Psychology Of Creativity Research Articles

Work, Depression, and Creativity, Psychoanalytic Perspective

This paper seeks to clarify the ego psychology of creativity. The major thesis is that there are intimate connections among work, depression, and creativity, expressed as: creativity represents the ability to work and depression, the inability to work. The essential role in creativity of the capacity to work has hitherto been overlooked or at best underplayed. Ideally, the creative cycle is one in which healthy narcissism leads to achievement which then leads to further narcissistic gratification which then leads to more achievement. After enough external reinforcement in childhood this cycle becomes self-reinforcing. Various aspects of this major thesis are considered in detail.

On the psychology of scientific creativity

Abstract This article discusses the motives that actuate the creative scientist, the dangers that beset him, and then, with numerous examples, discusses the mental processes involved in first-class research.

Toward a Tolerance Theory of Worker Adaptation

The paper examines the ways in which people can achieve toleration of what is to them, and may appear to others as, an unsatisfying or impoverished work situation. The examination is based on an empirical study of six departments or workshops in an engineering company in the South of England. The analysis is made, not in terms or motives, needs, and attitudes, but in terms of living space-the psychological territory which serves to mediate and protect an individual's inner world and sense of worth. Jobs themselves, and organizational action, define apermitted living space which may or may not be congruent with the individual's required living space. Adaptive actions, to adjust individual living space or to construct group living spaces, are exemplified from the research cases, and shown to affect people's relations with their jobs, supervision, management, and unions. Links are made with the psychology of play and creativity and the social psychology of neighborhood.

THIS WAS WHAT LONDON WAS SAYING IN 1935 ..... During the 1930's, a small society called the Society for Creative Psychology operated in Bloomsbury and produced various small publications, of which the following is an example

THIS WAS WHAT LONDON WAS SAYING IN 1935 ..... During the 1930's, a small society called the Society for Creative Psychology operated in Bloomsbury and produced various small publications, of which the following is an example

Ways of Seeing or Perception and the Teaching of English

The study of creativity remains a fascinating, yet controversial, subject to the psychologist. Despite the many pitfalls in this highly complicated area of study and the endless arguments concerning definitions, methodology and measurement which bestrew the psychological literature on creativity, there are some psychologists who have gone beyond the analysis of the concept and have.attempted to apply it to the real situation. Torrance, for example, not only analyses the measurement of creatiy.e abilities but also explores in depth their relationship with personality, with social and mental adjustment, and with intellectual factors. One of his aims is to help teachers to recognise and guide creative ability more effectively and to achieve the most productive environment for the fostering of creativity in children and students. However, a whole literature has grown up in other disciplines of which most of the researchers into the psychology of creativity seem to be unaware. The extensive work on creative writing, for example, by poets and writers (David Holbrook, Ian Serraillier, Ted Hughes) or by teachers of English (Creber) goes unmentioned in psychologists' reports. As a psychologist turned English teacher I have attempted in a very small way to bridge this gap.

Book Review: The Psychology of Creativity, Intelligence, Creativity and Cognitive Style

Book Review: The Psychology of Creativity, Intelligence, Creativity and Cognitive Style

Inspiration, Insight and the Creative Process in Poetry

of literary creativity have been greeted with varying degrees of enthusiasm or antagonism in literary circles. The spectre of Beardsley and Wimsatt's attack on the intentional fallacy justifiably points to a serious limitation on the applicability of such studies to literary criticism. It is clear, however, that explication of the psychology of literary creativity has pertinence to teaching. The current enthusiasm for encouraging neophyte writers to free-up, think about and express their inner thoughts, feelings and conflicts, cries out particularly for psychiatric intervention, not necessarily because of encroachment on the professional bailiwick but because knowl-

Criar? Algo para pensar... um artigo para ser re-escrito ao ser lido.

Utilizando como metáfora uma exposição de Yoko Ono chamada lmpressions, o artigo pretende realizar uma reflexão conjunta com os leitores sobre temas clássicos de psicologia da criatividade. Tais temas são: pessoa, processo, produto e ambiente. E, para lograr esse clima reflexivo, o texto incorpora questionamentos que conduzem o leitor a pensar sobre o que lhe é apresentado. O texto é um convite para caminhar na investigação sobre a criatividade de maneira criativa.

On the psychology of artistic creativity.

(1969). On the Psychology of Artistic Creativity. The Psychoanalytic Study of the Child: Vol. 24, No. 1, pp. 227-251.

Rorschach Movement, Fantastic Daydreaming, and Freud's Concept of Primary Process: Interpretive Commentary

The general purpose of this paper was to contribute to the interrelating of the Rorschach, creativity, and ego psychology literatures. More specifically, its purpose was to relate each of the following to a conceptual framework the author is building around the topics of creativity and Rorschach movement: (1) the Singer and Antrobus finding of two kinds of daydreaming and (2) the meaning that Freud's concept of primary process has for Singer, Maslow, Holt, Schafer, Barron, and Hilgard. The interrelating involved the hypothesis that Rorschach movement responses are a measure of capacity for what Freud meant by primary process and what Singer and Antrobus mean by fantastic daydreaming.

Rorschach Movement and Bleuler's Three Kinds of Thinking: A Contribution to the Psychology of Creativity

We have suggested that Rorschach's concept of inner creation operationalizes Bleuler's concept of autistic thinking. If we are correct, then Rorschach movement production should correlate with those phenomena Bleuler subsumed under his concept. Just as autistic and careless thought are non-overlapping, so are the tendencies to produce movement and poor form. If we are correct, then form-level should not distinguish high movement producers from low. If there is a close relation between autistic thinking and inner creation, on the one hand, and Werner's physiognomic perception on the other, Rorschach movement production should be higher in those “especially gifted in susceptibility to physiognomic experience” than in those who are not. Likewise, those especially gifted should score higher in measures of the phenomena Bleuler subsumed under autistic thinking. If autistic thinking, inner creation, and physiognomic perception have nothing as such to do with discovery and invention in science, etc., Rorschach movement and other measures of such cognition should not be higher in such discoverers and inventors than in their less creative colleagues. These measures should be higher, however, in all people demonstrated to be creative experiencers, i.e., who are known for their unusual ability to experience imaginatively. More specifically, they should be higher in people uncommonly prone to “Autistic thinking: thinking which is dominated by processes of the fantasy kind, rather than geared to reality, e.g., hallucination, hypnagogic imagery, etc.” (McKellar, 1957, p. 199).