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1997Hillocr.Pdf (8.273Mb) DREAMING AND CREATIVITY: USES AND INFLUENCES OF DREAMS IN A GROUP OF 26 WRITERS A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN'S UNIVERSITY COLLEGE OF ARTS AND SCIENCES BY SALLY HILL, M.S. DENTON, TEXAS DECEMBER, 1997 DEDICATION To all dreamers who have the courage to follow their dreams iii ACKNOWLEDGMENTS Many people have contributed to this project. My thanks go to the writers who consented to be interviewed about their dreams, to Naomi Epel for compiling her interviews with them, and to Crown Publishers Inc. for publishing her::, material and granting me permission to quote extensively from it. I am grateful for the direction and support of my dissertation chair, Dr. Bethany Hampton, and the other members of my committee: Dr. Sally Stabb, who helped me develop the research methodology; Dr. Marie-Anne Demuynck 1 · ~ who assisted with the computerized data base; and Dr. Linda Rubin. My thanks go also to Dr. Steve Wilson and fellow psychology interns at Iowa State University, Martha Moore, Ki Lam, and Richard Blask, who participated in a dissertation support group, and to Dr. Joseph Triggs, Director of Internship Training, who granted us time for research and consultation. I am also indebted to two friends and colleagues, Dr. Elizabeth Sperberg and Dr. Pamela McManus for their never-failing encouragement. iv USES AND INFLUENCES OF DREAMS IN A GROUP OF 26 WRITERS SALLY HILL DECEMBER, 1997 ABSTRACT This study consists of a qualitative analysis of radio interviews with 26 American authors conducted by Naomi Epel, a California dream researcher. Epel's interviews are a substantial contribution to anecdotal literature concerning connections between dreams and creative writing. Her sample is biased, having been selected on the basis of personal preferences, but highly professional. The authors are widely published. The sample is diverse in terms of genre and, to some extent, ethnicity. The data are readily available (Epel, 1993). The purpose of this dissertation was to analyze Epel's data in a rigorous and systematic way that would add to knowledge about the functions of dreams for creative writers; the process by which writers transform their dreams into creative products; and influences of the creative process on dreams. The data were analyzed using a modified grounded theory method based on the work of Glaser and Strauss (Glaser, 1978; Glaser, 1992; Glaser & Strauss, 1967). Open coding was v used in combination with research memos. The research methodology chosen and its implementation through a computerized database program developed by Marie-Anne Demuynck permitted the systematic organization of this body of anecdotal literature into an outline of dream functions, transformation, and influence. It was found that dreams provided starting points for creative work and that dream reports were incorporated in creative works. Visual imagery and primary process material predominated in these two groups. Dreams provided authors with new experiences and with solutions to creative problems. Dreams helped authors resolve ambivalence and set priorities. Writers treat dreams as just one of many sources of material and work with dreams by accessing feelings and sensations. They transform dreams into creative products by reproducing dreams literally and by fictionalizing their content. Authors dream about creative material and attribute dreams to anxiety around the creative process. The study findings support the call of researchers for additional research into specific fields of artistic endeavor, primary process and creativity, and home (non-sleep-laboratory) dreams. vi LIST OF TABLES !, Table 1. Description of the Sample . 75 Table 2. outline of Functions of Dreams for Creative Writers . .133' '.--', Table 3. outline of Creative Transformation of Dreams 'i39 Table 4. outline of Influences of Creative Work on Dreaming .i4:2 Table 5. Dreams as Starting Points 198 Table 6. Dreams Used as Dreams • • 199 Table 7. Dreams Used for Problem-Solving . 200 Table 8. Anxiety Dreams 201 I Table 9. Other Dreams 202 Table 10. Coding Sample: Assignment of Index Number to Text. • • • • • 206 Table 11. Coding Sample: Linking of Codes to Index Numbers ••.• • • 207 Table 12. Coding Sample: Alphabetical Sort of Codes and Text • • • • • 208 Table 13. Sample of Memos: Coding Issues • 209 Table 14. sample of Memos: Operational Issues •• • 210 Table 15. Sample of Memos: Literature Issues •• . ill Table 16. Sample of Memos: Validity Issues • 212 vii TABLE OF CONTENTS DEDICATION • . • • ACKNOWLEDGMENTS ABSTRACT • . • . ·>'. • v· LIST OF TABLES . CHAPTER I. INTRODUCTION 1' II. LITERATURE REVIEW . 4 Introduction • • • 4 Initial Literature Review • • • • • • • 1",• 4 < Creativity • • • • • • • • • • • • • • • • • 4 Definitions of Creativity • • • • . • 5 Theoretical Approaches to the study of Artistic Process • • • • . • • • • • • • • • • • 7 Stage theories • • • • . • • • • • . • • .~ 7 Psychoanalytic theories . • • • . • • '• 8 ·.~ Divergent-thinking theories • • • • • • · • : • 13 Associationist theories ••••••••.• \~i14 Other contemporary theories • • • • • • ··• '~; 15 contemporary Issues in creativity Research 16 Contemporary Research Needs • • • • • • • • • 22 Creative process studies at various levels and domains . • • • . • • • • • • . • • • • 2 2 · Research in the arts . • • • • • • • • • 2 3 Focus on imagery and imagination • • • • • 24 Dreaming • • . • • • • • • • • • • • • • • • • 2 5 Contemporary Definitions of Dreaming • • • 28 overview of Theories of Dreaming ••••••• 29. Psychoanalytic theories • • • • • • • • • • 3 o;~ . Cognitive theories • • • • • • • • • ;:3t:.·:.. Neurophysiological theories • • • • • • • • · 3 i~· overview of Contemporary Dream Research • 32·· Dreaming and Creativity • • • • • • • • • • • • • 34 Interaction between Dreaming and Creativity 34 commonalities between Dreaming and Creativity). 36 Contemporary Issues Involving Dreaming and Creativity • • • • • • • • • • • • • • • • • • 37 viii Overview of Research in Dreaming and Creativity . • • . • . • 38 Need for the Study • • • • • • • • • • • 40 Post-Analysis Literature Review • 41 Functions of Dreams . • • • • • . • • 41 Dream Bizarreness and Dream Recall • . • 42 Creativity and Bizarreness •••••••• •,i~· 43 Visual Imagery in Dreams and Creativity • • .~. 45 Primacy of visual imagery in dreams • . • , • 45, Visual imagery and creativity • • • • 45 Visual images and dream recall • • • • • • 46 Visual imagery and narrative structure in dreams . • • • • • • • • . • • • . · 4 7 , Dreams as Starting Points for Artistic Creation • • • • • • • • • • • • • • • • • <·,'4 7; · Other anecdotal accounts . • • • • • • • • ''47. ~ Research in design and literary process • • 49 Dreams that Provide New Experiences • • • • !, • 52 Provision of novel combinations • ·;•, 52, Dreams as embodied events • • • • • . • . • 52 Problem-Solving in Dreams. • • • • • • • • • • 54 The occurrence of problem-solving in dreams . • . • • • . • • • • • • • • • 54 · How it happens ••.•••••••••••• 55 Other Influences of Dreams • • • • . • • • • . 58 Transformation of Dreams. • • • • • • • • • • .59 Dreaming, Primary Process, Secondary Process, and Creativity . • • • • . • 59 Novelty and Creativity ••••••••••• , • 64 Creative Process • • • • • • • • • • • • • • • · 66 Influence of Creative Process on Dreaming • • • • 68 Current Concerns • • • • • • • • • 68 Affect • . • . • • • ; • ·69 Anxiety • • • • • • • • • • 69 Summary • • . • • • • . • • • • 70 Predominance of Bizarre Imagery • • • 71 Visual Nature of Dream Images Used in Creative Work . 71 Dreams Used in Artistic Creations • • • • • • 71 The Occurrence of Problem-Solving in Dreams • 72 Use of Primary and Secondary Process Thought~ in Creative Activity • • • • • • • • • • • • • 72. Choice of Novel or Complex Material • • • • • 73 Direct Transcription and Fictionalization of Dreams • . • • • • • • . • • . • • • • • • • . 73 Reflection of Waking Concerns in Dreaming •. • •.· .73 ix III. METHODOLOGY • • 74 Data Collection • . • . • • • • . • •. 7 4 Data Analysis • . • . • • • • • • . 79 Units of Analysis. • • • • . • ••• 82 Preliminary Data Sorts ••..•••.••••• ~ 82 Open Coding Procedure • . • • • • • • • • • • . 8 4 Sorting into Clusters. • • • • • • • • • • • • 86 Use of Memos • • . • • • . • • • • • • . 87 Validity and Reliability • • • • • • • • • • • • 88 Integrity, Validity, and Accuracy of the Findings 89 Data Collection ••••••••••••••••• 89 Data Analysis. • • • • . • • • . • • • •.•• 91 credibility of the Researcher • • • • • • '94 Basic Research Paradigm • • • • • • • • • • • • 96 IV. RESULTS. • • 97 ,'"! What Dreams Do for Creators • • • • • • • 97 Dreams Provide Starting Points for Creative Work 97 Dreams Assist or Influence the Development of Creative Work • • • • • • • • • • • • • • • • • ~102 Dreams Influence the Choice or Course of Creative · Projects • . • . • . • . • • • . • • . 112 What Creators Do with Dreams • • • • 115 Choice of Dream Material • • • • • . • • • 115 Work with Dreams • • • • • • • • • 117 Transformation of Dreams • . • • • 121 How Creative Work Influences Dreams ••• ·124 Creators Associate Dream Frequency, Intensity, and Content with Creative Work • • • • • • 125. Creators Dream About Creative Material • . • • 126 Creators Associate Anxiety about the Creative Process with Certain Dreams • • • • • • • • • • 130 Dreams Reflect the Course of Creative Projects. 132 Summary • • • • • • • • • • • • • • • • • • • • • 13 2 V. DISCUSSION
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