TH E PSYCHOT.f.)GICAL RATIONALE

OF

Gr. APHOLOGY

hy

Lee R. He s s

A Thesis submitted t o the Facul t v of t he Graauate School Ma rq uet te U niver~ity. i n

Partial Fulf i l lmen t of the Requiremen ts fo r the Degree of Ha s ter of Arts

~ilwaukee , Wiscons i n May , 1969

i

PREFACE

Gr a phology has l ong been conside r ed the step-sis t e r t o psychology

in t he Uni ted St at es . Even with the recent r esearch in grapho logy , the

s itua tion has no t s ign ifican t ly i mp ro ved in the pas t twe\n t y years . One

of t he re asons f or t his s it uat ion is the ove rsta t ement of t he cause fo r

gr aphology by ce rtain non-sc i enti f ic sensa tionalis tic graphologis ts.

The other i s, pA ycho l ogi s ts as a whole, are not doi ng resear ch wi t h

graphology , and hence the pr.o f essional literature reflects a lack of --depth and new deve lopments. It is t he author 's intention t o a lleviate

these problems by demonstra t ing t he sound rati.onale of graphology in

three psychological systems. Hopefully, this will cause some comme nt by

bo th grapho logists and ps ychologists and eventuall y lead t o research t o

f urther advance the emp irical knowledge. Throughout the paper, there

a r e manv sugges tions f or future res earch.

The wr1t e r is indebted to the fol lowing authors who have led by

example and demonstrated how one should sc i entifically cons ider

gra phology . These aut hors have devo t ed thei r l i fet i mes to the study

of graphology and left us fle dgling graphol og i sts with a wealth of

knowledge and many sugges tions for f utur e research . They are

a l phabetical ly Thea St ein Lewinson , PhD . , Klara G. Roman , PhD . , werneJ Wolff , PhD and Ros e Wolfson , Ph D.

Lee R. Hess

:~,

.~ .:

it ,.

TABLE OF CONTENTS

TITLE PAG E . • ... .. . . . . .. . . . . . . . .. . . . . .. . ..... . . . . . ... .. . . ..•.•...

PREFACE . .. .. .. •... . ............ . .... . . . .. .. . .......... , .. .. ...•.

LIS T OF 1 LLUSTRAT I ONS .• . • . ••.... ••••• • • • •••. . •••• •.•• • •• . • .• . • ••

CHArTER ,.-

I. INTRODUCT ION • . •... . . .• •• •. .•• .•••.• ..•••. • . •.•. • • •. • •••.

Graphology as Express i ve Movement Handwri ting Actually Brainwriting

n. PSYCHOANALYTICAL PSyCHOLOGy ......... .. ... .. . .... .. . . ... .

Graphology a s Projective Tec hnique Personality Organi za tion Dynami r s of Persona lity

I I I . GESTALT PSyCHO LOGy •••••. • • . • • . ••••• •••••••• . •• .• ••••••• •

Gesta l t Principles Pr inciple of Conf i gurati on

IV . ANALYTI CAL PSyCHOLOGy . • •.•.•••..•• •. . • ••••••••• • •• • " • ••

:--lain Points of Analv cical The ory Persona lity Typ e s

our Functions of the Psyche Graphologica l Implicat i ons ':.'1 '.,.'

V. SUM11ARY AND CONCLUSIONS .... .. . .. . .. ...... ... .. .. .... .. ..

BI BLIOGRAPHY • •. • •. •. •.•...• • • • •.• • • .• , • •.••. •• • . • •••.• •• • ..• . • • .

iii

Page

i

it

i v

1

6

18

25

33

J<)

LI ST OF ILLU STRATIONS

FIGURE Page

1 . Thr ee zones in handwrit i ng. .. . . . ... ... . . . . . .. . . . . . •. • .. .. . .. . . 8

2 . Uppe r zone emp has i zed. . . . .. .. . . . .. . .. .. . . .. . . . . . . ... .. ... . . . . . 9

3 . Mid d le zone emphas ized.. .. .. .... . .. ... . . .. .. . .. . .. .... .. . . . .. . 9

4. Lower zone emphas i z e d . .. .. ... . .. . . . . ..... . . . . .. . . . ... . . . . . . . . . 9

5. Topologi c a l repres enta tio~ of t he st ruct ur e of pe rsona l i t y . . . ... . . .. . . ... . . . . ... ... . . . . . . ... . .. , . ... . . .. . . . . . 19

6. Geome tr ic f orm :! U ust r a ting the p r i nciple o f c onfi gu r a ti on . . . . . . . . . . . . . . . . . . . . . • . . . . . . . . . . . . . . . • . . . . . . . . . . . 22

iv

1

" CHAPT ER I

INTRODUCTION

The purp ose of thi~ paper is not to prove tha t there is a ps ychologica l

r ationa le for grap ho l ogy, as t her e are ample emp i r i cal studies in the

1 litera t ure wh i ch have done this very well . Rather it is the author ' s

desi r e to demons trat e the manner in which gr apho l ogy has its ps ycho l ogica l

r ational bas i s in three psychologica l schools of thought: the Freudian

psychoanalyti c , gesta l t and Jung ' s Analytical school. These were chosen

be caus e nearly all prof essional graphologists have t heir basic orienta tion

i n one or more of thes e psychol ogies and ma ke their graphoanalyses in

terms o f the i r psychological reference point s. This is especially true

of t he non- sens a tionalist ic gra phogists who are psychologis ts as well.

Fo r example, , one gr aphologis t mi ght i nterpret well developed and l arge

p, g ,y .q. or f stems in t erms of the wri ter's l ibido, whereas another wi ll

r ende r the let t ers meaning fu l in terms of t he ges talt of the whole wr i ting.

A t hjr d grap ho logist migh t offer his explanatio n in terms of the let ters

2 actua lly be i.. ng l eilmotifs . The impor tant facto r i s that a ll three would

)

Ther e are two excellent s ou rc es to consu l t f or an overview of t he empiri cal research i n grapholog.y. Tle fi r st i s Studi e s in Expressive " ovf?'!len t bv A] lpore an d Ve r non (1). The s e cond i s "A -Rev:i.'~f- --­Exper-1rr.ent~ 1 Re~ earch tn Graphoiogy , 1933-1960 , It bv Fluckiger, Weinberg and Tripp (8). Wolf f (4) an d Wolfs on (J~) also r eview the l itera t ure in t heir works.

2 Leitmotif to the grapholog is t re fe r s t o a symbolic or pictoria l let t er

form of f lour ish which i s unlea ~ ne"c!, but re fl ect s one's pe rsonality. This pres entation is a dominant r~6ccu r ing theme that may always be s een i n the writing or the signa ture. ~b~an il l us t r a tes l eitmo t1. f s by t elling o f a boy \"ho worlec "lS a "candv Dutcher" on rai l r oad trains. As hi s boyhood phanta s'~s cent e ed O~ ra il r oa ds , his wri ti ng i s patte ~ned wi th paralle l

i nes rnnning 1 i«(> ' ra i , uad tra r.~s (31) . Holf f shows l e itmoti fs i n t he signatur<! s ' Qf far 0;5 ::p r ofess lona l peop l e . For example, Pope A.1exa nder VI t"rote his pam", i n s uch a fashion the "x. " i n Alexander I~as f ormed like a c r oss ( .. 0)

~ J i ; 1

• k ~ consider t he s:!.gn mea ningf ul in terms of l revea ling something ab out the

author ' s pers onality. £ lrl1 r 1Sing1Y even t hough thr ee differen t

psychological start i ng points were utili zed , a l l three in t e rpret ations

would in a ll probabi lity be very s imi 1sr]

. It would be poss ih le t o demonstrate t he pgychologi cal rationa le of

2

graphology jn many of the ot he r psycho l ogica l syst ems, but it is doub t f ul

this could be done in all cas es. Some psychologists have as their

s t art i ng points metaphysical posit ions which deny i ntros pe ction,

per~ona]ity . and ~ onsclous thought . Obviously one can' t ma ke statements

about graph ology i n terms of pers onality if t here is no ' such thi ng.

E gr aphology is primarily con ce rned with t he manner in ~ ... hich

pe rsonal ity is pro j ec t ed or r e fl e cted on t he writ i ng s urfa j , this paper

wi ll be lLmit ed to the consi~erat ion of the psychologica l rationale of

graphology i n ter~s of pe r sonality . Although such f actors as lear ning,

conditioning, nationa l origin , handednes s , cultural and environmental

f ac to rs a re i mportant psycho logica lly as well as graphologica l ly, t hey

are beyond t he s cope of this pape r .

~There are two bas i c as s umpt ions co ncerning graphology which shou l d

be m~1one d . The f i r st i s tha t graphol ogy is expressive movemen~ ,

~port made extensive studies of exp r essive movement and referr ed to

express ive behavio r in terms of l ear ning about man 's personality not

only i n t erms of what he exPresses in volitional ma nner, but also what is

express ed i n an involuntar y and involutional mann~. Allport demonstrated

the latter by the followi ng examp l es :

A fastidiou s hous e pa inter ~ho fee l s t hat his oc cupation i s f ~ r

benea th him, betray s his conf lict through scrupulous care of his f inger nal1~ which during work he polishes and i nspe cts a t f r equen t i ntervals.

Ano ther young man has a peculiar habi t of j erki ng hi s arms whenever he t hinks of embarrassi ng things. Thi s habit has been traced back to a t i me when he had unpleasant compulsive though ts of striking people on t he street. At such times he would jerk his arms to throw of f the impulse (2, p. 473) .

3

In his well known book, Studies in P0P.ressive Movement, Allport with

Vernon summarizes the research whi ch demonstrates unequivoca lly that hand-

writing i s exp ressive movement. Summarizing their entire study of man's

gestur es and his hand,,,riting as expressive behavior, Allport and Vernon

s t ate t he fo l lowing :

rom our results it appears that man's gesture and handwriting boch re f l ec t an essentially stable and constant individual style .) His expressive activities seem not to be dissociated and urlrelaten t o one a nother, but rather to be organized and well-pa tterned. Furthermore, the evidence indicates that there is a congruence betl.een expressive movements and the attitudes. traits, va l ues ; and the dispositions of the "inne r" personality (2).

Werner Wolff in a more recent study summarizes the experimental data

and reaches the same conclusion :

Al l t hese experiments indicate that favorable experimental condit.ions allow us to demonstrate that a person's expressive movements a re interrelated under the same common denominator; or, from our present po.int of view, that a person's patterns o f movemen t are configurated by the scheme of his personality. ( 40, p. 100 ).

~IUS when one rites , he makes a volitional communication by the

wo rds and punctua tion he use;) Hm.ever, if the writing is done in l ong­

hand, the i nvoluntary aut is tic ges tures are cont ained i ·n the manner in

which the wri ter has phys ica lly transported hIs thoughts onto the wr i t ing

sur face . ~ analyzing the handwri ting. the graphologis t can g l een

information about one's pers onali t y, hi s conflic ts and repressions, an d

hi s tendenc i e R. t o do c. ertain thing;> This should not s e em unreasonab l e

t o the r eader , for: how often have you heard the expres s i on, "He didn 't

r eally say t;hat per ,;e , hut I read between the l i nes?"

4

Thi s leads us to t he s econd important basic assumption: handwr i ting

to a grapho logist is somel4hat of a mi snomer, for as expressive movement,

i t s hould be cons i de r e d as "brainwriting " . Hearns expresses this a s

f ollows:

The exp r ess i.on "handwriting" : is actually mi s l eading inasmuch as its forms ar e not bas ically dependent upon the hand, but on t he cer tain pa r ts of the brain which t ransmit motor impuls es causing the movement of t he writing instrument.

Handwriting is . therefore, really braim.'!"iting., .After s uffic ient exer c i se which helps to overcome the lack of coordi na ti on , wr i ting with the mou th or foot produces a ll the pert inent graph ic charac t er istics of a person a s the mouth wr iting of i'I woman with paralvzed arms and legs s hows,

Hearns t hen s howed an examp l e of mouthwr1.ting of t he paralyzed woman

to t~ lust ra t e his poi nt (12),

The l-e i s an abundance of e.x pe r i mental information which i ndicat es

hat t his i s ill so tr ue of people 1.'110 I.'r i te in an amb idext rous manner _

Saudek, the most empir cally or i ented of t he early graphologists , showed

i r r e f u t ably t ha t wh at ever t he musc le gr oup was used, an i ndividual's

scripts are vi rtually identica l. Preyer trained right- handed adults t o

wr ite with t he opposit e hand , and he reached the same conc lus i ons (40 ).

Bo t h Wol f f and Olyanova il lus t ra ted th is point in a somewhat

dif f e ren t manne r, Ana l vzing the handwri t i ng o f Admira l Ho rat i o Ne lson

~ efore and a Ft er he hRd l os t his right a r m i n a famous batt l e, Wolff

demons t r ated that Ne ls on showed a cons i st ency i n graphic pat te rns of t he

ambidextr ous s amples taken t en years apart . Ne]son's writi ng ma inr. a ined

t he same s vmmet rlca l pa tterns rega rd l ess of which hand he had used (40 ).

Olya nova perform~d the t r adi tional gr aphoana1ysis and discovered

the r e N'ere ident ical l e tter fo rmations i n bo th s amples _ owever , t he

slan t and some of t he other fea tu res of the wri t i ng had changed _

/'

5

Olyanova a ttri,buted thi s to Ne lson's becoming more realistic and

r ef lec tive af t er hi s i nju ry . His talents took an i ntellectual turn which

was pr obably caus ed by his phys ical i mpairmen t (28).

CHAPTER II

THE RATIONAL E OF GRAPHOLOGY IN TERMS OF' PSYCHOAI-l'ALYTICAL PSYC HOLOGY

The first and Ii verv importan t psychologica l s ystem to be examined

in t erms of grap hology is t hat of the pioneering genius, Freud. Freud

i n hi s .creat ion of a dynamic psycho l ogy devoted considerable study and

emphas is to personal i t y . Besides postulating that personality is

organized i n t hr ee mai. n s ys tems : t he id , ego , and superego, Freud made

<tensive a nd s ignifican t contributions to the understanding of the .

dv na luics of pers ona li t y . The rationale of grap hology i n t erms of

Freudian psycho logy \~ i l1 be consid e red first in ter ms of graphology as

a projec ti ve tech nique, s econ dl y. in terms of Freud's organization of

persona l ity : and tnen in te r ms of t he dynami cs of persona lity and how

his is reflec ted i n one ' s wr i ting .

(;RAPH0 LOGY AS A PROJECTIV E TECHNIQUE

Proj ec t i on t o Freud original ly r efer r ed to the ego def ense mechani sm

again '3 t anxi.et y . Af. Hall poi nts out ( 1) , "Projection does more t han

he lp LO al leviat e anxiety . I t a l so of f er s a per.son an excuse f or

xpres'l ing his r ea t fe e lings." Ho',]ev e r mode rn psychologi sts use the

",'ord proJ ec t1 on in psvck~ log ica 1 tee; t in~ more in terms of the theory

for mulated by L. K. Frank (10 ) .

The f undamental theor eln is tha t when confronted with uns t r ucted s t imuli the person tdll i.mpose s tructur e on t hem in such a way as reflect hjs own needs and impuls es ; the sub ject ' .:; responses therefor e are exp ec ted tC' serve as guides to hi s pr iVa te \,lO rld of fan tasy , his a ttitudes, fe ars aBpi rations , and the l i ke.

The graphologis t uses oroject ion and projectlve techni que more in

terms of Frank ' s t heory than P:-eu-l' s ortp1na1 i nt erpretat i on . Us ing this

6

me an ing, handwr iting is no t j ust an ex terna l repres e nta tion of th e wr i ter's

7

message, but a rendition of his pers onali ty projected unconscious l y on to

the writ ing sur f ace . As H.G. Gough indica t es (10 ):

Freedom fo r the subj ect to r esp ond as he wishes would seem to be an ess en tial element of t he proj ec tive me thod if crucial featur e s of the subject's inner life are t o have full

'opp or tunity t o manifest thems e lves.

Thus Gough woul d accept t es ts such as the Roschach and TAT a s t rue

proj e ctive techniques, but not somp. of the tests \vhich use multip le

choice items or In some o ther way limit the nature of t he responses .

{ raPholo", " a pcojective techni que h .. both of the maJoc pain"

whi ch J-l.all and Gough bring ou t . First, it serves to a lleviat e anxiet y

in te r ms of offering th e writer a means of expressing his real fe e lings

1n manne r acceptable t o society . Second , the writer has complete

f reedom as t o how he does thi s. The only limitation 15 the wr i ter's

desi re t o produce l egihle scr i pt. I t takes but a modi cum of thought

to rea l ize th~ t illegibLe writing has i mp ortant psychological meaning.

Fo r exarnpl <:-', one sometimes ftn ds a sienature on an important do cument

t '1i'lt ls virtually imnossib l e to make ou t. The graphologis t interprets

Lhis t o signify the wr iter's proj ecting his i nner desir e not t o be held \ ~~ .. -

r ,~.:> ponsible for ' ' e document he is signtngJ (This wou l~ make an

inLerest i ng hypotheqis to test in further resear ch).

An interesting e:"'lpi r ical demonstration of graphology as a projec'tive

t e chnique was done bv Wolf f on one of the students i n hi s class. This

student started every task in a very t imid manner, but during he r acti on

s he displayed an increased aggressive decisiveness in her actions as s he

became more confident. ~·lhen th ask was acc omplished , the st udent was

exhausted to th p po ht .)f oreakdown. Holff a .... so not iced thi s trait i n

t he student 's pa it . I n the heginni ng she walkerl hesitantly, but her

8

mf)vements inc reased :1.n tenseness and t empo un t i l she almost r an to the

goal . Wol ff hyp o thesized that this trait wou ld also be projected to he r

handwrit i ng . To tes t t his, he had t he studen t sit down and write a

sentence i n German . Once again the gi rl began hesitently and incr eased

tempo as s he progressed . By the t ime she had f ini shed the sentence, the

si ze of the writ ing had grea tly increas ed and the pressure had changed

cons i derably ( 40, p. 186).

PF.RSOAALITY ORGANI Z.ATION

Pers onality t o Freud was composed of t hree major par ts. Hall

expresses th i s as follO' .. JS (11 ):

The to t al personality i s conceived by Freud consis ts of three ma j or sys tems. These are cal led the ld , the ego, and the superego. In the men t a lly healthy pe rson these three systems form a unified and harmonious organization. By working t o­ge t her cooperatively they enable the individual t o carryon the efficient and satisfying transac tions with his environment . . • when the t hree s ys t ems of personal ity are a t odds with one ~other t~e person is said to be maladj usted.

~ll graphologists, \.;het her the v realize i t or not , a nalyze handwriti ng

in t e r ms of a threefold div isJon. Thi s is done by considering t he th r ee

zones in handwr tting : the upper, l ower, and middl e FIgu r e one gr'aohicallv

. J lustra tes zoning in hand,vrit i ng . Fi gures 2 - 4 prov'ide exampl ps of

handwr i ti:lg samp les whi.ch emphas i ze the t hree zones .

l.ower

_ooboJrrJ31 uppe r

middle

--

t':n 1. ~: ones in \..,anGwr t t i ng

~ ,., 1M-~ ;el J ,twM:~J j."L ~

.....e.. j.J :t-~ .J. I..-<- x r-I- A t",'_

J~ ~~

Figure 2. Uppe r zone emphas ized

9

~ . WI!\..-<) adrJrL.A..a::br. t3u.z: ~;~/~

IIcp~ -!AL 4<..~~C-L CAJJL. (J f'oVid.L...

-Me.. I'e~ t.A}O..,(J ~-f'cu:A-o¥(y

Figure 3 . Midd l e zone emphas ized

~6 ,,< -t: Q Jr- .AL .12

~~ /~~:.< ---........ ' ''IIIIIf

ip-ure 4. Lower zone emphasIzed

10

Roman makes a very interest ing observation about the use of a three-

f old divis i on (31):

The scheme of the t hr ee zones paral l els the common idea of the un i verse as divide d into three spheres ---heaven above, earth in the midd le, and t he nether region below. The same threefold division is applied to the body image when the human form is

·regard ed as composed of the head above, t he thorax in the middle, and t he abdomen below. Met aphysica l thinking emp loys the three divis i ons of mind, soul, and body .. . Freud, for example was l ed to distinguish three aspec ts of the psyche---superego. ego, and id.

( TO the graphologist who fee l s comfortable using Freudian terminology,

t he upper zone represents the superego, the lower, the id and the mi ddle

t he ego. Other ?,raphologists describe the zones in terms of t he uppe r

revea l ing one's dream I jfe, ideals and fan tas ies : the middle gives clues

to how he copes with realitv; the lower his physical dr i ves and his

striVin~S}12 ' 2.5 , 28 , 31, 32,40).

t e .""ho108is< ." ee, with F, eu d that the three 'Y5 tem. or ",nes

should form a unified a nd ha rmoni ous organiza t ion . The refore one of t he

f irs t things a graphologi st considers in making an analysi s is t he

ha rn,ony a nd or ganLza t lon of the wr it i ng. Is a particular zone . ()O ~ J-o '-(jCIIA yvu/fl ?

emphas ized " If s o , i~ Oft en t he grap h() logist gets a n

j ntui t i v e f ee ling about t he person ,..rho did t he wr i t ing be f ore going any

urther in t he ana 1\ <::i s , and this is ,-,hat American ps ychologists obj ec t

' () in their mos t vociferous manner. Thls i s especial ly true of the

empirically ,)r ient ed psycho logis ts , f or graphological resu l ts at bes t

are di f ficult t o quantify , but ~n the g raphologist t alks of intuit i on,

quantificati on bf' comes .i mpoSSib le) But yet is th is intu it ive feeling

\!ili ned fr om ,..rhat Kl a ges ca l l ed the ,..rr iting's "f or mniveau " uns ound in

t erms o f Fr e ll(il.an p <; yc ho logy ? \or-Iat par t does i ntui.tion play uhen a

skill fu l tes ~~ r Int Frplc t9 a test su ch 8 9 t,w RorRchach?

' I I

.' ~e l ower zone seems to be t he most i mpor tan t as f a r as discerni ng

abno rmalit ies in personality . Several German grapho logists have s tudied

the lower zone and di s covered t hat persons ,who s uffer mental breakdowns L"" ~ (' 1/ 6 '1~ YV\..uv) /I t)I-- (!Y'Y) -".. 't tJl w LV p/J O'V w n

show abnormali~~ i n t h~ lower zone. Al $o i ndivtauals wi th sexual ---- (( aberr a tions us ually show~s ' in the lower zone. Adolescents '

writing usually exhibits a emph asis of s igns of i nterference wi th

th~ s trokes in t he lowe r zone (40). However , it is important to

r emember t ha t empha,s i s on t he l ower zone is just one of the f actors that

is considered i n graphoa na lys is lewinson, in her st udy of the hand-

writing of psy chotics, point ed out that rhythm ' is also an important

facto r to consi der when trying t o det ermine if the writer i s in fact

mental l y i ll (21 ) .

FRElfD ' S DYNAMICS OF PERSONALITY

~e f i r. t consi dera t i on in Freud' s concepts about t he dyna.i cs of

personali t y is that of psychic ener gy . Th i s i s the f orm of ener gy tha t

operates the t hree syst ems of t he pe rsonality. The gr ap ho logi s t determines

psvchic energy pr imarily fr om s t udying t he pressure wi th which t he wr it in

i s done~ Dis placement o f normal pres s ure patterns i s us ually

in terms of a transferan ce of sexua l libido . Disp l acemen t as

inte rp r eted

us ed he r e

refers to exerti ng p r essu r e in the horizontal in~ t ead of the vert ical

direction . Roman states t hat i f the displacement occurs wi t hout t he l oss

of fo r ce and rhy t hm, the script i ndicates the writer has made a s uccessful

redist ribution of psychosexual energy. This i s usua lly f ound in t he

handwri ting of an a c t ive prof essional woman (Jl ). There i s a pauci ty of

esearch i n the Unit ed States to corroborate this interpretation, but

both Wolff and Roman cite s e ve r al Eur opean s ources to lend credence t o

12

this interpretation.

Another important dynamic consideration in te rms of Freudian psvcho lo g

is t hat of cathexis a nd ant i-ca t hexis . To Freud psvchoana l ysis cou l d be

character ized as a dynamic conception which reduces mental l ife t o a syst

of r~ciproca l urging and checking for ces . The urg i ng f or ces a re re ferred

to as cathexis and the fo r ces whi ch keeps one i n chec k , anti-ca thexis

(9, 11 ) . The id contains only ca t hexis . TIle graph o l ogi s t there f ore makes

sta t ement s about a person's physica l a nd sexual drives as emp has i ze d i n

the Im·;e r zone which r.ep r e sents t he id. Athlet es of tern emp hasize t he

10' . .Jcr zone espec ial ly i n "p " st erns . The <ruthor has f ound t hat mi litary

men also tend to s how this tendency.

Anti- ca thexis is reprec;en ted in t he ego and t he sup e re go . These

serve t o chec k ' the ac tions of t he id . Ther e are als o driving f orces

repres ented in the ego Rnd sup e ~ego . Ha l l suggest s that one can l ook a t

anti -cathexi~ in terms of f rust ration. He states t he concep t o f ca t hexis

should be viewed 35 internal f rustration (11, p. 49 ). One of the fac to r s

the ~ rdphologi st us es t n i nt e rpret anti - cathexis is s lan t . If the wri tln~

sl ant s to the r ignt, the writer is emot iorial and impulsive and one mi ght

generalize and sa y t hRt t he urgi ng f orc es hav~ con trol. The deg ree a nd

consi stency of the s lant is very imP9rtant. Ver ti cal wr i tinp indicates

sel f control and probablv balance between the f or ces. The interpreta tion

of a backward slant var i es hom graphologis t to gr aphologist. If the

write r is na tu ra l ly Jefthanded, s ome g raphologis ts b~lieve that the

b ackw ard s lanL is meanI ng less . Th ere a re others who consider the le ft

plant in t e r ms of ind ica ting int r o'lesion . Staff ord considers le ft- s lanted"

leeters to 0':: r n (')d' ihoo d e xp eriences that have caused the wr i t e

to feel rej ~cted . lonc l v, and/or i nsecure ( 32). Al t hough not verif ied by

13

expe rimental da t a, t he author is i nc lined to interpret a left-ward slant

in terms of anti-cathexis being in such control that repression has

occurred. The person who wri tes wi th a bach-lard slant is usually quite

reserved and in very t ight control. However, we will not generalize

further until there is ad equa te resear ch pe r f ormed to justify this

pos ition.

Ludwig Kla ges, the famous German graphologist l-Tho in many ways is t o

raphology what Freud is to psychology , saw t he urging and checking ~ __

or ces as the antagonism of mind and soul . Lewinson reports that soul (

to Klages repre s ents life 1tself--the rhythmic course of the Cosmos. 3

The soul was f ound in plants , water, wind, etc . However in animals, sou l

was not f ree as it is in nature f or it is imprisoned in the living body.

To us e Klages' words. liThe living body i s the phenomenon of the soul, the

soul i s the meaning of the living body. "_ The original characteristics of

soul are: passivity , un consciousness, night, dreaming, boundlessnes s ,

distance and rhythm (2 ) .

Mind is the antithesis of soul . Where soul has contemplation, t he

mind logical thinking. The soul has physical sensation, the mind will.

Klag~ q also be lieved t he onlv place in the universe where soul and mind

merge i s tn personal ity. Klages like Preud believed personality t o be

composed as a sys tem of dvnami c r ela tionships .

3

Accord i ng to Kla ges, these t wo forces , always dynamical l y a t variance, influence all of ma-n's behavior and are most crystal l ized in his exp ressive movements --walk, ges t ures, oos ture , writing , and so on . r·~ in han,' T.Jr i ting par cicularly, ,,,here the movemen ts hettVeen t 'IEo _,.; !) f('lce " are permanently caught , that they are mos t acces s ible f or studv and interpret at i on (39, pp. 428-9 ).

Klages' many works we r e neve r translated into English. The re fore, American graphologiets 'who ar e not fluent in German', must consult s econd hand s ource's such as those produced bv Lewinson.

14

Klage~" graphol ogica l i nterpretation of this dynami c system i s i n

tenns of releases and bonds. Each graphologi cal indica t ion shows f actors

such as speed, spaciousness, i r r egulari ty, (re l ease), or f actors s uch as

slownes s , smallness, regular ity, etc. (bond ). This theoretical framewo rk

has been very important to the science of graphology fo r graph olo gists are

now able t o make dynamic int e rp re tat ions vJ.ce the sta tic trait - fac tor

approach.

Lewinso n with Zubin const ructed elaborate tab les for analyzing hand-

wri t i ng in terms o f re lease and bond . The important theoretical diffe rence

Lrom Klages' original concept is the pr emise that rhy thm is the midp oint

be tween contraction (bond) and re l ease (22). Several studies have been

conducted during the past 25 years to establish a sc ien t i fic and

s ta ti st ical validity fo r the Levins on-Zubin scales. The fi rst s igni fi can t

studv \.8S done by \.Jolfson (38 ). She applied the Lewinson-Zubin scales to

t he handwriting of delinquent and non-delinquent boys. Finding s even hi ghly

i sct'iminative and eight secondary Eac.tors . l.iolf;;on wond ered i f it wou ld be

possib l e to construct a "de Unqllent constellat i on" (38).

Bi rge (4) uRed t he Levins on -Z ubin sca l es to det ermine if handwriting

\0I8S i ndi cat i ve of pe rsonality factors as determined by peer ratings on a

nigh and l ow continuum. ' sing t - test s Bi r ge found t en tIs signi ficant at

t he 5 ~~ level. Hcwever t he whole study shovled a lack of s tat istical

s i gnif i cance . There was a tre nd ind i ca ting t hat intelligence might be

~ i s cerned from handwriting.

Plucki ger ~t iil:!:,a have made t l-Je fo 1101A1ing observa t ion :

Al though the Lewlnllon-Zubin scales have not shawn their usefulnes s with r ega r d to indi vid ual signs , the global or comp lex score yielded by th e si gns do seem t o have meaning. Perhaps, as t he designe rs of the s eal e have sopculated the score is an identi f ica ti on along the l en s i on-r eteR ~ e continuum (8 ).

15

There s eems t o be a similar ity between bond-re l ease and t he Freudian

concept o f cathexi s-anti-ca t hexis . Both a r e at t empt s to exp lain t he

dynami cs of persona li t y and the a nagoni sms descr i be d are very simi l ar.

Freud doe sn ' t men tion t he ba lance be tt.een ca thexis and anti-cathexis i n

terms of r hythm a s does Le,.ins on. Fr eud real ized there was a very f i ne

l i ne be tween t he two and he f e l t that one coul d not pr edict wha t the

indi vidual might do . He even went so f ar a s t o say tha t he didn ' t think

pRycho logy coul d be a pr ed ic tive science because of the fine l ine be t ween

cathexis and anti-ca t hexis. C rap h olo~is t s do make pred ic tions bas e d on

graphoanalys is . However t he au t hor has no t s e en predictions based on bond

and r elease a l one .

The next concept to be co.nsidered in terms o f Freud I s dynami c sys t ern

of pe r sonal i ty is anxi~~. Thi s is one of the most impor tant concep ts in

f reu d 's psychoana l y t ic t heo ry.

Anxi ety is a painfu l emotional experienc.e whi ch i s produced by ex citations in the i nternal or gans of the body . Th es e exc ita tions r esult from interna l and exte r na l stimul ation and are gove r ned by the autonomi c nervous sYstem. For examp le, whe n a person encounte rs a danger ous s i t ua t i on, he br ea t hes more r ap i d lv, his mouth be comes dr y, and the palms of hand sweat (11 ).

Freud sat. t hr ee basic lt inds of anxit>ty: rea U.ty anxiet v , neuro tic, and

moral anxiety . The mos t important type of anxiety in t erms of graphoanalysi.c;

is neurotic anxi ety.

~eurotic anxiety is ar oused by a percept ion of dange r f rom t he i nstincts . It is a fear of wha t mi gh t happ en shou l d the an t i ­cathexis of t he ego fa il to pr event the inst i nctua l obj e ct­cathexis from discharging thems e lves i n some i mp uls i ve act ion (11) .

Freud indicated that neurotic anxie ty can b~ much mor e of a burden upon the

ego than the othe r evpes of anxi.e t v because of its internal s pur ces . As

ea~h individua l matures, hi' 1s able to avoid mos t of t he anxiety producing

situations or he Cilr ao: least afford some degree of cont ro l over them. Rut

16

one cannot escape himself, hence neurotic anxiety i s imposs ible t o fle e

and harde r to deal with . J t is i mportant to r emember that neurotic anxiety

is often present in so - called no r mal people, but it does not control their

lives to the extent that it does the neurotic.

:here have been many studies done to show how neurotic anxiety is

shown in han~~riting . Wa llach has published a number of recent studie s

(1Jallach a nd Gahm, 1960; Wallach, Green, Lipsi tt, and Mi nehart , 1962;

T·!alla ch anel Th clma1'l, 19h 3; Wallach and Brantley, 1968) t,;hich have studied

gr aphic expansiveness as a function of the l evel of psychological

dis tu rban ce charac ter izLng t he individual . Wallach summarizing his own

work s t ated ( 35):

~rhen t he distur hance l evel is low, graphic expansiveness seems to mirror social ly extraverted behavior; expansiveness tends t o be gp:.at er \Jhen ex traversion i s greater. When disturbance level is 1igh , on the other hand, graphic expansiveness seems , if anyth jng , to compensa te f or the absence of socially ext r a­ve rted behavio r rather than to reflect its presence : expans ivenes s ten~s to be greater when introvers ion, no t extravers ion, is greater.

P~l\ ' cho l ogic?,l <' (''let rhanu ] .=" e 1 refe rs to neurotic di s t urbance which fmp.l les

a ptate of conflict or t. ens i on be tween motor ic expr.lt~ion and inhibition .

One CAn easily see the simi l ari t y here to Freud's explanation of neurotic

an ,<iety in terms of rCl thext s and ant j --cathexis.

Taf t i~ a noth er r~cent study ( 33) aoplied Wallach's moder a t or effect

to hand'vr i ting ana l~'sis i n terms of ext r avers ion, neurotic ism, and

expressive behavi or . Ta ft , f o l1ovling the lead from 'Wallach and Gahm, used

neuroticism as B modera t or in t he relati ons hi p between ex traversion and

t he han dwriting variahl es . I'e, fo und t hat the in teract ions bet,,,een self-

r epor ted ex travers ion an d neu(otjc i sm are r elated to handwri t ing .,

chara c teristics !t,'h'l- 21.6, p. ( J l) (3 3) .

Lewins on i n an older study examined t he handwri ting of psychotics .

She f ound that in all psychot ic handwr i t i ngs , the rhythm is comp l etel.

di sturbed i n al l three dimens ions (height , hreadth and depth). As she

s t a t ed (21):

There is no natura l flow and swing t o the writing impulses and ther e is no ba lance bet"een bond and re l ease. One characterist ic or the other is noticeablv predominant, or there may he an

. i.r regular exchan~ e between the t,<,o. The cause for both these abnormalities ii'l <I ver v fund amental disp l acement of psycho­physi ca l ene r gy wi t hi n the perso nality.

"~<f

\,

~ t,

17

)

.,.:~

18

CHAPTER III

f; RAPHOLOGICAL RATIONA LE IN TERMS OF GESTALT PSYCHOLOGY

Although the German word gestal~ has no exac t English equiva l ent, i t

s generally thought of in terms of a s t ruc ture of configuration so

integrffted as to const itut e a func t iona l unit with pr op e rt ies not derivable

fr om its par ts in summation (Webster ' s Third Int ernat i onal Dic tionary).

1n te r ms of pe r sonali t y t he key term is ~~.nf1guration . Along with the

gestalt princ iple . t he law of configura tion will f orm the foundation of

t !\ e ps ychological ra tiona le o f graphology i n terms of gestalt ps ychology .

Before cons1deringthes e a reas, two important questions need answering.

The fi rst is " Is pers ona lity a ge~talt ? " The second , "Is handwri t ing as

a pro jection of Pf:t'<;, . '! I i d gesta lt?"

Allport reports that whe n ques ti oned ab ou t whether pe rsonality i s a

gestal t, Lewin answered in t he affirmative and j ustif i e d his position by a

large number of exper i ment al Eindl ngs (2) . However, Lewin also s aw

pprso nali t y as a .ft t racified syst em having a definite structur e with

disti ngu ishal)le separa te rp.gions. He represen t ed his th eory of persona l i t y

~4th one of hi s famous t opologi cal diagrams (Fig . 5).

~erf ka al&o considered pers ona lity I n te rms of being a ges ta l t and his

Rtatement i s more of an assp- rt ion than an aff.i rma tive answer . The i mpli-

cation i 9 t hat it \Jo u ld be f oolish to consider pers c:nal i t y in some other

manne r (18).

\Vhat wo uld it mean if pe r sonality were not a gestalt? That its di f feren t behavi or units or traits wer e independent fr om each other and could be Jni te~ in any combination . If, on the other hand, pe rsoralitv i s a gestal t , then there would be in terdependence hetween !t~ various Mani fe stat ions , and a gr ea t number of LD~hinat J ~ns of trA lt~ would be excl uded .

/'

19

FIGURE 5

Topo l ogi cal Repre Aentation of the St r uc ture of Pe r sonality

(:1 , mot or - percep tua l r egion ; inne r-pe r ~ onal r egion; P ,

pe riphe ra l pa rts of It C, cent r al par t s of 1)

20

As for the second question posed, it was answered before the gestalt

psycho l ogists first formulated thei r theory by the famous French

graphol ogist, Crepieux-Jamin (6) . He sta ted in 1888, "The study of

elements is graphology t·rhat the study of alphabet is to the reading of

prose ; "

Roman , who studied the t.,rrit ings of young children, noted that the

child of f tiur or f ive years old has a global perception of his graphic

express i on , bu t he is una ble t o fixat e on the parts ~.,hile maintaining h is

asp of t he whole .

Bell, in h i s book, ~roj~~tive __ Te chni ques, s ummarizes the assumptions

of severa1 prominent graphologist s and states (3):

Handwr i t ing is not simply peripheral manual movement. It is the acti~i ty of t he ge s talt which i s called personality.

A s cript is a dynamic wh ole wh ich does not consist of a summation o f iso la ted s i gns but of a group of different graphic cri teria fonni np, a dynamic relationship.

The t r a i ts of handwri ting \.,rhe n seen as a part of a gestalt are cap able of interp r etat ion a nd give us clues t o the individua l p er~ onality tha t ha s p r oduc ed th em.

ny handwritin ~ trait va r ies in i t s i ntensity and frequency, not only i n the s ame specimen, bu t in the same l ine. Therefor e sL ngle-trait analysis , whi l e amenab le to statist ica l treatme nL. is bound to disc redit graphology , unl ess it is recognized t hat such analy s is i s not rep re s entative of the methods of graphology.

The au t hor believes that las t s t at emen t to be r athe r strongl y worde d ,

but a s the r eader can see , graphologv is conside r ed to be a ge s talt.

GESTALT PRINCIPLE

We have a1 r e'ldv alluded to the gesta lt principle hu t it ne eds to be

sp~ ~i fically estq~'jshed. S!mp1v Rtated, the gestal t princi ple is no more

than , ' t he ',/h o e is not simp!v c.hE' sum of it R parts. " As "1. I-'er theimer

21 r

states (37 ) , ' "Parts of a gestalt have no meaningful identity independent

:I.f their place , role and function in the whole." He also indicates that

ana lys is of the parts, however thorough , cannot provide an understanding

of t he whol e.

1'0 the graph ol ogi st , the naper on which one writes , represents t he

p,estalt of personality . It might be considered the writer's world or life

spa ce . The manner in which he funct i ons on the paper i s i ndicative of his

functioni ng in t he out ter world. If the writing is disturbed and lacks

rhy thmic balance, the same. is true of the writer's personality. In fact

Allport , Klages , .Holff a nd many others have found that disturbed handwriting

is ind i cat ive of dis turbances in the other forms of expressive movement.

The studies of Hallach and Ta f t mentioned earlier, also have shown that

graphic expansiveness (t he amount of pap er used) is re lated to the

personali ty traits of i nt r oversion and ext raversion along with the degree

of psychologi cal dis t ur bances. However, besides the gestalt of the whol e

wr i t ing, t he inner '.<Iorkings of configuration in terms of balance, stability ,

symmet ry and cons is ten cy a re also very important as will be demon!'ltrated i n

the followin g sect ion .

PRINCIPLE OF CO~~IGURATION

"'hen one exper i ences t he brea t htaking beauty and forcefulness of a

Van \'ogh paint ing. he realizes th is dramati c creation is much more than a

se ries of color patches . This canvas represents t he emotion and creativi t y

of the pai n ter, himself. Each painting i s unique and t his i s caused bv the

configura tion of its element s. This configuration of elements is in turn

caused by t he confi2uration of Van Go~h . How can you tell a Van Gogh painting

from t hilt of . another artis t ? The answe r l i es in the f ac t that ther e are

22

certain characteristics of a Van Gogh pain ti ng such as definite st rokes

and characte r istic color selec tions which by themselves are meaningless

bu t 1n t he t ot a li ty of t he pict ure makes the pai nt ing unmist akenly a Van

Gogh .

. I n a li.ke manner, human personalit y i s conf igured by certain traits

' .... hich are mean ingf ul when cons idered in te rms of the whole pers on. Also,

the conflguration o f gr a phic an d othe r- expressive movements fo llow the

principles of configuration or as the early gestalt psychologists called

1 t t he "law of Pragnanz." Th is l aH ~"as f or-mula ted as a r es ult of

r esea r ch with ~e ometric f orms. \~ olff explains it as follows (40):

If ~eve ral geometric organi zati ons are t o be perceived , that figure wi Jl be perceived which has t he most stable shape. The l aw of conf igura tion is stronger than the law of experience.

To demonst rate t he veraci t y of these s tatements , Wolff o f fered the geome t ri c

form of fi gur e 6 as an il lus t ra tion. ~o one pe rceives the letters A,. M, V,

IJ, and '{; everyone due to t he law of configuration per ceives a geometr i c

fi gur e.

Ir'flih I '; .. l

l· l CURE tl

23

Wolff also 'indic'a tes the significance o f the law of configuration in terms

of graphology with his assertat ion that we no t only per ce i ve the fi gure

wi t h the most s tab le sha pe , but when exp r es si ng ourselves , we use th e

f i gures which offe r t he mos t stable patte r n . Thi s impli es that each st roke

lo a graphi.c exp ress lon i s unconsc ious ly chos en in t erms of the ap prop r 1-

ar.e oess of . t he who le scheme of exp resRion or the gestalt. The p r i nciple of

~o nf igurat lon i ndicates personali t y is no t huilt tiD in an a cciden ta l

;n,loner but f ol1()ws t he " -:' a~} of Pra gnanz" or configurat i on . Wol f f fllrther

" tates (40 , p. 150) :

The princip le of .::o nf igurat ion i.e; a l mo"t s vnonymous \-lith rl,' r1;'on!l l1 t \'. TIle e lla ra e t er is ti c con f 19u ra t i on of t rai ts i n per s onality distinguishes one individua l from a nother, and the configura tion o f mov eme nts creates what we ca ll

he coordinat ion of our activities .

~OBt author s of pra phology t ext s and art ic les make a s tatement to the

e t fect that handwriti ng mus t be cons ide r ed a s a gestalt. The grapho logica l

aS5umnt1ons r ef~re ncecl f rom Bel l earlier illust ra te thi s poin t. HOI"eve r,

on ly \'e rne r \-10) ff has seri()uslv studi.ed graphol ogy i n terms of the law of

Lonf i gurat io n a nJ the other gesta lt n ri nciples , Wolff a lso s uggested

,; pecific methods to interpre t h:mJ\.,rrit i ng i n t erms of t he gestalt . H ~

COl1.dlcteo many expe r imen t s And studied thousands of handwrit i ng samples

n several languages. As ~ r esu l t of a lif elong s tudy , Wo lff simply and

modes tly summe d h is findings (40 , :J P, QS-6 ) :

Up t o nO\-I no exuerimeot a l methode; have be en f ound than enable us to demonstrat e that pe r s onali t y is dete rmined hy a ges talt principle . f)Jr f indi.ngs wi t h graphic movements seem to be the fir st ster in Ronrnachil1.~ oroof that pe r sonal i t y , as reflected i n graphi c expression i ~ act i ng und er th e princi p l e of con f iguration and or~anjza t i on. or as a ge s talt .

,'oHf 's find ing..; 'dl i ch exnerimental lv demons t rate the r a ti onale of

~rap hoJogv in t~rmc; gpstat t psychology are summarized as fo ll~l s :

24

1. The pr i nCi ple of ba lance i n our body corres ponds to the princip l e

of balance in pe rsonalitv.

2 . '':he l aw of stah ilit v can h(' considered the basic law of personali t

it i s that princ iple which to exnres s i ve movement holds toge t he r t he

parts, . a <;e sta lt .

3 . '~ r5 nnal!tv jg det ermined hy the principle: for ces give t o a

lv~ tem of bala nce the mos t regu lar configurati on of Wll ich the Rvste ·,

is 'apa! Ie .

4. r, raph~c movemenrs ref l ec t the or ganization o f personali t y and are

t r tl :'i "df.::lp rams 0' l he- unc ons c ious . "

5, (,raphlc ra tt e rns are aymme t ri ca l a nd r efl e c t s ymmetry in perso nality .

~ . ~r3ph j~ ra· tern~ a re cons isten t over a l ong neriod of time as is

oer!"onalir.v.

,

2S

CHAPTER IV

THE RATI ONA LE OF GRAPHOLOGY I N TERMS OF JUNG' S PSYCHOLOGY

Ca r l lung wa s a Swiss psychologist who s tar ted out as an advocate of

the Freudian psychoanaly t i ca l approach to ps ychology . However, in 1912 ,

.T ung set f orth his own the or y of the libido and the unconscious and parted

company with Freud . It is somewhat ir.onica1 using Jung to demonstrate the

psy cho l ogical rationale of grapholo gy , fo r many Amer i can psychologi sts

view .r ung ' s ap p roach \vl t h the same scepticism they view graphology . This

i s partially caURe v the f act tha t J ung made brilliant speculations but

the ilystematic struc t ure of his thought 1s s omewhat obscure. Jung, hi mse lf ,

rea l ized t hi s and ~pe n t a conside rab l e amount of time clar ifYing s ome of

the mi s understandings caused bv diff erent i nt erpretat ions of hi s work.

Hm.rever, he consi dered himse l f t o be a pioneer and at t r ibu ted much of t he

1TIisunde r~ t anding to t il(' newness and orig inality of his t houghts . As J ung

h1.mRel f s -ated ~ lS , p. 117), "I expos e mys elf to critica l judgment becaus e

J fee! I t 1':; trw duty C'f one ..... ho goes his o\o1n l.;ray to inform soc i e t y of

...,hat hE' f inds on hi.:; voyage of discovery, be it cooling wa te r fo r t he

t:li r stv or t he !':'lr.dv vas tes of un fru i tfu l ('rro r. "

! nothe r pr ohlem Ar ea to 'lome Ame r t can psycho l ogi.sts is the fac t t ha l

Jung centered h is psy chology upon the a~u lt . His fe e lings conce r ninR his

s tand in this lrea (an he summed liD in one s en tenc e (14). "If ther e i e;

'inv t hing t hat ~"e Vli<;b t( chl'1n;>e i n t he ch i ld, \.ie s hould first exam ine it

Rnd see wherher it i.e: r 'l somethi ng th.'lt could ')(' het t e r changed 1 n

,mrs€', v{,s ." ':hh Jed .J':,,? to thE' posit !0n w1le r e he re jected Freud's t heo ry

of th~ 'lexual er.io]o['y of fl.3VC!I::"f'Ur!)sps . 7 1 ,bnR it W-'lS more meaning:u l

:0 dr.alYle man's ('urn'oc confl i C'ts vi-:,~ alt€'ml'~.lr.g t o I. pcover t he confll.ct',

or h:c; child'loo,j. l!'-",'ev!?y Jun~ df~epl'J rL'Sj,·(t· Freud and \oliR '''ork and

pointed out that jr~ud's theories were well grounded but one sided (14);

~

f~J Thus Freud's sexua l t heory of neu rosis i s grounded on a true and fact ual principl e . But it makes the mistake o f being one-sided and exclusive; also it commi ts t he imprudence of trying to l ay ho l d of unconfinable Eros wi th the crude terminology of s ex. I n this res pe ct Freud is a typica l epresenta tive of the mate rialis t ic epoch , whose hop e it wa s o solve the wo r ld riddle In a test - tube.

J u n~ also gave se r ious consider ation to t he anti-thesis of Fr eud's

osychoana l y t ica l approach , Adler ' s theo ry conce rning man's str ivings fo r

c; uperiority. J ung refe r red to it as "the will to power." Jung implied

~here was merit to Adler's approach a lso , but like Fre ud's, it suffered

f r om one- s idedness . Ther efo re, J ung took an eclectic approach, but going

26

one step fu r t her , synthes i zed his thi nking into what he considered a common

sense approach. based on the principles of opposites. ,The main points of

the ana l ytical theory are as follows (14, 15 , 30).

1. The re~ ec tion of the sexua l etiology of psychoneuroses.

2 . Jung's def i niti on of the lib ido i n t erms of psychical e ne rgy.

3 . Classi f i cat ion of ma n into introverted and extraverted type s .

4. The concept 0' the mi nd hav1 ng four' primary funct ions: thinking , . Tl-o

f eeling , sensation and i ntuit.l on . ..,._ ) L

.~-- lAP ' Jung 's use of the term ~ is different from that of Freud who us ed

libido in r elation to s ex. Jung under stood libido as the i ns tinc t i onal ~ energy which come li up lvith in t he human oe rsona1ity from t he un:Onsci ous to I consciousness (10). Ju ng ' s ~o~c eption of the psy che and the libi do i s al so

gove rned by h is ' rrinc iples o f opo os ltes.

To bo th t he pc;vcho]o?, is t and the graphol ogist the t erms int rovert and

E'x travert. ha ve imnf')rtant me aning . However. becaUSe of the i r popular uSl'lge ,

thes e words i'fl.V' ri!.k~r. iI more gene ra 1 ized a'1d vague meani ng t han when

.!·jrg d~velo')ed th~m :1" ?u t of hi s thc.i!'< on attitudf' t ypes . One of t he

27

problems , wh ich .botnered J ung, cente r ed on try ing t o determine what was t he

r aw ma t erial which caus e d ps ychol ogica l complexes. Or another way to

cons i der t he quest i on is ' ~at a re the specif ic contents of psychic

process es?" Progoff make s the fo l l owing ohse rvat ions (30, p. 99) :

The t hinking bv which J ung develops t he the ory of types runs ·somel.hat as fo llows: His study of the i ndividua l has to focus on t he movemen t of libidinal ener gy i n the psyche and on i ts manif es ta t ions in psychi c phenomena. That is the basic mate r i al "Tith whi ch he works . If we follow t he expression of libi do as t he ind ivi~ual makes his adj ust ment t o experience, we f i nd t hat certa i n a spec t s of t his movement tend to foll~v s imilar patterns wi thin pa r t icul a r individuals . To t hi s ex tent, it can be said that there a r e necessa r y s t eps in the exp r essi on of l ibido , and t,i s prov ides certa i n cr i te r ia with which to study t he developme nt of t he pers ona l i ty i n daily li f e .

Tung i ntended no absolu t (> s t andard of measur ement, he was formulati ng wha t

he t hough t ,,,as a l ogi ca l starting poi n t to tackle i ndi v idual differences.

Another important aspec t of the ana l ytica l psychology is what J ung

rer~rred t o as t he four Eundamen ta l psychi c f unct ions : s ensat ion, t hinking,

fee linp and i ntu ition . Ju ng us ed t hes e to express and r epr esen t t he ways

anJ mea ns of con~~ i o us orientation . j ung explai ned the s e f unctions i n a

lec t ure gi-.' en to lill' Internationa l. Congr es s of Education at Terr itet in

1923 (11.) .

l'nder t he ~cadin "" sensation I inc lude al l percepti on by means o f the sense organs: b ' t:linking 1 und e rstand the f un c ti on of lntell e c tua : L O?~ t inn , and the ~ormi ng of log ical conclusions; feeling is a f,ret 0n o~ s ub j ec tive evalua t ion, and i ntuit i on J hold to bp perc ~n t 1on ~v WRV of the unconsc i ous , or the perceptl0, f i:1 uncf'nscio,"s content.

Thus, the ind 'v lduill meets the oll ts i 1 ,~ Iwrld through his s ens es, and then ,

in order to interprpt that ""ich is 1')erceived, he t hi nks . Aft e r tb e obj ec t

IhpS mt'ani ng, it is eVillu,dn! ae; p l eaRant or unpleasa nt i n teTInS of t he

orc.er ver's pS'lchl<. cr!.pr.r.aUr-fi. Thilt IS he " ,~ s tRhJishes the va lue of t he

,1ject" or hd'l "t l'elim; . " The fi ln1 RSnec!" of f' xpprience js not conscious,

2R

tht ~ .. (? Are l~t ta!~t t i1"1p!'s an dividu,, ] knows IJhich J ung calls "i mmeJ iact;'!

' ~"'il re.ll1'<; ' n: ;el'1~ t"n<' \ lir<" o r "i nt,dt io n . " Progoff' oh se rves 00 , p. l rl 'l) :

; .>

', he llbido h ,1S r hw, mil·i . f.·'Jr "~ (""" ,\t each noi n t , ps vchi c ene!';,v ~,<1 S (':';1" ,;><;",..i in il difL,rent ',.J., V (C'warn e xp e r ienc e, a nd

J",t 111 a nec':!,,<., ar v "8", r~;1'.::h one : the ' ·~:I r n henomena \~tl lr,h

o cc u rred when t ~p Jih'do m~ t the C~1 P L t of exr erience must o ·::'.Jr in !, )"lP ci egr , ( .i'! e'f'ry e:o<o e riP'1c ' t h '" ~ n { ! iv i<iual has >n ii ff' ar'~\ 1 & <In "xv n) '~" ~r, 0 '.. i:'L ci() , ;'ird Jun g te rms them th e

'U ' fl)ncti,.,nc; ",f the l'<; vche,

.(un4' t .t~3 u ... ,~d r h,' rt-rrr", ),:1'1('na J <I n c! non 'rntional to expres s t he.se

J r 'r) ~!..: II \ 1 c· ~.; C ;1 i l U n. c t 1 ::) n I", • ~pcauc; e th inking and fee ling lnvclv~ ~

.~· <tte ,'IL t:tI.: CC' ;Inc 1(,ti' l ) 1\ ,~n r h .. · p ar t 0 the inrllvid\l a hey ",rl"

" .. ~lfrjC r 1(" 03 L 1 1 if'" t;P! lS .?1 t :i on i n v,) lves a more p ASS1,Ve

: e:. it \ ~ P""SII -l(,d ~ ::-. :-··in~·'j n{"l"-- ra tl('n :\ .~. Intu i t ion, berause of the nB rure

:I'k' /1' l ........ ) ~ • r~ .: oS r ~) -, I ~ i '-: f1 ,1 1 el l C):I..." (W) .

. ..; ! ~1 .-~ l r:uC'J ... ,:': ' ar' Lt' r, Ju n~', :'Jftsi d" red t h? hl :man psych e a wll de rnes s

31' >" LS" .rI I : t 1. 1"1/ · l \.'.~ t-: B~rv~ as a s (arttn~ poin t o r refe l e nce

:.. f · l" ~ . I .1"'l{:lr rl } r.. n n (~ i tio!1. J s ~ oulrl be prnper ly

~. )f. ;. \. (I , I. ,JI V :... • .• JI.I.'/ ;Il ~~ "'-;i i..n ff?rr ed tr ~lt tttl!!' f' f~.fe re p ur~'

, , 1" ,.. p •• ,p , 1 l .. / ··V.,.) ( " Or~f (,':r-;e :' ; en\.. p<:; ,q f o\'!

, . , 'E" er JI:/ ,li J c; tfit t~ t'l ~ t. eac h r)(~r S':,\:1 \1r1.~:. 'n ',.'

• 1 1.1 'r 'I n fl, 1.(.11, I fHj i \d '}~ l ~;

, ·.ci r,: ',' TiH' 1:~ldna :· t fun ,: t ~ (l n is ,I S <!G

n· r (' I '-. 1) • ',l' " . P!" l.el, O'l~ lilt:: basl ~ ro r t he

. 1 1 ~ ,-;-, ~.tCi \ 1 .. t e:>l J::1f"J~ ;.; t:h:nL. ~l"' ,{! tv' ~'. ,,"' t11 T!"l.1. l~t

. , l ' ,t r t.') r '- j ( , .. 4 ' ! r 1": 1 S r'"' \( r" [I r i e ""): l: tJ: i !.l 5

'1 ' The l ~d'f'r dc' \.~~ ... ~()UI . t.( ri]v

Ii't "',', 1""" r \' {1 '';':''li~, t=-' tj_f l1

29

GRAPHOLOGICAL IMPLICATIONS

It will come as no" surprise to learn that the graphologists who are

or i ented to the ana l ytical approach to psycho logy are primarily found in

Europe. They i nt er pret various handwriting indicators in terms of

in t r oversion and extravers i on as well as conSidering the four fundamental

psychic f unc tions. However , even though American graphologists seldom

ment ion the name of Jung , nearly all of t hem "make statements concerning

int r oversion and extraversion and use the .ame graphic indicators as used

tn Eur.0P e .

The trad i tional graphic i ndications of eX~ion

i n the wri ting, a rightward movement and~e WT1tin~

are a right slant

There is a paucity

o f r esearch to j ustH y thi"s pos i tion and interpretation, but nearly every

grapho l ogist makes this interpretation. I n terms of the Lewinson-Zubin

s cales ci ted in Chap ter Two, extraversion is indicated by the same factors

which indi cat e re l ease . The r ecent s tudy of Taft (33) indicat ed that

Ext ravert ed Len" Neuroti cs wro te larger than Extraverted High Neurotics. He

als o i ndicated t ha t l~traverted " Low Neurot ics (ELNs) wrot e large r than

I n t r over t ed 1.ol~ Neuro t ics ( I LNs) . \.]al l ach, who has mad e s eve ral studies

~ onsiderlng graphic exp a nsiveness , indica ted in his most r ecent study,

t~at there is a relations hip be twe en t he disturbance level of th e

i ndiv idual (n eurotic i sm ) , and t he amo unt of gr oss bod ily ac tivi ty req ui r ed

to i nduce grea ter graphic expans i vene s s . Concerning t he a tti tude of social

ex trave rs ion \~a l] a cn s t a t ed ( 35 ) :

I t is pr opos ed that re lati ve g rap hic exp a'nsiveness does not pe r qe" cons t i tcl te a symbo lic means o f expressi ng socia l e~ rravers1on, ~ut only ha~ the appea rance of do i ng so . This app a r ent linl cetween the g raphJ c eXo r ession and s oc i a l at titude realms i@ viewed as arjsi ng because socia l extra ­ve rston tends tLl lnvclve gr"eater amoun ts of gr oss bodi l y activi t'i ban :~ocial Introversion, gr os s bodi.ly ac t ivity i n

t urn possessing certa in predic table consequences for graphic expansiveness.

30

It is readily apparent that more def initive studies need to be conduct ed i n

this area.

As indicated previously, Jung s aw the mind a s having f our main

func tions ; sensation , t hinking, f eeling and intuition. The graphologist s

interprets the fo llowi ng to i ndicate sensation (1 2):

SENSATION

pas t y writing smeary writing righn-/ard slant large ex tension in upper or l~~er zone l arge lower length co lorless , flat writing

The t r adit i onal indica tions for thinking are:

THINKING

small writ ing simplif ied wri t i ng connected clear spacing between lines emphasis on upper zone or 19j nal f orms

opt:1.onal: low e r zones without loops

-raphologi s ts determi ne the feeli ng function by:

1

FEELING

large mi ddle zone f.ull, enlarged let te r forms p,a rlanti s garlands with angles l.uge width Sae r'e coour connec t ions I

Garland q are connective form, i n writing ge ne ral l y t houg ht to indica te an easv-g0lnp perq lal·LV. The\ a r~ f ound i n let te r s such as M and N, whi ch whe n written, re61"llb1e \J'e: <~r tve [1',,-. Saer'e Co our connec tions a re angula r with (over ing <; crol<p<; . ~ tIs uncommon in tl-t e Pni tpd '~t ates f or it 1s taught in the ·,-itil"g of eel-to? in i rf'r'C!' and "lls ttib.n s choole; _ 0ther j,11f'0 f tant c onof' ctive fr;..-l"'!- :Ire tbe ilr~adA, ... h . r:h j,'. ,. Ie ("Ipnos ite of the gar land, ~.I'\d the l hrf';:jej f 'J crr..

31

There is litt l e research i n English to just ify the interpretations

made of graphic indicators of the functions of the psyche. If one is

wi lling to consider the thinking function in terms of intelligence. and

i nte l l igence as being indicated on I.Q. tests, then there is some research

t o justify some of t he indicators which Hearns furnishes. One of the most

scholarly and ambitious studies was done by Castelnuovo-Tedesco. Using

in telligent but graphologically untrained judges, Castelnuovo-Tedesco had

the judges ra t e the intelli gence of the writers on a five poin t sca le .

Pos i t i ve corre lat i ons were obtained when the judges considered (a) the

spe ed of t¥-r iting , (b) the simp lifications and/or original deviations of

t he lette r form , and (c ) good aesthet ic spacing of the lines on the page

and o f the ,,,, orci s in the line (5 ). Eps te i n et alia found a correlation

significant a t the one per c ent level when they compared original

f orma tions of the wo r d "of " ( 7). TIley also found tha t when the letter g

1s formed s imilar to a ftgure 8, this correlates with intelligence (p.(Ol) .

The reader is ca utioned t o keep '- in mind that this is a very liberal inter­

pretation of the thinking functi on and the above , mentioned research should

be interpreted i n a pr udent manner .

There i s li t tle of an empi ri ca l na ture i n Engli sh t o jus tify t he othe r

func t i ons of the ;:>syche. Th:l.s does not imp l y t hat t he graphi c indicators

whi ch Hea rns offers are i.ncorrect. It means that at th is time , th€re is

not hi ng i n Englis" to j ust ify his supposit ions. One of t he weaknesses of

his paper i ~ the l a ck of a revi e~.; of the French and Cennan lite r a ture. As

the gr aphologi sts who hase th~ir analyses on the analytical a ppro~ch a re

rlffisrily Ln fur ' pc. it is r ot Burpr ising t o find a paucity of research i n

Enrrlis h to pmpil ically establi<;h their inter pretati·ons. T~e Eur opean

~rh01 ogi s ti b~v~ Qeen t ho w) rJd lea de r s for ~ numbe r o f ye a r s fo r the

a ttit ude of t ~ e psycho l ogists in Europe i s dif f erent than those in t he

U~ i t ed States. ~aPhO l Og1 st s are considered s c ientists abroad vi ce being

considere d l it tle more than clair voyants as t hey are in many circ l e s in

t he Uni t ed S t at e~ ~

32

CHAPTER V

SUM}~RY AND CONCLUSIONS

The stated purpose of this disertat i on is to demonstrate the

psych ological rationale of graphology i n t erms of three important

psv cho logica l systems . If the reade r has come to the same conclusions as

the wri ter , you no doubt fe 0l tha t each of the systems examined ha~e

cont ributed greatly t o psychology and t he gr aphologisti who base the ir

gr ap hoana l ysi s on one or more of the systems, do so efficac i ous l y . I t is

aIs " obvi ous cha t i t would be very easy to take an ec l ectic pos i tion as

to \4hac constitut es the proper rationa le of graphology. However, the

33

wricer sp es no vi r tue in eclectici sm as an end, but as a means to an end.

The i mportant consi deration is for each individual to synthesi ze this

t hinking. go heyond eclectic ism and knmv exact lv ,,,here he stands on an

~ssue. Therefo r e , the writer will make an attempt to suggest an ~pp ropriate

ps ychologi.ca l rationale of grapho logy, even though he i s unable to offer a

;lleo t:y pe r ceo

Anothe r unstated purpos p of this paper i s to suggest possible hypo­

ti1ese :, f er fur t her r es earch . To this e nd, the author has made stat eme nt s

such I\S , "'lore r esearch needed in this area," or "Thi s would make an

i nt e resting topic for furthe r research . " It is hoped that i f t he reader

doesn ' t run out and begin st ud ies i n gra phology , he will at leas t he more

<;ympathe t.1c a nd encouraging to those wh o do. In many ~"ays graphology is

to psy chology what hVf)nosis l s co medici ne. In fac t s everal s tudies have

b!'en done using roth p.rHf\hclogv and hypnosis (8). The lack of research

dO("sn t t i ndicatE> thl t !'ometh Lng j 5 not a verity , but t hE' laC; of res ea rc h ,

sert'u~lv hindel·q th~ us~[ul ne s s of any gi ven t oo l. Gr a phology like

hY1'fl0<;iS l.Ji; i. O.)t ,1ct·.i e !e \ddp accep tan , e an? use unti l it 1S f ur t her

34

emB irically establ ished . Only the n wi ll the necessary attitude changes be

brough t about . Th ink of the tremendous advantages of using "frozen thoughts" ,

which i s not af f ected by factors as t he Hawtho rne effect and the prac tice

effect, as a project !.ve te chn i que or in a clinical situation. In terms of

cos t alone , the advantages are t remendous. The most important factor to

remember about grapho l ogy i s !! works ! ! I

CONCLUSIONS

To s uggest a ra ti onale o f graphology, one must first have in mind hi s

psychology o f personality . TIle holistic gestalt theories of co urse stress

t he consideration of the I.;>hole person . Impor tant also is the configuration

of pe r sona l ity which st ress es t he patterns of and individuality of persona l i ty.

Gestalt psychologists have never a c cep t ed the additive assumption made in

t r a i t and f a ctor work. They would definitely not accept an atomistic vi~ .. o f

pe rsonali t y .

Al though the ~ reudian co ncep tion of developmental s tages offers a

po<;s i hle frame of refe r ence fo r considering personality, the concep ts of

rathexis Rnd object choice seem to f ur nish a mo re fertil e grounds for

considering pe rs onality . Also Fr eud 's i deas of de fense mechanisms a nd the

ot her aspec t of his dy namics of personali ty se em ver y plausible !.ndeed. Who

ha s hyp o t hesized a Le t ter explanat ion o f the o rga nizat ion of personali t y

i nt o t he ld, e go anJ sunerego ?

It would not seem wis e to dis r egard th e Jungi an conception of per s onality

types. His clas s ifi ca t ion of introvert and extr aver t appear in t he

Ilterat'lre every olav. t1so there :Is a lot to r.e said a!:lou t his defi nit .i on

,,' lib i dinal ene~" ir. tenns of the Ds"chl'.

/\ltho u\;l.' n·ll. c onsi ('e r ~d in <l ny depth in this naner , >\d1.er offers some

cogent t houghts concerning personality. One can se e his idea about the

dominate motive in personality being t he striving toward a goal of

superority ever y time he rea ds a net_spap e r or hears the news. Also, his

not i on that an indivi dua l should no t be considered apart from his social

setting seems relevan t also. Allport and Murray have also of fered some

interesting thoughts and s igni fic ant resear ch in the ar ea of personality.

35

The re fo re, to f ormulate an approach to the most appropria te

psychological ra tiona le of grapho logv, one must start as the ec l ectic and

aft er cons idering the best attributes of each system, attempt to interweave

thes e vi ews into a workable hypothesis. It would be brash and naive to

att empt to offer a theory at t his pa rticular time, but hopefully as more

research is ac compli s he d and more psychological developments in personality

are reported. a new theoretica l of fering tYill be in order.

The aut hor doesn't believe that the main points of the three

psycho lo~ical systems a re ne ces sar ily mutual ly exclusive. For examp le ,

t.,rhy can't one accept t he Jungi an theory of libidinal energy and still

consider the wri ti ng as a who le in terms o f being a gestalt? Isn 't it

[easib l e to cons ider Freud 's organi za tion of personality in terms o f

configuration ? Or at leas t as exhibiting certain patterns?

Another imp ortant cons idera tion t o a ny hypothetical of fer ing must be

in tenns of the resea rch already accompl i shed . Even i f the reader considers

the presen t res earch i nadequat p , it s till must s erve as a s tart i ng poin t,

There Is the problem of i nt erpre t ation of resea r ch a l s o , fo r different

res earchers tend to make differ i ng in t ernretat i ons of t he same empi r i cal

results. A res earcher, who on a visceral l eve l 1s adamant ly op pos ed t o

::onc;1:d ering graph()logy as a nro.l ec tive tec>mique , is goi ng t o interpre t

requ Ite; in te:-ms of Id s O';1n frame of r efe r ence and .!ill att empt to r e fu te

36

the other side. As the r esearch to empirical.l.y es tablish graphology is

adequate but not ove~Nhelmi ng, the researcher who believes in graphoanalysis

is going to make every pos itive int erp r e tation he can. This is human nat ure.

The wr i te r is somewhat amazed at the amount of emotionality and ego­

involvement t ha t has ac companied the development of graphology in the United

Sta t es . Ev en t o this day , the author finds many of his colleagues snicker i ng

whe n t old the present writer i s doi ng research in graphoanalys i s. This has

he en the case i n this country since t he turn of the ce ntury. The writer

\.,ronders if deep down i nside, s ome psychol<;>gists as well as educators in

general ob j ect t o the t hought that one could discover aspects of their

per sonality wi t hou t consent through gr aphoanalysis . This might provide an

inte res t ing hyp othes is f or fu ture research .

Be that as it may . the current body of literature in the English

speaking count r ies wi ll be used as a starting point for the suggested

app r oa ch t o t he most appropriate rationale for graphology. In terms of

gestalt psychology, the wr itten page being a gestalt is most appropr iate.

This \,8S one of the nm pre limina ry quest ions posed i n Chap ter Three and

IoTa s answered on pages 18 and 20. Also t he principle of configuration has

be e n so well deve l oped by Holf f 's !Ildny year s of s tudy, t hat one mus t

cons i der personality t o be conf igured . Besides the resea rch cit ed i n

Chapter Thr ee , \"01 f[ ha s shoun exper imentally t here is a consistency in

graphic pat t e rns made r igh t-hand ed left-handed, with eyes open and with

them closed. It is su rpris i ng to lea r n that right-handed i ndivid uals wil l

maKe the same sized f igures and l ines with t heir left hands whi le b l i nd-

olded (40, 23ff) . \.]o lff al ~o co ns idered the pr oblem of i nna t e configuraticins

in the s cr ibb lings of ve r' young children. He demons t r ated that children t en

mont hs old den,onstr a te simp Je pa tterns of con figu r a ti on wh:!.ch a re consis t ent

37

up .t o eight years of age. Wolff of course interprets this configuration in

the human pe rsonality. He demonstrates and defends the verity of this

hypothesis throughout his whole book. It is interesting to speculate on

the reason ,,,hy ten mon t h old chi Idren show configuration in their scribblings

fo r it' certainly wasn't learned. \.Jolff offers the following as a possib le

explanation (40 , p . 151):

Although we never learned the configuration of graphic movements and are not aware of it, the configuration of movements into a harmonious pattern might have been learned unconsciously by adapting our form of expression t o the organized patterns of na ture.

Along with t hese two key concepts from gestalt psychology , the writer

finds very little of the material in Chap ter Two whi ch does not contribute

to a sound rat ionale of graphology . Graphology is a projective technique.

One can di scern fo rces of cathexis and anti-cathexis; one can see a logica l

t hre efold division i n persona l i t y and i n handwriting as a projec tion of

personali t y . \fuether this division i.9 considered in terms of id, ego and

supere go is immaterial . The semantical cons iderations ar e secondar y.

As indica ted in beth the s ection on psychoana ly t ical psych ology and

the section on analytical PSYChOlog~SYChiC energy is an important

conce pt to the rationale of graPh0 10g0 One cOan discern indications of

psychic ene rgy in handwri ting and whe t he r it is more appropriate to

i nt e r pretate these i nd ications 1.n t erms of sexuality or Jung ' s conception

of libidinal energy is difficul t t o decide. The wr i ter favors J ung's

interpretation but a ls o helieves the re Is merit to t he i nterpreta t ion

in terms of sexuali t y . At present the r esear ch resu lts do not a llmJ one

to make an empi r ica l di fferentiat i on.

Although the works of Wallach (35) and Taf t (33) we r e used t o

consider th e factors of introversion and extraversion, the writer bel ieves

J

tha t these must be 'conside red outside the realm of analytical psychology ,

for in t roversion and extravers i on were determined in both of these

studies by a questionnaire or self repor t device which does not cons i der

the menta l t ypes. Jung's conception o f t hese two phenomenon should be

cons idered in t e rms of his t hesis of libidinal energy and his interpre­

t ation of t he fou r psychic func tions. Neither Wallach nor Taft have this

38

and t he refot:e thei r work i s not meaningful in t erms of analytical psychology .

'TIlerefo r e, t he writer mus t currently reject Jung's analytical psycho l ogy fot:

there is no empirical evidence ava ilable at present in the English speaking

countri es .

vlli a t is the psychological rationale of graphology? It is that writing

r ep resents a gestal t . It shows the configuration princip l e and it is a

projectIve technique . Handwriting is an involuntary and involutional

r ept:esenta t i on of the wr iter's personality. One can learn about dynamics

of personali ty as we ll as the organiza tio n of personality through graphology.

,t:ap holagv is j ust ~eginning to creep out of the stone a ges but its f uture

developments should be interest ing indeed.

39

BIBLI OGRAPHY

1. Allport, Gordon tv . and Ver non, Philip E. Studies in Expressive Movemen.t. New York: MacMillian Co., 1933.

2. Allport, Gordon W. Personal~ a Psychologica l Interpretation. New York : Ho l t and Co., 1937.

3. Bell, John E. ~ectlve Technique~. New York: Longmans, Green and Co . , 1948.

4 . Birge, W.R. "An Experimental Inquiry in to the Measurable Handwriting Correlates of Five Personality Traits." Journal of Personality. 1954 . 23: 215 -23 .

5 . . Castelnuove - Te desco , P. "A Study of the Relationship Between Handwriting and Persona lity Var iables. " Genetic and Psychological Monographs. 1948, 37: 167- 220.

6 . Crepieux- Jamin , J. The Psychology of the Movements of Handwriting ( translated by L. K. Given-Wilson). London, 1926.

7. Epstein L., Hartford , H. and Tumarkin, 1. "The Relationship of Certain Letter Form Varian t s in the Handwriting of Female Subjects to their Education, 1.Q. and Age. " :Journa l of Experimental Education. 1961, 29 : 385-92.

8. Fluckiger , F.A., Tripp, C.A. and Weinberg , G.H. "A Review of Experimental Research i n Grap hology , 1933-1960 . " ! erceptual and Hotor Skills. 1961, 12 : 67-90.

9 . Freud , S. !J1e_~o_._and th_e Id .. (Trans lated by Joan Riviere). New York: Norton and Co . Inc . , 1960 .

10. Gough , H.G. "Test s of Pers onali t y and Temperment." E:ncyc~_edia ~.~_~annica. 1969, 18.

11 . Ha ll, C. S. ~. Primer of Freudian Psy chology. A Ment or Book . New York : Net. America n Library , 1954.

12. Hearns, R.S. H~ndwr1ting An....!'\n~s is Through Its Symbolism. New York : Vi n t a ge Press, 1966.

13 . Holt, II.C. Handwri t ing in Ps ycho l ogical I nter pre t a tions . Spr i ngfi.eld , Ill : Thomas, Co., 196 5.

14 . J ung, C.C . ~ont:.!il~.lI tlo~~ .£.o~.nal)' tical P sy~hol~. (Trans H.C . and Cary F . Baynes). London: Routledge and Kegan Paul Ltd ., 1948 .

15. Jung . C.G. Tw5-:.J"':.:'lS~_~~ .. !-:I!..I!.1itic~1 P~~.!?l~8Y ' (Trans la te d by R.F.C . Hull ). London: Rou t ledge and Kegan Paul, 1953.

16. J ung, C.G. and others . Man and His Symbol~. Garden City, New York: Double day and Co. , I nc ., 1964.

17. Kleinmuntz, B. P ersonaA~ty Meas urement . . Homewood, I ll:. Dorsey Press, 196 7.

18. Koffka, K. Pr1~ciples of Gestalt Psy cho logy . New Yo r k : 1929.

40

19. Kohler , W. Gestal t Psychology. A Mentor Book. New York: NewAmerica n Lib rary, 1947 .

20 . Lewins on, Thea Stein . ."An Introduc tion to t he Graphology of Ludwig Klages." J Ot}rnal of _Personality. 1938,6: 163-176.

21. "Dynamic Disturbances in the Handwri ting of Psychotics. i , Am_erican Journal of Psychia~. 1940, 97 : 102-35.

22 . ________ . _______ _________ and Zubin, J. Handwriting Analysis. Horingside Heigh t s, New York: Kin g Crown Pr ess , 1942.

23. Lo rr , L. Lepine, 1.T. and Golder , J .V. "A Factor Analysis ' of Some Handwriting Characte r ist i cs." Journa l of Personality. 1954 , 22: 348-52 .

24. Harcues , Irene. ~1ied Grapho logy. New York : Macoy, 1946.

25. __ __ _____ ________ Guide to Personality Through Your ~~~wr1~1~g. New York: Arc Books I nc ., 196 5.

26 . Me dnick , Ma rtha r . and Mednick , S.A. Research in Persona l ity . New York : Hol t Rhinehart and Winston, Inc. , 1963.

27 . :!I-lun r oe, Ruth. Lewinson , T. S. and Waehner , Trude Schmidl. "A Comparis on of Thr ee Project ive Me t hods ." Journal of Persona lity. 1944- 45 , 13 : 1-21.

28 . Ol va nova, Nadya. T~~ychol~f Handwr it i ng. New York: SterHng Pub lishi ng Co., 1961 .

9. Pas ca l, G. R. "The Analysis of Handwriting : A Test o f Significance . " __ u['.!!.'!.L~L~er~o_nalH'y. 194'3, 12 : 123-44 .

30. Progoff , Ira . Jung'~~y-~ho Jog~~ Socia l Meaning. New York: Grove Press , 19)3.

31 . Roman, Kla r a G. Handw~_t}~_~_50 Persona l~. New York: Noonday Pr ess, 1962 .

32 . Stafford, Muriel. Y!,u __ :!.n_dJour Handwr it ing. A Dell Book . ~eH York: DeJl Publish ing Co., 196 3 .

,-

33. Taf t , R. "Ex t raver sion , Neurot i cism , and Expressive Behavior : An Applica tion of Wallach ' s Moderat or Effect to Handwriting Ana l ys is ." }ournal of Pe rsonali ty . 196 7. 35: 570-84.

34 . Turabian , Ka te, L. A Manual for Wr iters . Phoeni x Books . Chi cago: Univer s i t y of Chicago Pr ess, 1967.

41

35 . \va llach , M. A. and Br ant l ey, Helen T . "Re l ative Graphi c Expans iveness as a Functi on of Gr osH Bodilv Activi ty and Psycho logical Dis turbance . " J ou rna l_0l-Per s_on~}ity_ . 1968 , 36 : 246-58 .

36. We lls , F .T. . "Pe r sona l History , Handwr iting , and Specif i c Behavior." .J ournal of ~~rson~} t~. 1945 , 14 : 295-314 .

. ~ 7 . Wertheimer , ~. "1:. "Ges tal t Psycho l ogy ." Ency clopedia j!ritannica. 1969, 10 .

38 \,'o H s on , Ros e. A Study in Handwr:l.ting Analysis. Ann Arbor, Mich :

39 .

Edwards Bro the r s . Inc ., 1949 .

I n H.H . Anders on and G.t. Anderson (edito rs) ~n . lnl:roduc t :l.on~Projec tive Techniques . New York: Prentice 1\all , 1951.

40. \~o lf f , Werner. Diagrams of the Unconscious . New York: Grune & Strat ton, 1948.