Paul Helwig

Paul Helwig ( born May 27, 1893 in Lübeck, † August 7, 1963 in Munich) was a German psychologist, philosopher, theater director and screenwriter.

In professional circles of psychology Helwig was to be its on Aristotle's considerations " of the center-right " values -based model of the square known, which he presented in his work characterology. This thinking tool was later made by Friedemann Schulz von Thun as values and development square to a wider public.

Life

Paul Helwig was a son of the merchant August Helwig. He studied music at the conservatories of Leipzig and Munich. After time at the theater he took his already begun studying philosophy in Cologne again and received his PhD in 1934 at Nicolai Hartmann.

He lived the last years as a freelance writer in Munich until his death on 7 August 1963.

Theater and film work

After graduating from the Conservatory, he spent several years in senior positions at the theaters Eisenach, Heidelberg, Dusseldorf, Breslau and Berlin. In this period, and afterwards he wrote several stage plays, including the comedy Honeymoon, which is still occasionally performed. He also was co-author of several screenplays and translator of two pieces of John Priestley, which he also directed. This theater work has "acting -in-itself " contributed to his later fascination with the human as an irreducible " Urkategorie of Being."

Philosophical considerations

In 1936 he published " soul as an expression ," in which he tried to overcome the dualism to provide centrally by the action of the organism to the environment and replace it with the dimension of spiritual and material with the dimension of internal-external (which is a dimension of experience and no objectively spatial dimension). This treatise, which already carry the characteristics of a psychological analysis, connects to his 38 -page dissertation and makes the abstract ideas contained in it something more comprehensible.

Psychology

In 1936, at the same time the first version of characterology (for Teubner in Leipzig), a book of a different kind, psychological types and diseases are treated critically in the. In 1951 a revised 2nd edition. In it, he introduced the values quadrangle, an explanatory diagram with order worth afflicted terms: Every virtue is a virtue over counter, with the implication that both can degenerate if one is not held sufficiently different from the other in balance. For example, is the pursuit of grip in the world also a certain confidence and composure against, otherwise degenerate the pursuit of maintenance in spasticity and Zwangsmäßigkeit, respectively. confidence in childlike dependence.

Helwig's employment with the irreducible phenomenon of activity on the environment and concern for people led to the idea of " dramaturgical psychology ": the explanation of behavioral phenomena is not as in depth psychology, the " inside " ( the wrong disjunctive term " psyche " looking ), but in the properties of the action itself Such non - opportunistically - due to methodological behaviorism, but for reasons of principle, namely because everything for the Psychology Major in the first and last instance " out there " happens in the encounter of the acting man against the environment. And it is observed with the detached eye of a dramaturg human action and converting.

Behaviorism Helwig

As far as the choice for the outward behavior as the proper object of psychology, Helwig is just like Skinner, a radical, in the sense of fundamental behaviorist. However, with the difference that he looks with the eyes of a director in issues of much larger units of behavior (as stimulus-response ) to human action. The interaction of individual - environment should be - as he says - analyze the extent, with so much "stuff" ( events, episodes, reactions) is raised that there may be of longer duration to actions ( interactions ) - as also in the Theatre happens and is essential for a good drama, and thus the life " goes on ". For this is not only the nature of the actions of the individual is important but also the degree of resistance which it encounters it. One limitation of Helwig is that it says little about the conditions that can grab ineffective behaviors a people who do not have the appropriate survival.

During this time, Helwig exercised also own psychotherapy form. He worked on psychosomatic Institute in Heidelberg.

Unbroken

Helwig is an isolated until today and only moderately retarded known personality in psychology, because he belonged to no flow and no school has its own structure (with trailers), because

First, he broke with the then strong in Germany psychodynamic / psychoanalytic tradition
Secondly, he worked totally different from the phänemonologisch oriented psychologists like Victor.E. of Gebsattel and Erwin Straus.
Thirdly, he analyzed despite kinship with Skinner 's behavior different from the behaviorists.
Fourthly, he has operated existential psychology, but again unlike their actual theorists.
Fifthly played a role that Helwig wrote on an abstract level, its own terminology introduced and is therefore difficult to viewing it. He was also no effort to join a psychological school.

Works (selection)

Jerika. Novel. Alfred Ibach Verlag, Vienna, 1941.
Pan Pan Potiphar. The abstract poetry of my cousin Alois time bird; Poems. Glock & Lutz Verlag, Nuremberg 1962. (Illustrated by Julius Nest).

Fritz Peter Buch (director): The little girl. 1940 ( together with Fritz P. Book).
Erich Engel (Director): love without illusion. Dialogues. In 1955.
Erich Engel (Director): The man of my life. 1954 ( film adaptation ).
Thomas Engel (Director): Sweden lass ( " Sommarflickan "). 1955 ( together with Ursula Bloy ).
Paul Heidemann (Director): My husband should not know it. 1939 ( Helwig's film adaptation of the play " Honeymoon ").
Rudolf Jugert: (director): A piece of heaven. 1957 ( together with Juliane Kay ).
Franz W. Koebner (director): The novel of Lilian Hawley. In 1924.
Thomas Engel (Director): Happy journey. In 1954.
Thomas Engel (Director): Nothing but trouble with love. 1956 ( screenplay with Heinz Oskar Wuttig ).

Characterology. Herder, Freiburg / B. 1968 ( Herder- Library; 283 ).
Drama of human life. Klett, Stuttgart 1958.
The desired and the desired world. For psychological characterization of the hysteric and the obsessional neurotic. In: Psyche; Bd 6 (1953 ), Issue 10, pp. 561-576.
Love and enmity. Reinhardt, Munich 1964.
Psychology without magic. Man in Spannungsgefuge of life drama. Reinhardt, Munich 1961.
The individual relation. A contribution to the dialectic of selfhood. Dissertation, University of Cologne in 1934, 38 pp.
Soul as a manifestation. Studies on the mind-body problem. Teubner Verlag, 1936.

In broad daylight. Comedy in 3 acts. Three masks Verlag, Berlin, 1942.
The " Barbarian". A historical tragicomedy in 5 lifts. Three masks Verlag, Berlin, 1941.
The oak Acher game of the ten virgins. Kahle Publisher, Eisenach 1922 ( translated together with Conrad Höfer for the performance in July 1921 and new scenic edited).
Ernst aside. Comedy in three statements. Publishing " the ramp ", Hamburg 1949.
Honeymoon. Comedy in 3 acts. Meisel, Berlin 1972 ( d Nachdr Ed Berlin 1939).
Gods on vacation. Comedy in a prologue and three acts. Three masks Verlag, Berlin 1940.
Odyssey of desire. A serious comedy. Publishing " the ramp ", Berlin 1940.
Krampus and Angelika. Comedy in 3 acts and one prologue. Meisel, Berlin 1964 ( d Nachdr Ed Berlin 1943).
Lucile and Orleans. A dramatic romance in 5 lifts. Three masks Verlag, Berlin, 1942.
Of glory and love Sword: A dramatic romance in 5 lifts. Three masks Verlag, Berlin, 1942.
The beautiful Maria. Historical Comedy in 5 lifts. Three masks Verlag, Berlin, 1942.
Black magic. Comedy in three statements. Three masks Verlag, Berlin, 1942.

Robert Boissy: Jupiter: comedy in 3 acts ( "Jupiter "). Three masks Verlag, Berlin, 1947.
John Boynton Priestley: Family Professor Linden. A drama in two acts ( 4 pictures) ( " The Linden Tree" ). Three masks Verlag, Berlin 1948.
John Boynton Priestley, Here am I ever been. Drama in 3 acts ( "I have been here before "). Three masks Verlag, Berlin 1948.
John Boynton Priestley: The strange city. A play in 3 acts ( " They came to a city" ). Dt. Amateur play -Verlag, Weinheim 1958 ( former title: The new city).

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