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In Honor of Distinguished Professor Mary Ann Caws
The Henri Peyre French Institute brings you:


A Surrealist Moment


An Evening of Surrealist Performances.
October 19th 5.30 pm -7.30pm
The Martin Segal Theater
Doors OPEN at 5.00pm. Refreshments will be served after the show.



A Day-Long Symposium on Nineteenth-Century French Studies
in Honor of Professor Julia Przybos

Friday, April 21, 2017,

10:00AM - 8:00 PM

The Graduate Center CUNY, Rooms 9205 & 4202


Students, alumni and faculty of the Graduate Center, CUNY along with guest speakers Claudie Bernard (NYU), Rachel Corkle (BMCC), Rachel Mesch (Yeshiva), Raisa Rexer (Vanderbilt), Wilson Decembre (Hunter College) and Chapman Wing (College of Staten Island).

Full Program here

Special thanks to: The Henri Peyre Institute, Prof. Julia Przybos, Prof. Francesca Sautman, Prof. Sara McDougall, Patricia Winter, Marguerite Van Cook, Christopher Campbell and Sabeel Kazi


Thursday Mar 17 

Illegitimacy in Late Medieval and Early Modern Europe

2:00-4:00 PM,

Room 9205

Sara McDougall (French, John Jay and The Graduate Center): “Bastards and Bastard Priests in Medieval Europe”

Glenn Burger (English, Queens and The Graduate Center): “Bedroom Conduct: Legitimizing Late Medieval/Early Modern Marital Relations”



Judicial Truth and Cinematographic Truth: The Filming of the Eichmann Trial

Wed, Feb 8, 2017, 06:30 PM – 08:30 PM
Room 4202

About the event

Based on the archives of the state of Israel and those of filmmaker Leo Hurwitz, Sylvie Lindeperg (French historian, Université Paris 1 Panthéon-Sorbonne) examines both the unprecedented decision to videotape the Eichmann trial in its entirety and the subsequent negotiations between broadcasting executive Milton Fruchtman, the Israeli government, and the judges in charge of the case. While her analysis of the recorded documents reveals the scenario’s principal tropes, her study of Hurwitz’s preparation for the trial underscores the disparity between the intentions and expectations of the filmmaker and the material reality of the event. In pursuing these lines of investigation, her talk explores the interaction between judicial ritual and TV drama as well as the unavoidable influence of the recording itself.

Sylvie Lindeperg is a historian whose research explores the relationship between cinema, history, and memory. A member of the Institut Universitaire de France, her books include Les Écrans de l’ombre (1997/2014), La Voie des Images (2013), and Night and Fog: a Film in History, which appeared in English in 2014. She is coauthor of the documentaries Face aux Fantômes (Jean-Louis Comolli, 2008) and Après la Nuit: Traces Filmées de la Résistance (Ginette Lavigne, 2014) and runs the Center for Research in Film History and Aesthetics at Paris 1.

Cosponsored by the PhD Program in French, the Film Studies Certificate Program, the Ph.D. Program in History at the Graduate Center CUNY, and the Romance Languages Department at Hunter College


Saturday, October 22, 2016, from 10 am to 3 pm

Hosted by the French Program and the Urban Education Program, CUNY Graduate Center
Room 4202, The French Lounge, CUNY Graduate Center, 365 Fifth Avenue (at 34th Street)

New York Freud Lacan Analytic Group presents:
Culture & Psychoanalysis


Flat Surface Painting and the Plane of Alterity

A lecture in two parts by Adrian Price in celebration of the painting “Squint (19)” by Michael Simpson


The first lecture, “Figure, ground, and screen”, will draw on Frank Stella’s Aluminum series and Bernd & Hilla Becher’s photographic project to suggest that the shaped frame and the blank ground constitute different ways of problematizing the edge in such a way as to subvert visual cognition.(Oct 19th 7.30 pm Room 5409).

The second lecture, “An oblique heresy”, will examine the dialectic between pictorial space and the screen of the Other that facilitates the return movement of the gaze-object as conceptualized by Jacques Lacan. Further to performing within this pictorial discipline, Michael Simpson's recent “Squint” paintings offer a wry and scintillating acknowledgment of its parameters, together with a critique of normalizing conventions. 

Psychoanalyst Adrian Price studied painting under Michael Simpson in the early 1990s at Bath College of Art. After moving to Paris in 2000, he trained at the École de la Cause freudienne and was editor-in-chief of the journal of the New Lacanian School, Hurly-Burly. He has translated Lacan’s Seminars X and XXIII into English (Polity 2014; 2016).
Michael Simpson was born 1940 in Dorset, UK, and lives in Wiltshire UK. He studied at Bournemouth College of Art (1960) and Royal College of Art, London (1963). Recent solo exhibitions include: David Risley Gallery; Flat Surface Painting, Spike Island, Bristol, UK; and Study #6. Michael Simpson, David Roberts Arts Foundation, London. Simpson’s first solo show was at Piccadilly Gallery in 1964. He has since exhibited continuously, including solo shows at Arnolfini, Bristol, and Serpentine Gallery, London. In 2016, he won the John Moores painting prize.

Free. All are welcome

Abbas Fahdel in Conversation

Wednesday October 5th. 5:00 PM
Skylight Room 
Professor Giancarlo Lombardi introduces Abbas Fahdel for a conversation about the making of the film Homeland (Iraq Year Zero) and the boom of independent documentaries, but also hear his views on the US presence and the current state of Irak, and his vision of today’s France. 

Shortly before the US toppled Saddam Hussein, Irak-born director Abbas Fahdel left France to film his family and friends in Babylon and Bagdad, Irak. He feared everything – and everyone would be wiped out. His world-acclaimed dcumentary: "Homeland: Irak Year Zero" is the moving and intimate result of this adventure, before and during the war.
 A screening of Homeland (Iraq Year Zero) part 2 will precede the conference earlier on Wednesday 5th October, from 1 pm until 4pm.

The Center for the Study of Women & Society presents:


“Offstage Direction: French Women and the Reshaping of the Renaissance Theater”

Thursday, September 15, 2016, 6:00-7:30pm., Room 9207
fol 23v of Bodleian MS Douce 91, La Coche of Marguerite de Navarre
fol 23v of Bodleian MS Douce 91, La Coche of Marguerite de Navarre
 This event is cosponsored with the Society for the Study of Women in the Renaissance, SSWR


2017 French Graduate Students Conference. Fabrications of Reality

MAR 24, 2017 | 9:30 AM TO 6:30 PM

Fabrications of Reality

9100: Skylight Room

March 24, 2017: 9:30 AM-6:30 PM
Keynote Speaker: Kyoo Lee,
Philosopher Professor.
John Jay College, CUNY

“Fabrications of reality - Fabriques du réel”
Storytelling and fiction aren’t solely found in literature. Prevalent ideologies also tell us stories that determine and shift our perception of reality. At the same time, reality seems to have become more and more unreadable; supposedly objective sources of knowledge (such as pre-election polls) have become unreliable. There is, of course, no objective reality, only fabrications. More interesting is how our realities are fabricated, both in life and in literature. Authors have approached the fabrication of the text, or text as fabric, in a multitude of ways. Writers and scholars from François Rabelais to Michel Foucault have written extensively on ways of revealing and subverting the fabricated realities of dominant structures of power, through vastly different methodologies. Roland Barthes unraveled the idea of literature as a fixed and singular object, turning it into a landscape that could be entered and explored with his Mythologies and his extensive research on the text. At the same moment as the field of linguistics was opening up literary critique, and transforming varied forms of social discourse into “text,” concepts of reality began to incorporate and absorb notions from literature.

Thus, Daniel Chartier writes that every location is just as shaped by the experiential and phenomenological qualities of its inhabitants as by its physical characteristics, a unified strata of discourses (l’idée du lieu). Similarly, maps as texts confront us with this impossibility of knowing, of reading the world objectively or accurately, limited as they are by their creators’ knowledge, desires, and political alignments. Fictitious borders are invented, shaped by power, traced onto maps, and then applied to the world. For José Muñoz, “queer world-making, then, hinges on the possibility to map a world where one is allowed to cast pictures of utopia and to include such pictures in any map of the social” (Cruising Utopia). Muñoz argues that queerness is never yet arrived, but continually constructed as the “not yet.” In this sense, fabrication is the continual creation of utopian potential. How can literature develop these potentialities, whether by reflecting, distorting, or shaping (and being shaped) by our realities?

 Discussions include: Autofiction, Bovarysme,  Detective novel, Dandyisme, Fabrications of identity, Foucault and “énoncés” (acte de langage), Orientalism, Queer utopias, Utopian and dystopian texts,  Reality as text,    Sara Ahmed and the reading a text queerly/slantwise, Semiotics and mapped realities, Places as text/ Texts as places.
Conference Organizers: Iziar De Miguel, Sarah Yahyaoui, Oliver Sage.
art by James Romberger

Sponsored by The French Department, Henri Peyre French Institute, DSG.