‘hypnosis’, frequently merged with ‘massage and cutaneous electrotherapy’, and thus before the advent of psychoanalysis (p. 128). Addressing the interior decoration of the consulting room as expressive of the analyst’s ethics, Chapter Eight contrasts the ‘archaeological’ preoccupation of Freud’s ‘antiquities’-filled room (p. 144) and the present-day analyst’s predilection for ‘self-erasure’ through sparse, self-abnegating furnishings (p. 151). The concluding chapter reflects on the intermingling of these recovered ‘traditions’ in the couch’s past (p. 163), while also contemplating its future. Identifying critical questions for ‘empirical’ investigation, such as whether the couch is particularly effective in resolving some issues over others or whether the analyst’s location is important (p. 166), it ultimately signals the couch’s enduring singularity. Kravis recognizes ‘recumbent speech’ as eliciting an inimitably ‘powerful discourse of the self’ (p. 167), sagely endorsing the couch as a resolute safeguard of inwardness and intimacy in a time of ‘hypertransparency’ (p. 170). Kravis’s book enriches the existing literature in manifold ways. It carves a novel visual route through the history of psychoanalysis, innovatively tilting the investigative focus towards psychoanalysis’s physical objects rather than its theories. This employment of visual imagery and interest in the meaning of material artefacts is methodologically original for both medical history and medical humanities more generally. Furthermore, this work fits into the ongoing historiographic project of tracing the development of psychotherapy in different contexts (Marks, 2017). It recovers the different values that have accrued around reclining posture historically and geographically, and that have led to the apparently automatic acceptance of the couch among clinicians. For historians of the ‘psy-disciplines’ (p. xii), it thus resolves the longstanding lacuna surrounding the clinical omnipresence of the couch. Additionally, the author’s discussion of the ‘moral interior’ is particularly valuable (p. 139, original emphasis). This concept provides a productive framework for scholars and medical practitioners interested in space; it refers to the way in which the analyst’s principles pervade, decide and reveal themselves in the furnishings, arrangement and ambience of their respective consulting rooms (p. 139). Although Kravis’s collation of photographs of contemporary analysts’ rooms are quietly compelling in comparison with the striking portraiture and cartoons featured in earlier chapters, they invite further investigation into the connections between the design of therapeutic sites and the psychotherapeutic ethos. This interest in the setting of the analyst–analysand alliance will appeal especially to historical geographers of healthcare. On the Couch will register with a diverse readership. ‘[A]rt history, furniture history, fashion and clothing history, as well as, works on classical antiquity and modern art’ (p. xi), coalesce here into a genuinely ‘multidisciplinary’ account (p. xii). While Kravis spotlights further audiences as those interested in ‘furniture history and design, interior decoration, art and cultural studies’ (p. xii), its appeal stretches further to medical humanities scholars from a wide range of disciplines. This book is accessible to all levels of expertise and will ably hold the interest of undergraduates, postgraduates and more advanced scholars alike.

中文翻译：

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书评：达格玛·赫尔佐格，冷战弗洛伊德：灾难时代的精神分析

“催眠”，经常与“按摩和皮肤电疗”合并，因此出现在精神分析出现之前（第 128 页）。第八章将咨询室的室内装饰视为分析师伦理的表现，对比了弗洛伊德充满“古物”的房间（第 144 页）的“考古学”关注与当今分析师对“自我擦除”的偏爱。稀疏的、自我克制的家具（第 151 页）。最后一章反映了沙发过去（第 163 页）中这些恢复的“传统”的混合，同时也考虑了它的未来。确定“经验”调查的关键问题，例如沙发在解决某些问题方面是否特别有效，或者分析师的位置是否重要（第 166 页），它最终标志着沙发经久不衰的独特之处。Kravis 认为“躺着的演讲”会引发一种独一无二的“强大的自我话语”（第 167 页），他明智地赞同沙发是“超透明”时代对内在和亲密关系的坚决保护（第 170 页）。克拉维斯的书以多种方式丰富了现有文献。它在精神分析的历史中开辟了一条新的视觉路线，创新地将调查重点转向精神分析的物理对象而不是其理论。这种对视觉图像的运用和对物质人工制品意义的兴趣对于更普遍的医学史和医学人文学科而言在方法论上都是原创的。此外，这项工作符合正在进行的追踪不同背景下心理治疗发展的历史学项目（Marks，2017）。它恢复了历史和地理上围绕斜躺姿势产生的不同价值观，这导致临床医生显然自动接受了沙发。对于“心理学科”（p.xii）的历史学家来说，它因此解决了围绕沙发临床无所不在的长期空白。此外，作者对“道德内在”的讨论特别有价值（第 139 页，原文重点）。这个概念为对太空感兴趣的学者和医学从业者提供了一个富有成效的框架；它指的是分析师的原则在他们各自咨询室的陈设、布置和氛围中渗透、决定和展示自己的方式（第 139 页）。尽管与前几章中引人注目的肖像画和卡通相比，克拉维斯对当代分析师房间照片的整理非常引人注目，但它们仍邀请对治疗场所设计与心理治疗精神之间的联系进行进一步调查。这种对分析师-被分析者联盟设置的兴趣将特别吸引医疗保健的历史地理学家。On the Couch 将向不同的读者群注册。“[A]艺术史、家具史、时尚和服装史，以及古典古代和现代艺术作品”（第 xi 页），在这里合并成一个真正的“多学科”帐户（第 xii 页）。虽然克拉维斯将更多观众聚焦为对“家具历史和设计、室内装饰、艺术和文化研究”（第 xii 页）感兴趣的人，它的吸引力进一步延伸到来自广泛学科的医学人文学者。本书适合所有水平的专业人士阅读，并能很好地吸引本科生、研究生和更高级学者的兴趣。