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PubMed1991

Learning nursing: what factors are responsible for a lack of creativity?

The following article discusses some of the many and complex factors responsible for a lack of creativity in nursing education. Creativity is seen as a positive attribute, enhancing nursing care. The occupational socialisation of the nurse is explored in addition to the power ideologies at play both in the clinical area and in the school/college of nursing that could affect creative thought. Strategies to remedy the situation are explored and tentative suggestions made. These include changes at the macro and micro level where the student of nursing learns.

Creativity↗
PubMed1990

The creative process in biomedical visualization: strategies and management.

The phases of the creative process (identification, preparation, incubation, insight, and elaboration/verification) are related to strategies for management of biomedical illustration projects. The idea that creativity is a mystery--and is unpredictable and uncontrollable--is not accepted. This article presents a practical way to encourage creative thinking in the biomedical visualization studio.

Creativity↗
PubMed1990

Theories of creativity.

Creativity is an important aspect of our lives. The term distinguishes mediocre achievements from those of excellence. Creativity is a manifestation of thought processes. To better understand these processes this article reviews five current theories of creativity from psychoanalytic and cognitive science approaches.

Association Learning↗
PubMed1985

Psychoanalytic theory and the problem of creativity.

The current crisis of psychoanalysis also involves studies of various forms of creativity. After having pointed out the need for distinction between clinical-empirical theory and hypothetical theory (such as metapsychology) the author identifies and summarizes a number of trends of investigation as reported in our literature: libidinal-energetic, contenutistic (unconscious fantasies), anthropomorphic (of the ego), aggression-reparation, phenomenological, and object-relationship approaches. The role played by metapsychological concepts (the author, in agreement with those who consider them unacceptable, discusses some of the most well-known criticisms), and the confusion between theoretical levels are responsible for having made the psychoanalytical contribution entirely unsatisfactory at a higher explanatory level and for having hindered adequate reorganization of data of an empirical nature. After having examined several elements involved in creativity (symbolism, role of pathology and body experience, etc.), the author outlines a personal theoretical hypothesis of the structural type as a basis for the establishment of a clinical-empirical theory which, as regards research on creativity too, may constitute the chief field of investigation for psychoanalysis.

Aggression↗
PubMed1979

The curative and creative aspects of insight.

Insight is a sine qua non of the psychoanalytic process and is a condition, catalyst, and consequence of the psychoanalytic process. Analytic insight is defined and differentiated from other types of self-knowledge and awareness and from pseudo insight; there are different levels and underlying processes in the development of insight. The importance of insight is delineated in theory and therapy, in analyst and patient, and in psychoanalysis and psychotherapy. Psychoanalysis aims to minimize noninsightful influences and to maximize insight leading to structural change. Psychoanalysis is not without a goal, but has the inexorable goal of expanded insight. Clinical limitations to gaining and retaining insight are recognized. Stress is placed on the acquisition and creation of insight and its relation to ego development, analytic progress, and adaptive mastery. Insight and creativity are complementary, and insight has creative and novel configurations. Although it is organized and consolidated in conscious verbalization, insight may proceed outside awareness. An unnoticed case of Freud's provides an example of creative insight. The achievement of insight effects and reflects structural change. Clinical psychoanalysis maximizes insight and minimizes other therapeutic influences.

Adaptation, Psychological↗
PubMed1989

The dead father: on early psychic trauma and its relation to disturbance in sexual identity and in creative activity.

This paper explores the origins of two clinical phenomena which are frequently related in analytic practice, namely sexual deviancy and inhibition in creative or intellectual work. The analysands in question seek psychoanalytic help not for their sexual acts and object-choices but because of blockage in their professional activities. In the author's opinion the roots of both sexual deviancy and creativity may often be traced back to early psychic trauma. The sexual 'solution' and the creative activity both represent ways of attempting to overcome the traumatic situation of infancy. These propositions are illustrated by the case of an author who sought help because her writing was completely blocked and because her homosexual love-relations caused tension and concern. The sudden death of her father when she was fifteen months old and her mother's disturbed way of handling the tragic situation were decisive factors in both the patient's sexual and professional life.

Adult↗
PubMed1979

Imaginary companions in childhood and adult creativity.

Case material is presented to illustrate the thesis that the ability to create an imaginary companion during childhood is an early expression of the special ego aptitudes found in creative individuals in adult life. Such "companions" allow these children to attempt to master creatively a variety of narcissistic mortifications suffered in reality and to displace unacceptable affects. In creative adults who had imaginary companions in childhood, the early fantasies serve as an organizing schema in memory for the childhood traumata. Stimuli in adult life which evoke the earlier traumata may revive the original imaginary companion fantasies. These then serve as nodal bases for the creation of specific adult works of art.

Adult↗
PubMed1979

[Creativity in adolescence].

The phenomen of transitory artistic creativity in adolescence is discussed. Although adolescents have the same qualities as adults their artistic productivity varies. Various concepts of creativity as found in the literature are discussed, especially those comparing adult and adolescent personality. The different developmental stages of adolescence correspond to different stages of creativity which are the products of various ego stages and ego defense mechanisms during the three adolescent periods.

Adolescent↗
PubMed1978

EEG frequency patterns associated with hallucinations in schizophrenia and "creativity" in normals.

This study attempts to define EEG power spectral patterns associated with hallucinatory behaviors in schizophrenia. Six unmedicated schizophrenics with Schneiderian criteria were interviewed and their tongue potentials were monitored and recorded on FM tape. Eye movements and tongue potentials were monitored and segments with artifacts were not used. Consecutive 4-sec intervals of EEG were analyzed in the frequency domain using fast Fourier transorm methods and serial power spectra plots obtained. The intrusiveness of the hallucinatory experience may be similar to the sudden internal experience of perceptual resolution in a creative task. Six normal controls were similarly monitored and analyzed while responding to tests of "creativity." In the 4-sec interval prior to reports of hallucinatory experiences, a frequency pattern of predominatly delta and theta power was found in 71.7% of the EEG segments. In the control group, 78.1% of the EEG segments preceding a creative response demonstrated a similar low frequency pattern which also differed significantly from the base line EEG frequency pattern.

Adult↗
PubMed1983

A dialectical view of creativity.

This paper draws into alignment two time-honored psychoanalytic concepts which are addressed in diametrically different ways to the question of human origins. These are the family romance and the primal scene. Traditionally these terms have not been seen as related to each other, and while properly understood as opposites they may also be seen as complementary. Creativity offers the ideal area for certain connections to be examined. As a revision of origins by means of casting oneself as an orphan and adding another set of lofty , Olympian -style parents, the family romance also revises for the individual the critical sexual act which brought him into existence, the primal scene. It is this act of our animal heritage, from which the child is the excluded party, that also disturbingly reveals the parents in their necessarily lowly actions . Thus Freud's three-part formula can be invoked and implemented: the painful reality from which the artist turns is preeminently a primal scene; the fantasy ( daydream ) of choice to which he turns is the family romance . By working through certain accompanying, often cultural illusions, the artist finds his way back to reality, which often amounts to a corrected apprehension of the Primal Scene , archetypally the Sphinx 's riddle, the answer to which is adult sexuality and an important step toward ego-identity. Between the subjective pole of the family romance and the objective pole of the primal scene the artist's work develops. Properly specified, the two concepts serve as important organizers and regulators of creativity. In order to place creativity within a cultural context, I have examined two areas beyond the perimeters of art. Both in the psychotic condition of Schreber and in the tribal condition of the Dogon , the family romance and the primal scene exist in overlapping or undifferentiated states. I have hypothesized that in no small part the evolution of culture depends on mankind's understanding himself by learning to distinguish between supernatural and natural explanations of origins. The individual also faces the task of sorting out subjective and fanciful notions of his origin from objective and perceptual accounts. In this process he may wander afield and end up concocting his own personal mythology. The artist concentrates the subjective and objective aspects of origins around the poles of the family romance and the primal scene . In this he is not unique. But he draws on mythic and cultural traditions in such imaginative ways as to represent his fantasies indirectly and in such symbolic modes as can be most widely shared.

Adult↗
PubMed1978

Competency-based education and creative thinking.

When creativity is considered as an approach to problem-solving, rather than as an innate talent, then education can play an important role in its development. This paper postulates that competency-based education, because of its emphasis on stated objectives, feedback, self-evaluation, and alternative learning experiences, is an approach to curriculum design that should lead students to become more creative thinkers. A description of competency-based-education is given, and research on educational methods and creativity is surveyed. The implications of this type of program for occupational therapy education are considered.

Creativity↗
PubMedDate not supplied

On the creative process and the human capacity to construe.

A discussion of "The Creative Process and the Narcissistic Personality Disorder," by Ben Rubenstein, Ph.D., and Morton Levitt, Ph.D. The human capacity for construal is emphasized as a basic process characterizing mental activity. Motivational and developmental phenomena can be better understood when construal is emphasized. The development of the capacity to construe is intimately linked in feedback fashion with the development of the subjective self which uses enactive, imagistic, and lexical modes of conceptualization. Construal is characterized as conflictual and as concomitantly involving powerful affective components. Examples are given in which the role of construal in artistic work, action, acting out, anxiety and object relatedness are emphasized. The basic creative act is the gradual construal of the subjective self on which all later creativity will have to be based.

Achievement↗
PubMed1995

Creativity and the third age.

The paper discusses aspects of the creative process in the elderly and, indeed, in the old. After a definition of the third age, the writer goes on to discuss the nature and aims of creativity. Particular attention is paid to the roles of sexuality, regression in the service of the ego, narcissism, sublimation, the depressive position and reparation. There follows discussion on therapeutic work with creative elderly individuals.

Aged↗
PubMedDate not supplied

Painting a mural and writing an article: creative rehabilitation strategies.

In this article, the authors describe a creative rehabilitation process that used painting a mural and writing for publication as interventions. The successful rehabilitation process is described from the perspective of the patient as well as the rehabilitation nurse. Creative strategies often are needed when a patient does not readily respond to traditional rehabilitation methods. A patient's interests, talents, and concerns often can be creatively aligned with the rehabilitation goals of the nurse and can result in unique interventions that have successful outcomes. Painting a mural and coauthoring this article became the primary rehabilitation interventions for a patient with expressive aphasia and impaired mobility, secondary to his stroke in 1987.

Aged↗
PubMed2001

Creative-dynamic image synthesis: a useful addition to the treatment options for impotence.

In contrast to the impressive advances made in somatic research on erectile dysfunction, psychogenic erectile dysfunction is usually treated as a monolithic block. In this study, we evaluated the erectogenic power of creative-dynamic image synthesis in men with psychogenic erectile dysfunction. Sixty-nine men with a mean age of 46 y, suffering from erectile dysfunction of no known organic cause, were entered in a placebo-controlled study in which the erectogenic power of imagination, yohimbine and a placebo were compared. There was a significant difference between the subjective results of creative-dynamic image synthesis (75% increase of potency) and those achieved through treatment with the drug yohimbine (55% increase in potency) and with a placebo (30% increase in potency). Creative-dynamic image synthesis is a potent initiator of erections in men with psychogenic erectile dysfunction, has no known side effects and is very cost-effective.

Adrenergic alpha-Antagonists↗
PubMed2000

Participation in a creative arts project can foster hope in a hospice day centre.

This study explored the experiences of terminally ill patients taking part in an exhibition of their creative arts work. It took place in St Christopher's Hospice day centre, London, UK, which aims to facilitate an environment in which a range of social and creative opportunities is offered following the theoretical background of Maslow's and Rogers' theories of personal growth and creativity. A phenomenological study explored the views of 10 patients and eleven facilitators using in-depth, semi-structured, audiotaped interviews. A content analysis identified the main themes as enjoyment, enthusiasm, excitement, pride, achievement, satisfaction, sense of purpose, mutual support and permanence. These themes were interpreted as positive expressions of self-esteem, autonomy, social integration and hope. It is suggested that it was possible to identify hope as the essence of the phenomenon, and that this is important in palliative care where traditionally continuation of active medical intervention has been equated with provision of hope.

Adult↗
PubMed1984

Some test correlates of high level creativity in architects.

The Rorschachs of 40 eminent architects, intensively studied at the Institute of Personality Assessment and Research (California) in 1959, were analyzed in terms of styles of responding (cognitive-affective controls). Level of creative talent (assessed by a competent jury of peers) was not related to styles of responding but the Rorschach data give us reason to believe that subjects with high degrees of repressive control may be more limited in creative expression. Qualitative analysis of Rorschach content suggests drive level is related to creative excellence.

Journal Article↗