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According to Bion, the creative individual is one who has the „negative capability‟ mentioned earlier. This individual is able to hold paradox without resolving it through a ‗flight to split-off intellectual functioning‘ (Winnicott 1971:xii). The bringing together, integrating and tolerating the resultant risk to one‟s schemata of how things are, involves hard work. Britzman (2003:154) asked ‗what is idealization that it can defend against loneliness‘ – the suggestion being, that the PS position, uncreative, negating and denying as it is, still performs the role of keeping out the intolerable, and defending against the sheer toil, pain, and loneliness of moving to the depressive position and beginning the work of mourning and reparation.

B. (2001). Creative cognition, conceptual combination, and the creative writing of Stephen R. Donaldson, American Psychologist, 56(4), 350-354. Winnicott, D. W. (1971). Playing and Reality. London, Tavistock / Routledge. In: Creativity: Fostering, Measuring and Contexts Editor: Alessandra M. Corrigan, pp. 29-57 ISBN: 978-1-61668-807-3 © 2010 Nova Science Publishers, Inc. Chapter 2 CREATIVITY AND PERCEIVED TRUTHS: THE JOURNEY MOTIF IN EXPRESSIONIST WORKS Linda Ardito Dowling College, Oakdale, New York, USA Introduction The fascinating, complex, and often elusive concept of creativity is said to be ―central‖1 to the movement of German Expressionism.

The Expressionist journey abounds in tensional axes of openness and mystery, vividness/starkness and instability, desire and fear, and elation and anxiety. These bipolarities are partly owing to subversions of traditional theories in a variety of fields so compelling as to destabilize basic tenets in such fields as science, art, and religion. In the field of science, Einstein‘s theory of general relativity would forever alter our understanding of the nature of space and time. In the field of music, Schoenberg would introduce atonality, or, as he preferred to call it, ―pantonality,‖ to music composition.

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