Abstract This paper discusses interior design during and after the Gothic revival of the late eighteenth century, noting that True Gothic architecture originally developed from the Romanesque style, emerging in the twelfth century. According to the paper, this style dominated until the beginning of the Renaissance in the fifteenth century. Gothic architecture is noted for size and elaborate decoration. However, Gothic architecture is first defined in terms of a change in Romanesque church architecture when diagonal ribs were added to the groin-vault, as is first seen at the Abbey Church of St. Denis near Paris.
From the Paper "Gothic architecture developed in the twelfth century and was revived several times, notably with a major revival beginning in the eighteenth century and spreading throughout Europe and to America. Gothic interior design was included, though it changed over this time and was often more an evocation of the Gothic rather than an actual copy of the original style. From the mid-eighteenth century until the rise of Fascism in this century was a long era in Italian history during which certain trends cold be observed that linked the decades together. At the beginning of this era, Italy as a country did not exist. "
Abstract This paper analyzes the film "Le Chien Andalou", in the light of Freudian psychoanalytic theory of subjectivity. The paper notes that the film emphasizes the relationship between the rational and the irrational, the conscious and the unconscious. The symbolic representations of the battle between the conscious and the unconscious, which constructs human subjectivity according to psychoanalytic theory is analysed through some scenes of the film.
From the Paper "The symbols that can be found in the film derive from the unconscious/irrational, rather than the conscious/rational. The deliberate abandon of temporal and spatial coherence creates a dream-like context. Like the workings of unconscious, as in dreams , the film does not follow a logical time sequence, starts with 'Once upon a time' continues with 'Eight years later', 'Sixteen years ago' and so on. The spatial logic of the conscious is disfigured as well. For instance, when the woman changes the room by going through a door, again she gets into the same room. Yet in another scene, the appearance of a beach just out of the door does not fit into the spatial limits of the reason. Incongruent jumps in space abound, like when the man is shot in an apartment room, the falling motion ends up in a park, briefly clutching the shoulder of a statue-like woman. "
