1.
L’Enigme de la fatalite (The enigma of Fatality) Giorgio de Chirico 1914 Non: pas meme la tres belle et tres utile Porte Saint-Denis (No: not eve the very beautiful and very useless Porte Saint-Denis), Jacques – Andre Boiffard

2.
The idea of estrangement, or dépaysement as Breton called it, was a crucial function of Surrealism. And this had partly at least to do with the indeterminacy of images, either in the kind of dream narrative Breton saw in de Chirico’s work., or through the autonomist techniques used by others, such as Masson and Miro. In vision induce by the Nocturnal Aspect of Porte Saint-Denis, Ernst characteristically used a combination of both. Vision provoquee par I’aspect Nocturne de la Porte Saint-Denis (Vision Induced by the Nocturnal Aspect of Port saint-denis), Mark Ernst Using frottage(rubbing) and grattage(scraping) for creating this artwork.

3.
La Ville entiere (The Entire City), Max Ernst Through the inconclusiveness of the imagery(Vision Induced by the Nocturnal Aspect of Porte Saint-Denis) Ernst suggests that the city is also a place that harbours fear. Surealist thinking of social revolution during the thirties, Ernst painted a series of pictures called The Entire City , concerned with the city as a sort of labyrinth, with strata and substrata, rather than the ideal view of the modern city espoused by contemporaries such as Le Corbusier.

4.
Frued's view of the uncanny heimlich - homely , familiar, not so strange Unheimlich - translated into English as uncanny - the name for everything that ought to have remained secret and hidden but has come to light what interests frued is this sense of the uncanny combined with a sense of the familiar. The idea that uncanny is something secretly familiar. It is something that has been repressed, since for freud the prefix "un" was the token of repression. The uncanny still leads back to the animistic and to magic, such as Ernst's monstrous forms in The Horde, or the haunted forest or the figure of Loplop(Ernst's own mythical guardian spirit) or the indeterminate forms of The fragrant forest. Here the forests become like a metaphor, like the city for the unconcious where memory lurks, where secrets are hidden. but there is also a social aspect to the uncanny to the idea of the unhomely

5.
After seeing Offenbach's tales of Hoffman that Hans Bellmer began producing his series of dolls with dismembered lims, which have subsequently been read in freudian terms as playing out castration anxiety. Poupee(dioll), Hans Bellmer

6.
The hundred headless woman, Mark Ernst The interoir is made strange or unheimlich, and is the site in which fantasies are played out. The cut - out fashion plate engravings of female figure are like two-dimensional equivalents of mannequins. that act as alibis for the main drift of the story

7.
Le Jeu Lugubre(The lugubriuous game), Salvador Dali le jeu lugubre The lugubrious game lugubre – dismal - dali used the dream narrative amd juxtaposed incongruous elements and monstrous forms. he also used various motifs(such as grasshoper) as the objects of an obsessional phobia of his own. In contrast with his later work which places the dream narrative in an illusionistic, three dimesnional space, Dali's use here of a 'landscape' setting is more fragmented.

8.
Psychonalaytic plan of the contradictory representations in salvador dali's "the lugubrious game" A.) the fragmented, disperesed forms in the upper part of the canvas represent desires, shown in the upward movement or ascension of 'objects of desire'. through which punishment is sought out B.) The figure in the lower right hand corner, with soiled plants, tries to escape emasculation by adopting an ignominous and sickening attitude C.) the statue in the left, the figure contemplates his own emasculation with equanimity D.) Bataille, focusing on the dismembered limbs, identifies castration and its dread as the psychoanalytic theme of the painting,

9.
DIVISIONS IN 1929 between Breton and Bataille Breton criticized Bataille for his vulgar materialism. He saw Bataille as defectors and deserters from the principles of surrealism and who threatened his leadership and domination of the group.

10.
Betaille's Bassesse Bataille was interested in bassesse or baseness as a mechanism that triggered rot and decay, the characterstic process of the inform (formlesness) or the process by which form is undone. Betaille wrote the Critical Dictionary which was published in Documents in 1929.included words aeil(eye) informe, abattoir, la bouche(mouth) and materialisme. Le sang est plus doux que le miel, Salvador Dali, 1927

11.
THE ROLE OF PSYCHIC DISORDER IN THE SURREALIST AESTHETIC Hysteria The dual idea of dread and edibility Sculptures involontaires, Brassai Graffitis Parisiens, Brassai

12.
<ul><li>These were photographs of found objects and scraps, such as folded bus ticket, or a crumpled piece of paper, isolated and displaced form their normal contexts. </li></ul>