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The Origins and Psychodynamics of Creativity by Jerome D. Oremland Pdf
"In thinking of creating as a form of relating, Jerome D. Oremland has created a communicative book that initiates a dialogue that does not come to an end when one has finished reading it. "Origins and Psychodynamics of Creativity should be studied by every psychoanalyst to develop psychoanalytic competence in working with creative individuals. Oremland provides definitions regarding conditions for creativity and its unfolding, and the complex relations of the arts to his art." -- Dr. Peter Schuster.
After Newton died in 1727, a monument was erected in the Scientist's Corner of Westminster Abbey. It was decorated with a pile of four books and adorned with cherubs holding a prism, a telescope and newly minted coins. The implication is clear. Newton's towering intellect and god-given giftfor creative thinking was the origin of his inspiration. Not far away, at the front of the monument to Newton, is the tomb of Charles Darwin, who published On the Origin of Species, which first discussed the evolution of man. The proximity of the monuments is telling. If we are to define thesingle, most unique human attribute evolution has produced, it must be our ability to think creatively. Thinking is the ultimate human resource. Breaking through the barriers posed by dogma, and reaching beyond the limits of established patterns of thinking to discover what is new and useful isthe engine that drives society. This book, which had its genesis in a conference organized by Karl Pfenninger, and held at Aspen, Colorado, entitled 'Higher brain function, art and science: an interdisciplinary examination of the creative process', brings together articles by thirteen contributorsfrom the fields of science, art and music. Two of the contributors have been awarded Nobel prizes, and all are distinguished representatives of their fields. The Origins of Creativity is organized around four central themes of creativity: the creative experience in art and science; the biologicalbasis of imagination, emotion and reason; creative powers and the environment; and the mind's perception of patterns. The views of artists, who couch their ideas in more metaphorical language, mingle with the analytical thoughts of scientists who strive to understand how the brain generates imagesand ideas. The voices of creators - artist, scientist, mathematician - and of those who study creative activity - neuroscientist, psychologist, philosopher - generate a broad spectrum of views on creativity whose integration offers new insights and becomes a creative act in itself. This bookoffers insights into the origins of human creativity to scientists, artists, and general readers. Its inter-disciplinary authorship presents a uniquely broad perspective on current research, and the style throughout is accessible and engaging.
Author : Andrew Brink Publisher : Peter Lang Incorporated, International Academic Publishers Page : 240 pages File Size : 44,8 Mb Release : 2000 Category : Art ISBN : UOM:39015050042103
The Creative Matrix shows how Freudian and Kleinian theories of creativity are giving way to an attachment model, owing to research on anxiety by John Bowlby and other psychobiologists. We are entering an era of rapproachment between psychoanalysis, neurobiology, and attachment theory. Theory of creativity must take into account the rapid advances toward an integrated view of human development and capacity for adaptation. The Creative Matrix offers a critical review of British Object Relations theories of creativity from Melanie Klein through Ronald Fairbairn, Marion Milner, D. W. Winnicott, and others. It studies these theories in the light of Bowlby's challenge to psychoanalytic accounts of child development and personality formation. Creativity is seen as a necessary concomitant of anxious attachment in infants and children - as a natural adaptive resource in overcoming trauma and other deflections of normal development. Brief studies of poets Robert Lowell, Sylvia Plath, and Anne Sexton show how attachment theory illuminates bipolar disorder and poetic creativity.
Creativity, Psychology and the History of Science by H.E. Gruber,Katja Bödeker Pdf
Creativity, Psychology, and the History of Science offers for the first time a comprehensive overview of the oeuvre of Howard E. Gruber, who is noted for his contributions both to the psychology of creativity and to the history of science. The present book includes papers from a wide range of topics. In the contributions to creativity research, Gruber proposes his key ideas for studying creative work. Gruber focuses on how the thinking, motivation and affect of extraordinarily creative individuals evolve and how they interact over long periods of time. Gruber’s approach bridges many disciplines and subdisciplines in psychology and beyond, several of which are represented in the present volume: cognitive psychology, developmental psychology, history of science, aesthetics, and politics. The volume thus presents a unique and comprehensive contribution to our understanding of the creative process. Many of Gruber's papers have not previously been easily accessible; they are presented here in thoroughly revised form.
Over one hundred years have passed since Sigmund Freud first created psychoanalysis. The new profession flourished within the increasing secularization of Western culture, and it is almost impossible to overestimate its influence. Despite its traditional aloofness from ethical questions, psychoanalysis attracted an extraordinary degree of sectarian bitterness. Original thinkers were condemned as dissidents and renegades and the merits of individual cases have been frequently mixed up with questions concerning power and ambition, as well as the future of the "movement." In The Trauma of Freud, Paul Roazen shows how, despite this contentiousness, Freud's legacy has remained central to human selfawareness.Roazen provides a much-needed sequence and perspective on the memorable issues that have come up in connection with the history of Freud's school. Topics covered include the problem of seduction, Jung's Zurich school, Ferenczi's Hungarian following, and the influence of Melanie Klein and Anna Freud in England. Also highlighted are Lacanianism in France, Erik Erikson's ego psychology, and Sandor Rado's innovations. In considering these historical cases and related public scandals, Roazen continually addresses important general issues concerning ethics and privacy, the power of orthodoxy, creativity, and the historiography of psychoanalysis. Throughout, he argues that rival interpretations are a sign of the intellectual maturity and sophistication of the discipline. Vigorous debate is healthy and essential in avoiding ill-considered and dogmatic self-assurance.He observes that potential zealotry lies just below the surface of even the most placid psychoanalytic waters even today. Examining the past, so much a part of the job of scholarship, may involve challenging those who might have preferred to let sleeping dogs lie. Roazen emphasizes that Freud's approach rested on the Socratic conviction that the unexamined life is not worth living and that this constitutes the spiritual basis of its influence beyond immediate clinical concerns. The Trauma of Freud is a major contribution to the historical literature on psychoanalysis.
This book explores the role of chaos and control in the creative process as well as the difference between talent and creativity. Part One describes explores some of the common biases and pitfalls in the analysis and therapy of creative people, the role of the accidental in creative work, the nature of creative blocks, passion and its absence, as well as the problem of being able to exercise one's freedom. The author describes the special needs of creative patients, the common problems arising in therapy, its solutions, and, most importantly, the analyst's distinctive role when dealing with such patients. She also probes into the role of narcissism, neurosis, and psychosis on creative work.
A seamless blend of intelligent analysis with real empathy, Young Tagore is a firstofitskind psychobiography that deepens our understanding of Rabindranath Tagore. By carefully reconstructing the crucial years of Tagore’s childhood and youth, preeminent psychoanalyst Sudhir Kakar examines the young prodigy’s formative experiences and unravels how they shaped his creative genius. In laying bare the inner workings of Tagore’s brilliance, Kakar reveals the real man behind the luminary.
The Unconscious Roots of Creativity by Kathryn Madden Pdf
From whence spring the sparks of creativity? It is to this very question that the field of depth psychology—especially that of C.G. Jung and his intellectual descendants—has much to contribute. Just as the Muses were the offspring of Mnemosyne, the goddess of memory, our memories are the ancestors of our creativity that finds its multifaceted expression in the written word, image, theater, dance, and music. The Unconscious Roots of Creativity seeks to push the investigation into that domain of memory that is beyond our conscious reach. With articles from 16 contributors, the “red thread” running through each of the offerings in this volume is that, whatever its ultimate expression, the creative impulse has its roots deep in the psyche. Edited By Kathryn Madden with articles by Linda Carter, Anna Maria Costantino, Carol Thayer Cox, Leonard Cruz, Lisa Raye Garlock, James Hollis, Naomi Ruth Lowinsky, Ian Livingston, Kathryn Madden, Jordan S. Potash, Susan Rowland, Murray Stein, Ann Ulanov, Tjeu van den Berk, Robin van Loben Sels, and Heidi S. Volf.
The goal of the Handbook of Creativity is to provide the most comprehensive, definitive, and authoritative single-volume review available in the field of creativity. To this end, the book contains 22 chapters covering a wide range of issues and topics in the field of creativity, all written by distinguished leaders in the field. The chapters have been written to be accessible to all educated readers with an interest in creative thinking. Although the authors are leading behavioral scientists, people in all disciplines will find the coverage of creativity divided in the arts and sciences to be of interest. The volume is divided into six parts. Part I, the Introduction, sets out the major themes and reviews the history of thinking about creativity. Subsequent parts deal with methods, origins, self and environment, special topics and conclusions.
Humans are unique among all other species in having one cognitive attribute-the ability, almost without conscious effort, to engage in blending. This is the first book that brings the theory of blending to a wide audience and shows how blending is at the heart of the origin of ideas.
On Creativity by Sudhir Kakar,Günter Blamberger Pdf
The concept of genius has been a subject of much speculation and debate since the eighteenth century. However, in a world obsessed with creative genius and the possibilities of the human imagination, the actual workings of the creative process and its psychological underpinnings remain a mystery. In On Creativity, a group of experts seeks to unlock this enigma.
Encyclopedia of Creativity by Steven R. Pritzker Pdf
The Encyclopedia of Creativity is the sourcebook for individuals seeking specialized information about creativity and motivation. Subjects include theories of creativity, techniques for enhancing creativity, individuals who have made significant contributions to creativity, physiological aspects of creativity, and virtually any topic that touches upon the subject. Entries are placed in alphabetical order with cross-references to other topics and entries where appropriate. Each entry is written in simple easy-to-understand terms summarizing the most important aspects of creative research and writing relating to the specific topic. A bibliography in the back of each article suggests additional sources for more information. The text is visually enhanced throughout by illustrations and photographs. A source-book of specialized information about creativity and motivation Includes virtually any topic dealing with creativity Entries are placed in alphabetical order with cross-references Written in easy-to-understand terms Illustrations and photographs throughout Contains select biographies of internationally renowned creative individuals from throughout history
Key Papers in Literature and Psychoanalysis by Glen O. Gabbard Pdf
Since Freud invoked the Oedipus story to exemplify and verify his findings with patients and in analyzing his own dreams, psychoanalysis and literature have had a fruitful if often distrusting relationship. Literature and theory have increased enormously in range. Education no longer insists upon classics of Western literature as building blocks for understanding. Yet the tie between psychoanalysis and imaginative literature remains vital, and the two disciplines can interact vibrantly, as these selected essays of recent years from the International Journal of Psychoanalysis handsomely show. They explore overlaps of literary experience and psychoanalytic process, both of which activate our capacity to 'see feelingly', which is to say, provide occasion for a structured richness of knowing with a felt tie to truth. Both enhance consciousness, expand the emotions, undermine unconscious closures, and provoke thought; and it is those very qualities that inform their illustrative and explanatory usefulness to one another.
Patterns of Creativity reflects on the implications of recent neuro-science findings, evolutionary theory and linguistics for ideas about creativity and the practice of creativity. Kevin Brophy approaches questions of art and creation from-the-inside, that is as a poet himself. The conclusions about what it might mean to be a creative writer are counter-intuitive. What might it mean to understand the production of art as an evolutionary process with no endpoint and no goal? If consciousness is a minor player in decision-making and problem-solving as recent neuro-science findings suggest, how best might an artist manage conscious intentions while seeking to make original art? Brophy argues that consciousness must be managed in new ways if creativity is to be sourced, that much of what we learn in education is learned without consciousness being involved, that a writer must read with a particular agenda, that writing is itself a particular kind of communication beyond speech, requiring specific skills. He argues that the metaphor is not merely a poetic device but is central to the way human thought proceeds and the way communication happens. It is the strange and surprising view-from-within informed by those views science offers to art that preoccupy these investigations.