By Erwin W. Straus M.D., Maurice Natanson, Dr. Henri Ey (auth.), Maurice Natanson (eds.)
The 3 essays reprinted during this publication have been first released in 1963 as person chapters of a psychiatric treatise entitled Psychiatrie der Gegen wart (Psychiatry of the current Day). The editors, W. H. GRUHLE (Bonn), R. JUNG (Freiburg/Br. ), W. MAYER-GROSS (Birmingham, England), M. MUL LER (Bern, Switzerland), had now not deliberate an encyclopedic presentation; they didn't intend to offer a "handbook" which might be as whole as attainable in information and bibliographic reference. Their goal used to be to "raze the partitions" setting apart Continental and Anglo-Saxon psychiatries and to provide a synopsis of advancements in psychiatry over the last a long time on a global foundation. The editors asked, consequently, cooperation of students from many international international locations, huge and small, on either side of the Atlantic. a piece entitled "Borderlands of Psychiatry", during which MARGARET MEAD (New York) discusses the relation of "Psychiatry and Ethnology", HANS HEIMAN (Bern), the relation of "Religion und Psychiatrie", and ROBERT VOLMER (Paris), "Art et Psychiatrie", is an efficient representation of the trilingual personality of the complete paintings. of the editors, GRUHLE and MAYER-GROSS, died ahead of the publi cation were accomplished. In a type of posthumous eulogy, Professor JUNG and Professor MULLER praised the initiative and accomplishments of MAYER-GROSS, "who over the last 5 years of his existence had given loads of his time to this paintings. He had set his brain on a synthesis of German and Anglo-Saxon psychiatry.
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STRAUS bodies in immediate contact with it, and which we view as being at rest, into proximity with others" 1. Descartes emphasized that by movement he simply understood movement from one place to another, "for I cannot imagine any other kind and I am of the view that we ought not to assume any other in nature". It is easy to depict DESCARTES' definition of movement in a horizontal schema. If one adds to it a time line and a scale, then one can also read off the speed of the movement by which a body X is brought from the proximity of point A into that of point B.
To the patient the voices are by no means "subjective" ;for him their reality is beyond doubt; the voices are objects of his pathological perception. So LHERMITTE'S definition should read: hallucinations are perceptions without a common object. The tacit assumption is that the real world of visible and audible things is shared by us all. Withdrawal from reality signifies also for FREUD withdrawal from the reality that is essentially common. Unfortunately, this presupposition has not been expressed and critically examined.
Thus we obtain a picture, which, to be sure, is differentiated into foreground and background, but one without any articulation into "here" and "there". It is a picture I contemplate, there in front of me, a picture cut out from the continuity of "real space" by a frame, a picture into whose proper space I cannot enter. The landscape that I perceive is not, on the contrary, an image located in my conSCIOusness. The broad horizon ot a landscape, the proportions of an architectural structure, help us to show the phenomenon of the encompassing.