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PubMed1992

Hilda Doolittle and creativity. Freud's gift.

The problem of work inhibition in a woman is addressed in terms of a specific case. The paper investigates the patient's view of how such an inhibition was cured in a brief analytic treatment of the American poet Hilda Doolittle conducted by Freud in 1933-34.

Creativity↗
PubMed2003

Creativity and inductive reasoning: the relationship between divergent thinking and performance on Wasons 246 task.

This study was an investigation of the relationship between potential creativityas measured by fluency scores on the Alternate Uses Testand performance on Wasons 246 task. As hypothesized, participants who were successful in discovering the rule had significantly higher fluency scores. Successful participants also generated higher frequencies of confirmatory and disconfirmatory hypotheses, but a multiple regression analysis using the stepwise method revealed that the frequency of generating disconfirmatory hypotheses and fluency scores were the only two significant factors in task outcome. The results also supported earlier studies where disconfirmation was shown to play a more important role in the later stages of hypothesis testing. This was especially true of successful participants, who employed a higher frequency of disconfirmatory hypotheses after receiving feedback on the first announcement. These results imply that successful participants benefited from the provision of feedback on the first announcement by switching to a more successful strategy in the hypothesis-testing sequence.

Adult↗
PubMedDate not supplied

Jekyll and Hyde revisited: paradoxes in the appreciation of drug experiences and their effects on creativity.

Historically, states of intoxication--like dreams and madness--are seen in either one of two opposed ways. The intoxicated are either "possessed" or "under the influence" of an external agency, or revealing hidden feelings or truths (in vino veritas). Along the same lines, artists who worked during LSD, mescalin or psilocybin intoxication often refer to feelings of either being "possessed" or "liberated," a difference that can be explained partly by their expectations and partly by their evaluations, which both tend to conform to the cultural dichotomy in interpreting the irrational. Both interpretations, however, tend to obscure not only the other, but also-it is posited-the paradoxical nature of the drug experience itself. Analysis of a protocol shows that intoxication might comprise feelings of "possession" as well as "liberation" almost simultaneously, and mediumistic and some psychedelic art shows stylistic traits that can be seen as the visual expressions of both these feelings. It seems that the "demoniacal" and "psychedelic" mode come together in experiential reality, only to be divided in the cultural sphere.

Art↗