You do not currently have permission to view the full text for this document. Please sign in to an account with an active subscription or contact support.
The work proceeds as it can and often presents itself to the author as something independent or even alien.
FREUD (1939, p. 104)
WITHIN TRADITIONAL PSYCHOLOGICAL FRAMEWORKS, MANIFESTAtions of creativity are viewed predominantly as products of human activity, bearing the stamp of the artist and expressing his or her character in the widest sense. Creative activity is seen as mainly expressive, but the reflexive effect of the work on the artist is proportionately neglected. This approach, though in consonance with psychological interest in talent, genius, and the process of creation as well as with ancient sources in the philosophy of art, does not do full justice to the insights of contemporary psychoanalytic scholarship. In tracing the effect of the work on the artist, psychological theory is more fully mobilized, and a more rounded picture of both creativity and art results. The present paper seeks to demonstrate this broadening by reference to a study of Thomas Mann.