A Quote by Karl Abraham

Even in my first analysis of a depressive psychosis, I was immediately struck by its structural similarity with obsessional neurosis. — © Karl Abraham
Even in my first analysis of a depressive psychosis, I was immediately struck by its structural similarity with obsessional neurosis.
My art originates from hallucinations only I can see. I translate the hallucinations and obsessional images that plague me into sculptures and paintings. All my works in pastels are the products of obsessional neurosis and are therefore inextricably connected to my disease. I create pieces even when I don’t see hallucinations, though.
Religion (is) a universal obsessional neurosis.
Religion [is] the universal obsessional neurosis of humanity
Religious creeds encourage some of the craziest kinds of thoughts, emotions, and behaviors and favor severe manifestations of neurosis, borderline personality states, and sometimes even psychosis.
Obsessional does not necessarily mean sexual obsession, not even obsession for this, or for that in particular; to be an obsessional means to find oneself caught in a mechanism, in a trap increasingly demanding and endless.
I had been struck by the analogy between neurosis and romanticism. Romanticism was truly a parallel to neurosis. It demanded of reality an illusory world, love, an absolute which it could never obtain, and thus destroyed itself by the dream.
A transference neurosis corresponds to a conflict between ego and id, a narcissistic neurosis corresponds to that between between ego and super-ego, and a psychosis to that between ego and outer world.
I often joke that I straddle psychosis and neurosis, and that being an artist keeps me in the middle, so I can work between the two.
When the depressive psychosis has become manifest, its cardinal feature seems to be a mental inhibition which renders a rapport between the patient and the external world more difficult.
There is, however, in art another kind of external similarity which is founded on a fundamental truth. When there is a similarity of inner tendency in the whole moral and spiritual atmosphere, a similarity of ideals, at first closely pursued but later lost to sight, a similarity in the inner feeling of any one period to that of another, the logical result will be a revival of the external forms which served to express those inner feelings in an earlier age.
The Sage embraces similarity of understanding and pays no regard to similarity of form. The world in general is attracted by similarity of form, but remains indifferent to similarity of understanding.
Neurosis is the result of a conflict between the ego and its id, whereas psychosis is the analogous outcome of a similar disturbance in the relation between the ego and the external world.
The young mouse's eyes snapped open, clear and bright. He swung the ancient sword high and struck at the giant adder. He struck for Redwall! He struck against evil! He struck for Martin! He struck for Log-a-Log and his shrews! He struck for dead Guosim! He struck as Methuselah would have wanted him to! He struck against Cluny the Scourge and tyranny! He struck out against Captain Snow's ridicule! He struck for the world of light and freedom! He struck until his paws ached and the sword fell from them!
The sufferings of neurosis and psychosis are for us a schooling in the passions of the soul, just as the beam of the psychoanalytic scales, when we calculate the tilt of its threat to entire communities, provides us with an indication of the deadening of the passions in society.
I have a habit of comparing the phraseology of communiques . . . noting a certain similarity of words, a certain similarity of optimism . . . and a certain similarity in the lack of practical results during the ensuring years.
In Les Mots I explain the origin of my madness, of my neurosis. This analysis may help the young who dream of writing.
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