, Higher School of Economics).
A film about Yuri Lyubimov’s work directing Il Miele, based on a poem by Tonino Guerra. Presented by the filmmaker

17:15 – 17:30 Break

Conference Special Guest:
Yuri Arabov (VGIK)

18 March
State Institute for Art Studies
5, Kozitsky pereulok
The Screening Room

13:30 – L’Eclisse (1962 / 126 min.) by Michelangelo Antonioni. Presented by Daniil Smolev

16:00 – E la nave va (1983 / 133 min.) by Federico Fellini. Presented by Natalia Balandina

Conference Curators:
Polina Rybina (MSU), Ekaterina Kalinina (MSU), Denis Viren (SIA)
Members of the conference organizing committee:
Tatiana Venediktova (MSU), Olga Frolova (MSU), Svetlana Slavkova (University of Bologna), Diane Nemec Ignashev (Carleton College, MSU), Alexander Lobodanov (MSU), Tatiana Gnedkovskaia (SIA), Sergei Kapterev (VGIK)

Open Call – Poetic Experience and the “Language Experiment” An International Conference on the Occasion of the Walt Whitman Bicentennial


Poetic Experience and the “Language Experiment”

An International Conference on the Occasion of

the Walt Whitman Bicentennial

24–25 October 2019

Lomonosov Moscow State University

Higher School of Economics


Walt Whitman posed radical challenges to traditional prosody, introducing forms, as well as subject matter, that forever altered American poetry. Leaves of Grass—especially the early editions of 1855, 1856, and 1860—exemplifies his profound innovations in poetic language, their major directions to be taken up and developed by several generations of the avant-garde.

Leaves of Grass comprises an artistic exploration of the fluidity, mutability, diversity and equality of the physical-emotional and spiritual in human experience. As such it invites readings from from the vantage not only of literary history, but of anthropology, cultural studies, cognitive studies, and other fields, each of which may reveal the work’s experimental nature in new light.

“I sometimes think the Leaves is only a language experiment,” Whitman commented in his later years (American Primer, viii). Not only writers, but students of Whitman’s poetry honor the poet’s experiment by posing equally experimental questions: What is poetic form? How does poetry affect us when it rejects metrics, rhyme, and stylistic homogeneity, and demonstratively approximates prose? How do readers participate in the creation of poetry’s effect? How, if at all, are the poet’s experiments in and through his native language rendered (or transformed) when translated into other languages? When adapted to new media?

We welcome presentations that address Walt Whitman’s poetry, its reception, comparative studies, translations, and examinations of various attempts at adaptation and reformulation. The range of proposed subjects for discussion includes (but is not limited to) the following:

  • the variety of goals, means, and contexts for (re-)reading Leaves of Grass—from the philosophical and aesthetic to the therapeutic: what makes Whitman a classic today;
  • the self-reflexivity of poetic language in Leaves of Grass, its dramatization of the creative process, and the performativity of word and gesture in Whitman’s work;  
  • investigations of sensory reception as a substratum of aesthetic experience; the dynamism and energy of Whitmanian form; the displacement (or replacement) of metrics by rhythms of the body and breathing;
  • the challenge of Whitman’s “untranslatability” and the reception of his legacy in other literary cultures; the history of translations of Leaves of Grass into Russian and possible new strategies for retranslation; the creation of modern-day alternatives to canonical renderings in Russian and other languages.

Deadline for the submission of proposals: 15 September 2019

Submit proposals as well as questions about the conference to:

An International Creative Writing Workshop

“Song of Myself” in the World Today:

The Ethics and Aesthetics of First-Person Discourse

25–26 October 2019

As an extension of the conference preceding it, the workshop proposes as its goals: 1) to awaken new interest in Walt Whitman’s work within the Russian reading public, and 2) to facilitate—with reliance on international experience—the development of creative writing programs within the Russian educational system.

Картинки по запросу уитмен