Table Of Content

Journal of the American Society of Professional Graphologists ‘An Introduction to the Graphology of Ludwig Klages Thea Stein Lewinson ‘The Four Temperaments of the Moretti Graphological System Vincenza De Petrilo and Alessandra Milevlte ‘The Compatibility of the Couple Vincenza De Petrito Graphology as Applied to Children lecquetine Peugeot ‘The Wartegg Test: Its Use in Combination with Handwriting Analysis and the Tree Test Renate Grins Marie Antoinette Seen Through Her Handwritings Renata Propper A Graphological Picture of Creativity and Mental Distress Lois Vaisman Suicide: Graphological Perspectives Patcia Siegel Jury Consultants Using Handwriting In and Out of the Courtroom Ruth Holmes and Sarah Holmes Form Level: Theoretical Considerations, Mare J. Seier, Ph. In Memoriam Thea Stein Lewinson, Oskar Lockowandt Hava Ratzon, Heny ©. Teltscher, Ph.D., Augusto Vols ISSN: 1048-200 Volume VI, 2004 JOURNAL OF THE AMERICAN SOCIETY OF PROFESSIONAL GRAPHOLOGISTS President: Patricia Siegel ‘Vice President: Lois Vaieman ‘Treasurer: Laurice Rahme Past Treasurer: Jeffrey Starin Recording Secretary: Joy Chute ADDITIONAL MEMBERS OF THE BOARD Howard Burger Lisa DeBoer Alan Levine, M.D. ‘Linda Cross Virginia Dileo Nanoy Roohe ‘Mare J, Seifer, P.D. EDITORS ‘Alan Levine, MD. Mare J. Sefer, Ph.D. Patricia Siegel Copy Eaitor: Sylvia Topp ‘ayout: Julia Roh ‘Subsoriptions: Nancy Roche PAST PRESIDENTS ‘Thea Stein Lewinson 1088-1002 + Alan Levine, M.D. 1992-1995 PURPOSE OF THE JOURNAL + To present theoretical and research papers in scientific graphology according to academio standards. + To create a forum for helping graphology gain @ wider academic ‘and professional audience in America + To provide an exchange with the international professional sgraphological community, SOCIETY ADDRESS AND ARTICLE SUBMISSIONS ‘The American Society of Professional Graphologists 23 South Drive, Great Neck, Now York 11021 Website: wa waspghandwriting org JOURNAL SUBSCRIPTIONS Journal of the American Society of Professional Graphologists ‘261 Summit Avenue, Summit, Now Jersey 07001 © Copyright 2004. All rights reserved. ‘The American Society of Professional Graphologists ISSN: 1048-390 SUICIDE: GRAPHOLOGICAL PERSPECTIVES" a5 Patricia Siegel ABSTRACT: In the handwritings of Florence, Hd, and Mara we seo ‘ture faces of wuffering, and how an inability to cope ean lead to sul ‘ide, Through nine years of handwriting samples and a poignant doo- ‘ie, we understand Plorence's conflicting emotions, the corrosive effects ofa symbloti relationship with her older sister, her silent suf fering, and her struggle to warvive. Ed's and Mara's troubled lives and ‘ispositions are vory different from Florence's and from each other's. ‘Yet, they share an imbalance that makes each one's attempt to com- ‘pensate too great an effort. ‘orence is the mather of three, She hata cheerful ecient manner which camou- ‘ages an inner life both more difficult and more enriched than one would readily imagine. Through handwriting and drawing samples spanning a nine-year period, ‘we will eee the conficting emotional currents in Florence as she tries to keep her equi- {brium and lead a normal if ‘As the result ofa progressively deteriorating relationship with her older sis- tor, Florence's controls were stripped away, giving free rein to emotions Kept in check for many years. Florence's story and its graphio projection will enlighten us about attachment and hidden suffering spurred by long-standing emotional abuse. We will also discuss fa and Mara, whowe ives and dispositions are very dif- torent from Florence’, and from each others. Through their handwritings we can recognize three different faces of suffering. Yet, they each share an imbalance in their ‘emotional lives that makes coping grat effort. FLORENCE AND SOPHIE Florence's story comes from her daughter. It this daughter's voice, much of tin ner exact words, which allows us to empathize with Florence so completely. And itis the handweitings of both Florence and her sister Sophie that bring their person- ‘lites and relationship into focus. ‘Florence was the youngest of four children. Her mother committed suicide by drowning herself when Florence was just six years old. After her mother’s death Florence's father leaned heavily on the oldest daughter, Sophie, to run the family ‘Sophie, only 11 oF 12 years old at the time, assimed the postion of "mother." taking ‘control over the other children, *Thia teoture was originally given at the Second International Graphology Conference, ‘The Hague Neberands, Soper 20, 1006. 156 Journal ofthe American Society of Profesional Graphologists ‘continued to act as Florence's mother. Florence wanted to go to college, but Sophie tnd thir father decided against it. Flarenco was bittar about this docision all hor lf. eae Sauer: yt f oceaedon. ily Opin meg os P Heer Atl, the Herp pies edeh yee) Totes hay eres tha Mapondy Come reer eo Actirtens a tn (lis plies te 9% ay Ne ial = a> ae Figure 1a: Florence's handwriting, age 45, right-handed, red ink fountain pen. (Original reduced to 80%) Fa tins ltllge =e ri Be 70 Mealope Spy Qi, Canta = Figure 1b: Florence’s handwriting, age 45, original size. ‘warty elongated or sharply divided. This breakin rhythm and continuity inthe lower ‘zone refieets Florence's poor integration and her unconscious frustration an resent- ‘ment. (Note, to, the weakly executed word “Help” lecated in the center of the page) Stil, Florence ambition and drive is evident in her reac, both above and expe ‘Suicide: Graphologicl Perspectives 159 ally below the modest-siznd middle zone, Although most of her ltt forms are con- ‘ventional, her accent on style emphasis her nee for creative expression. But the over- ‘ll movement retreats to th lef, as with the Curiedn terminal strokes, instead of ro- ‘ceoding rightward toward the future, There i glaring contradiction botwoon her inh bition and the lure of her dreams ns she strives for recognition inthe fae of anxiety Her signature, unlike the rest of her handwriting, s undefined It reveals the Figure 2: Sophie's handwriting, age S2. Graphologsts Journal of the American Society of Professional 160 sae ull, re, po is si % CARBEUL WHE AS D TALKING Ty Se Figure 3: Florence's handwriting, age 82. ‘Suicide: Graphological Perspectives a6 confict between her inner feelings and the image she presents. But her signature also shows greater individuality and continuity than the text writing and attests to her Creative aspirations. This is a woman who tries with much effort to improve her self. ‘esoom and find fulfillment, while keeping her anxieties at bay. Sophie's handwriting (Figure 2) i crude, undiseiplined and irregular. t proj- ‘cts the difficulties she too had growing up, for she was also a victim of her mother's ‘Suicide and had to compensate for her loss. Whereas Florenoe's letter forms are pre- dominantly rounded and overtly accommodating, Sophie’ forms tend to be more angular and assertive, expressive of a defensive effort to protect her vulnerable core land sustain her image. Sophie word endings are abrupt, depicting her stubborn resistance and undeveloped sensibilities. Her stroke quality — tense and errati, often ‘tremulous with frequent breaks in line flow — reflects Sophie's anxieties and her own, struggle for survival ‘A diary entry by Florence (Figure 9) at age 62 describes an upsetting expert fence involving Sophie. The graphie expression is much more emotional than those we ‘su at age 45. The writing changes significantiy ax Florence proceeds down the age eer usual discipline begins to breale down and is particularly evident in a greater release an increasing upward alignment, and displaced pressure inthe underlining tnd "Y" bars. At the end, Florence prints for emphasis, but its agitated, hild-Mke awh ‘wardness gives the impression that ahe is retreating into her childhood emotions, It {an if the childs rage in Florence is experienced again as an adult. Figures 4 and 5 are Florence's log entries written several months before a last ‘argument betwoon her and Sophie. In the mid ofthis fight, Florence offered to give back every gift Sophie had given her sinoe her marriage. It was Florence's way of breaking her ti to Sophie. To Florence's shook, Sophie actually did tale everything ‘back — linen, flatware and jewelry. For Florence, that was the complete rejection. It war also her breaking point. ‘Florence went into a terrible depression. A week later, Florence taleed about ‘king hereof. Hor whole personality changed — her voice, her walk, her sual pos- itive manner. The second week she seemed to pull herself out of the depression and acted pretty much as usual, but sat by the phone waiting for Sophie to call. The third ‘week she went back into the tarrible depression. Her family frantically sought out a peychlatrst. Florence talked about Sophie compulsively, She tried everything to help herself when she had good day, including double the fresh orange juice, She wasted to tall Sophie and bog to be forgiven, but her family urged against it, for she had done nothing wrong. ‘One afternoon, Florence called her daughter to tell her that Sophie was with her, and they wore going to patch everything up. Florence would let Sophie keep all, her things, and they would forget the fight. The daughter went over and told Sophie ‘off, but good. AMtar Sophie left, Florence's daughter hugged her. Florence then ung ‘aselftelp book she was reading across the room and sobbed "How can you touch me?