Neurosis: The Dark Side of Emotional Creativity

doi:10.1017/CBO9780511761225.014

14 - Neurosis: The Dark Side of Emotional Creativity

Published online by Cambridge University Press: 05 June 2012

James R. Averill and

Edited by

James C. Kaufman and

James R. Averill: Affiliation:
University of Massachusetts
Elma P. Nunley: Affiliation:
ACT Counseling Center
David H. Cropley: Affiliation:
University of South Australia
Arthur J. Cropley: Affiliation:
University of Hamburg
James C. Kaufman: Affiliation:
California State University at San Bernardino
Mark A. Runco: Affiliation:
University of Georgia

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Summary

The term “neurosis” was introduced in 1769 by Scottish physician William Cullen to refer to presumed nervous disorders in the absence of discernible neurologic defects. It gained wide currency during the first half of the twentieth century largely through the influence of Freud. Today, “neurosis” is no longer used as a technical term primarily because it is too broad for diagnostic and treatment purposes. Nevertheless, it is still used widely as a generic term for a wide range of disorders of primarily psychological origin. Carl Jung (1965) observed that frequently “people become neurotic when they content themselves with inadequate or wrong answers to the questions of life” (p. 140). This observation provides a good preliminary definition of neurosis. However, an important qualification is needed: Even more fundamental than contentment with inadequate or wrong answers are misdirected strivings for solutions. With this qualification in mind, we can ask: What kind of life questions lead to neurosis? And in what ways are neurotic answers inadequate or wrong? This chapter addresses these questions. Briefly stated, the kinds of life questions that occasion neuroses are those which (a) lead to emotional responses and (b) call for creative solutions. Neurosis results when an emotionally creative response miscarries.

REFLECTIONS ON THREE EARLY WORKS

Elsewhere (e.g., Averill, 1999; 2005; Averill & Nunley, 1992; Nunley & Averill, 1996) we have provided empirical support for emotional creativity, including laboratory research and clinical examples of emotional creativity gone awry. Here we take a different tack.

Type: Chapter
Information: The Dark Side of Creativity , pp. 255 - 276

DOI: https://doi.org/10.1017/CBO9780511761225.014 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2010

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