Mattenklott G
Rev Int Hist Psychanal. 1989;2:255-65.
The main reason behind these three letters and these two postcards addressed in 1936 by Sigmund Freud to Georg Hermann (a German realist writer, author of a great number of psychological novels) and that are presented here by Gert Mattenklott, takes root in this Freudian leitmotiv: psychoanalysis can and must speak of the work of art, not so much in relationship to its formal or technical qualities as to the impression it gives the spectator, to its "effects". This brief exchange provided an occasion for Freud to speak of the notion of unconscious guilt when replying to an objection made by Hermann, and then essentially of dreams about travelling and trains that are missed as a defence against the perspective of death. The article and the correspondence with Hermann end in the same manner, with the two last postcards sent by Freud to the German writer who died in 1943 at Auschwitz-Birkenau.
西格蒙德·弗洛伊德于1936年写给格奥尔格·赫尔曼（一位德国现实主义作家，著有大量心理小说）的这三封信和两张明信片背后的主要原因，在弗洛伊德的这一主旨中可以找到根源：精神分析能够且必须谈论艺术作品，与其说是关乎其形式或技术品质，不如说是关乎它给观众留下的印象，关乎其“效果”。这次简短的交流为弗洛伊德提供了一个契机，使其在回复赫尔曼提出的异议时谈到了无意识内疚的概念，然后主要谈到了关于旅行和错过火车的梦，这些梦是对死亡前景的一种防御。这篇文章以及与赫尔曼的通信以同样的方式结束，最后两张明信片是弗洛伊德寄给这位于1943年死于奥斯维辛-比克瑙集中营的德国作家的。
