PubMed Health⌕ Search

PubMed · 943498

Creativity and body image boundaries.

Abstract

Descriptions of the creative individual or the individual who can regress in the service of the ego seem to parallel Fisher and Cleveland's (1968) description of the high barrier individual: well-integrated; self-sufficient, but often outgoing and communicative; and able to experience a full range of sensation and emotions without neurotic anxiety. The relationships between Barrier and five measures associated with creativity were investigated, using 100 paid male college student volunteers. The results support the notion that creativity is not a functional unity. Barrier was found to be related to aristic, expressive creativity which seems to be related to interest in human interactions, but unrelated to creativity associated with scientific endeavors and unrelated to creative receptivity (i.e., purest adaptive regression).

Explore related subjects

Keep this discovery

Explore connections, maps & timelines

BibTeXRIS

L J Loshak, M Reznikoff. 1976. Creativity and body image boundaries.. https://doi.org/10.1207/s15327752jpa4001_15

Cite the original work for its findings. Save a collection to share your selection of sources.

KEEP EXPLORING

Related citations

Dementia and art: neuronal intermediate filament inclusion disease and dissolution of artistic creativity.

The paper presents a new case of neuronal intermediate filament inclusion disease (NIFID), a recently described new variant of early-onset frontotemporal dementia. Documented with repetitive brain images, morphologically proven cases additionally endorse evolving the clinical and pathological phenotype of NIFID. For the first time the paper describes the probable influence of NIFID on the artistic creativity of an accomplished artist showing rapid dissolution of artistic talent.

Art↗

The Tempest.

Explore the source record for details and available documents.

Art↗

Then melancholy, now depression: a modern interpretation of Rembrandt's mental state in midlife.

The authors identify two Rembrandt etchings of 1642, Saint Jerome in a Dark Chamber and A Scholar at a Table by Candlelight, as self-portraits. Considered with biographical data, the prints suggest that Rembrandt suffered from a bipolar personality disorder, manifest in exuberance and lavish spending in the 1630s, and then, after the death of the artist's wife, in clinical depression in the early 1640s. Depression is depicted in the prints by their dark ambiance, and the figure's pose is traditional in art to represent melancholia, one of the four classical humors conventionally ascribed to artistic genius. In addition, the authors identify as a portrait of his wife the object at which the "scholar" is looking. Although the panel is turned away from the viewer of the etching, its size, shape, and material suggest that it is a painting that survives in Kassel, Germany.

Art↗