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Chapter 3

"Passion of Growth:

Giftedess and Creativity in the Theory ofPositive Disintegration

Wieslawa Limont



44 Wieslawa Limont

To Franz Mnk a Man ofPassion

Searching r a subject r the chapter in honor of Franz Mnks that would

address issues of development, li-long challenges, giftedness, and passion, Ihad no doubt that it had to include Dabrowski's theory of positivedisintegration. Passion of Growth is the title of Dabrowski's last book, a smallone, just 64 pages, that he dictated Dabrowski's theory is well known thanks to,among others, Michael M Piechowski who assisted Kazimierz Dabrowski inhis research and translated several of his books into English Researche( ofgiftedness and creativity "discovered Dabrowski' s theory in the 1980s Daniels& Piechowski, 2009; Limont, 200a, 2010b, 202; Limont et al., 2009;Mendaglio, 2008; Pirto, 998).

The word "passion stands r strong, intense absorption in something, the greatlove of something, but also anger and , passion liturgy, and works of artdevoted to Christ' s agony "Growth or "development is a process of changeand transrmation, moving into more complex states and, in some ways, moreperct ones Szymczak, 979) Though short, the last of Dabrowski's work,presents a summary description of the theory of positive disintegration Heintended it, in his words, as a "mental strike in order to bring to a wideraudience the knowledge of multilevel development and of higher emotionsDabrowski, 1988, p 7) The title Passion of Growth serves as a metaphor r

the "drama of human development, of going through what Jaspers called "thepassion of night and retu to "the norm of the day, but also as "the narrowpath upward Metaphors of this kind serve Dabrowski in eplaining personaldevelopment through positive disintegration

1. Eminent Creators and Psychological Disturbances

Dabrowski rmulated the theory of positive disintegration as a theory ofpersonality development He analyzed numerous biographies of creative people,such as Franz Kaa, Michelangelo, Otto Weininger, Ludwig Wittgenstein and

systematically collected data on his patients, children and youth that led him toidenti traits and developmental rces dynamisms) characterizing gifted andcreative individuals The basic tenet of the theory is that the process ofdisintegration is something positive and leading to development on a higherlevel It proceeds through numerous inner conicts It is multisided andmultilevel and its goal is a mature personality Dabrowski and his collaboratorsanalyzed 200 retrospective biographies of eminent creators and artists InWarsaw, in962, he made psychometric investigations of intellectually andartistically gied students The results showed that 85 percent of the students

and 97 percent of eminent creators gave evidence of increased sensitivitytogether with neuroses and psychoneuroses of varying degrees of severity Theeminent creators were characterized by heightened intellectual, imaginational,and emotional excitability Dabrowski, 975c, 1983)



"Passion of Growth 45

Many researchers have been interested in the link between creativity and mentalillness Dean Simonton (1994) descrbed eminent creators as "mad geniusesbecause many become mentally ill and some end up committng suicide Theintensity of symptoms varies depending on the greatness of the talent, the

creative doman, and gender Retrospective nvestigations based on bographiesshow that 87 percent of poets experienced mental llness, but only 28 percent ofmous naturalists, while among leaders the index of mental disturbances ishigher r socal activists (48 percent) than r military leaders (30 percent)(Ludwig, 995)

Among writers and artists, more arists exhibt mental problems, especially bipolar (manic-depressive) disorder with suicidal tendencies (Jamison, 993;Ludwig, 995) than scientsts (Smonton, 1994; Rothenberg, 990) Amongpoets decdedly more women than men succumb to mental illness and sucide

(Kauan, 2001) Psychometrc investgaton of personalty of great creatorsshowed that they have hgher scores on several scales assocated wth mentalllness, but the scores are not at the extreme end of the scale but rather towardthe middle ndicatng that these disturbances do not consttute mental illness(Barron, 963; Eysenck, 995) High scores on the psychoticsm scale correlatewth independence and nonconrmsm - trats that are an asset in creativty(Eysenck, 993)

Dabrowski was one of the w who dd not see mental disturbances, thenervousness and psychoneuroses of highly gied and creative individuals, as an

illness He saw them as sgns of inner transrmaton, of the emergence of theinner psychic milieu n a development toward a ll and harmonious personalty(Dabrowsk, 937, 959, 96, 967, 1968, 979c)

2. Theory of Positive Disintegration in Brief

Dabrowski envisioned ndivdual development as takng place n an innerpsychic mlieu It progresses "upward and includes successve levels: prmary ntegraton, 2 unilevel disintegraton, 3 spontaneous multileveldsintegration, 4 organized and systematized multilevel disintegration, 5secondary integration Except r primary integration, dominated by externalconcts and absence of nner conict, each level has specic developmentalrces (dynamisms) Ambivalences, ambitendencies, and relatvsm of valuesdominate level II. Level III s where multilevel development starts n eaestwth positive maladjustment, creative instinct, and a hierarchy of values Atlevel IV takes place a delberate shapng of one's own personality, directngones own inner development, strivng r a synthesis, and equilibrium.Realization of the essence of indvidual and social ideal leads to an nnerntegration Level V attains a harmonious unity of personalty, equilibrum and

nner synthesis wthout conict - the realzation of the personalty ideal.

Postve dsintegration is a process of rming an integrated personalty ofhighly ged and creatve indivduals The process is multisided and multlevel.



46 Weslawa Limont

By multisided is meant the a-around nature of intelectua, emotional, andinstinctua development. The rejection of values of lower leve and acceptanceof vaues of higher level creates a movement om lower to a higher evel ofinner development that imparts to multievel disintegration a hierarchica aspect.

Values representative of a given eve are determined by the disposing anddirecting center that steers the individua toward deveopment of personaity.The hierarchica nature of eves generates inner conicts of high intensity powerl experiences of emotional nature

In unieve disintegration there is ony one leve, consequenty conicts betweenvaues have a horizonta character observabe as the opposing trends o on theone hand, striving toward a goal and, on the other hand, seeking satisction of adrive Certain individuas, endowed with multieve deveopmenta potentia,may advance to spontaneous mutieve disintegration This is the beginning of

hierarchization of values and inner conicts. At this evel appears positivemaadustment that intensies the deveopmenta process and signas tuingaway om "that what is and tuing toward "that what ought to be Thecreative instinct appears, too Heightened inteectua, imaginational, andemotiona excitabiities rce the individua into a constant maadustmenttoward what is "ower and seeking the personaity idea in onesef and aroundone The individua suers numerous psychoneurotic and depressive periods

n organized mutileve disintegration the hierarchization of vaues is deiberateand the individual is capable of conceiving of the personaity ideal moreprecisely A dynamism of determined choice, caed third ctor, operatesthrough deciding on a positive or negative stance in regard to exteainuences or inner processes. Inner conict and strugge attenuate whie the"passion and oy of growing intensi step in step with striving r sefperction (Dabrowski, 1979b, 1979c; Piechowski, 2008)

3. Theory of Positive Disintegration and Creativity

abrowski beieved that one can speak of creativity only in the context of

personaity deveopment through mutieve and mutisided disintegration (alsoknown as "acceerated development) Creativity is associated with the creativeinstinct and instinct of selfperction:

Creative dynamisms: ierent abiities and talents nding their expression in asearch r "otherness, r nonstereotyped cets ofreaity A deveopmenta dynamisms are creative bytheir power of transrming the individual and hisperception of reaity

Creative instinct: An assemby of cohesively organized rces, often of

great intensity, oriented toward a search r the new anddierent in the exteal and inteal reaity. Creativeinstinct is associated with accelerated deveopment.




(Dabrowski, 1972, pp. 292-293, quoted in Amend, 2008,p131)

Individuals endowed with creative instinct seek the new and reject thestereotyped and narrow understanding of reality. Here Dabrowski incuded greatartists, scientists, inventors whose aim above al was to create great works,ideas, and theories.

The second instinct, called by Dabrowski the instinct of self-perction, isevident in persons of high evel of moral and spiritual deveopment. Instinct ofselfperction aims r ll personality development that engages al innerdevelopmenta dynamisms. Under the inuence of the creative instinct,development of the inner psychic milieu may evolve into spontaneousmultievel disintegration. However, under the inuence of the instinct of self

perction, the process of inner psychic transrmation reaches beyondspontaneous to organized multilevel disintegration and even secondaryintegration. Individuals who are exceptionally talented and all-around are ikeyto aim r l personality development and achievement of the essence of theirindividua and social idea When the two instincts join together in completeintegration, as if melding the creative instinct into that of self-perction, thenan authentic, rich, and ll development of personality and creativity becomespossible (Dabrowski, l 979b)

Personality, being the aim of development through positive disintegration, is a

self-aware, self-chosen, self-afrmed, and self-determined unity of essentialindividual psychic qualities So dened, personality embodies its own concretepersonality ideal with individual and social essence Personality does not appearuntil the eve of secondary integration. Creativity and the creative processes areassociated with intense seeking, discovering, and creating of a new reality on ahigher evel.

Creativity, the creative process, appearance of new values and ideas alwaysinvolve the conict of the "old with the "new. he resistances rm "lines oftension that shape the creative process. n its essence, the creative process is

about transrmation and creation of new realities, but on the way opposingprocesses have to be resolved (Dabrowski, 983, l 979a)

Dabrowski believed that imaginational, intellectua, and intuitive processes witha strong emotional component take part in the creative process regardless ofcreative domain. The creative process begins with a spontaneous urge to create,a kind of inspiration, mounting inner tension, and restless search r newsolutions and means of expression The course of the creative process takesplace in suspension of normal consciousness while anchored in ·a higher leveof deveopment. That consciousness is as if "rced on the creator who

temporarily inhabits a state, or, in a sense participates "standing by andobserving everyhing at some remove. This allows the creator to ook at theproblem om a dierent perspective that oen culminates in an intuitive



48 Wieslawa Limont

solution. At higher evels of deveopment the creative process is associated witha state of joy and passion of deveopment

Great creativity in art and science eads to creation of new realities They rstarise in the creator's imagination, then emerge and acquire concrete rms asideas, theories, or works of art In many mous writers, poets, painters,scuptors, scientists one can perceive a gradua change in how they operate atdierent evels of reality. Ordinary reaity becomes distant whie the worlds ofimagination become coser, more rea, saturated with coor and anotherdimension of space and time The subective world becomes more obectiveIdeas are seen with the "eyes of imagination, ntasy, and in creativeinspiration are more rea than everyday reaity At times the creative process,and the word of thought and vision, becomes more important than the work theindividua has produced (Dabrowski, 1983).

The mental states described by Dabrowsi are cose to the process caed"identication with the probem or its "personication As a nction of theintensity of experiencing, the creator can identi deepy with the probem bybecoming the probem, by entering the problem space, or by a eap into animagined reality. Such states invove imagination as a menta process ofmetaphorica transrmation of inrmation This process, with a strongaective component, utilizes rich, mutimodal images (Limont, 996)

4. Developmenta Potential and Gifedness

In Dabrowsis writings, the concept of ability appears in the context ofdeveopmenta potentia (DP) and "individua essence Individua dierencesin DP may appear in dierent periods of i Strong, positive DP is noted ineary manistation of overexcitabiities and interests and abiities. Outstandingabiities in music, dance, mathematics, athetics, painting, or stage are readiyrecognized in children and youth Some chidren show exceptional socialabiities and compassion r the poor and victims of injustice Others om earye an urge to seek truth and probe phiosophical questions.

Individuals with a strong, positive D and outstanding abilities, or withpotentias toward a mutisided acceerated deveopment, have the passion rdeveopment at al costs hey rcey seek probems to sove, they haveeings of inriority toward themseves and others. They are aways short oftime, they are in a hurry to earn more, to acquire sills and experience Theystrive r perction in order to discover and create new reaities Their hard tocontro impatience, intensity of experiencing and taing action, unbridedpassion r knowedge and development, hampers some individuals inachieving their goas This appies in particuar to persons striving rpersonaity development (Dabrowski, 979a)

Dabrowski rerred to three sets of ctors that subsume many conditions andinuences on deveopment The rst encompasses everything in heindividua's constitution and heredity, the second, a the inuences of the




individual's social environment, and the third, the inner "own rces - themutievel dynamisms that empower the individua to consciously decide his orher own deveopment nterests, specia abiities, and talents plusoverexcitabilities (OE) represent constitutiona ctors Overexcitabiity denes

a specic manner of responding, processing and transrming inrmation. As aproperty of the nervous system it has characteristic rms of stimuation,reaction, and expression Emotiona tension is channeed through rms ofoverexcitability in ways that may vary om individua to individua

Dabrowski identied ve types of overexcitabiity: psychomotor, sensua,inteectua, imaginationa, and emotional (Dabrowski, 1938, 1979c)Psychomotor, denoting surpus of energy, is manisted as rapid speech, markedexcitation, intense physica activity (eg, st games and sports), pressure raction (eg, organizing), marked competitiveness Sensual, denotes enhancedsensory and aesthetic pleasure in seeing, smeing, tasting, touching, hearing,and sex; deight in beauti objects, sounds of words, music, rm, color,baance nteectua describes an intensifed activity of the mind obserable ascuriosity, concentration, capacity r sustained intelectual eort, avid reading;keen observation, detaied visua recal, detaied panning Imaginationainvoves ee pay of the imagination as wel as equent use of image andmetaphor, ciity r invention and ntasy, ciity r detaied visuaization,poetic and dramatic perception, animistic and magica thinking Emotionamanists itsef in intensied eings and emotions, strong positive andnegative eings, extremes of emotion, compex emotions and eings,identication with others eings, awareness of a whoe range of eings, andso on (Piechowski, 2006, pp24-25)

Dabrowski t that psychomotor OE together with emotiona and inteectuamay vor designing taent (Dabrowski, 1938). The term psychomotor, capturesthe great menta energy that is evident in the work of great creators (Gaton,1874; Piechowski, Siverman, & Fak, 1985) ndividuas with dominant sensuaOE dispay taents r baet or visua ars Sensua OE in combination with

emotiona, imaginationa, and inteectua aows an al around, and evenmutileve, apprehending of reaity that includes concrete sensory experienceCharacteristic r individuas with emotiona OE is the aective response to avariety of stimui and an emotiona reaction out of step with the stimuusEmotiona OE in combination with sensua and psychomotor incines a persontoward deveopment of tendeess, sympathy, compassion, a deepened andcreative experiencing, especialy when the imaginationa and intelectual OEsare aso in evidence maginationa OE is the essentia component of creativity,however most strongy associated with the creative process in potry, painting,

music, and balet (Dabrowski, 1938)In biographies of great creators one can nd numerous examples of reiance onimagina thinking r the creative process, regardess of domain For example:Alber Einstein reied mental images (thought experiments) to work on



50 Wieslawa Lmont

problems in physics. Nikola Tesla invented machines and tested their prototypesin the mental space of his imagination (Limont, 1996)

Intelectual OE, combined with other OE rms, enriches experience, deepensthe drama and conicts of personaity development. Persons with intellectualOE are inclined toward deep reective thought and to exploring the meaning oflife, immortality, and so on Dabrowski believed that emotional, imaginationa,and intellectual OEs are most important in the person's mental and creativedeveopment. They rm the basis r existential and essential experiences thatpay a major roe in a persons li. They are aso important r literary, artistic,and philosophical creativity.

n the case of strong positive developmental potential the inuence of socialenvrionent is not critical. Its inuence becomes signicant, and can bestimulating, when the potential is average or weak

The third set of ctors, the autonomous "own rces, rers to the capacity rself-directed emotional growth, selfdetermination, and autonomy It comes intoplay at the level of spontaneous multievel disintegration as a whoeconstellation of dynamisms work out the tension of inner conicts between thehigher and the lower in oneself, between "that what is and "that what ought tobe As development progresses, in eect of persistent exercise of choice anddecision, positive inuences arising in ones inner and outer environment areincreasingly chosen whie the negative ones are reected (Dabrowski, l 979c)

5. Overexcitability and Giftedness

High abilities and creativity occupy a prominent place in the theory of positivedisintegration Stimulated by it research on giftedness has been developing withgrowing momentum r more than thirty years Michael M. Piechowski hasplayed a major role in the application of the theory to gifted education andresearch on abilities and alent. He suggested that overexcitability (OE) may bea better indicator of abiliy and creativity than the maority of identicationmethods in use (Piechowski, 1979; Silverman, 2008). He initiated a systematic

analysis of the ve rms of overexcitability and developed the rstOverexcitabiity Questionnaire (OEQ) consisting of 46 openended items(Piechowski, 1979) A revised version has 21 items (Lysy & Piechowski, 983)

Research instruments r the study of OE are openended questionnaires,inventories, or structured interviews (Fak & Miller, 2009 Lysy & Piechowski,983; Piechowski, 1979, 2006; Piechowski & Miler, 995). Early studiescompared OE proes of gied individuas with those of average abiities(Gallagher,985; Piechowski & Coangelo, 984) The results conrmedDabrowski s thesis of the signicant role of the ve types of OE and especialy

of intelectual, imaginational, and emotiona OEs in the development of giedindividuals (abrowski, 975a)



"Passion of Growh 51

Research carried out so far showed postve correlaton between exceptionaablties and types of OE. People wth hgh cogntve ablites demonstratehgher evels of ether ntelectual, magnationa and emotonal overexctabiltythan the control group (Galagher 1985; Pechowsk, Slverman, Fak, 1985)

or only of intelectual and imaginatona OEs (Yaac-Guzel Akarsu, 2006)However, n younger gfted prmary school pups ntellectua and psychomotorOEs were the strongest (Ackerman 1997; Bouchard, 2004)

Simlarly to people wth hgh cognitve abltes, creatve students demonstrate ahgher than the control group leve of magnatonal emotonal and intellectualOEs (Schever 1985) owever, Dabrowsk eleved that emotional andimaginationa OEs are essential to creative abltes Slightly derent OEproles were reported in a comparative study between people wth bothcogntve and creative abtes and people wth only cogntive abltes Creatvepeople scored sgnicantly hgher on maginational and emotonal OEs, ascompared wth ntellectually ged peope (Falk et al 1997; Gallagher 1985;Schiever, 1985; YaacGuzel Akarsu, 2006) Ths suggests that creatveabites are assocated most strongly wth maginational and emotonal OEsResearch on creatve youth showed that they represented a hgher proe on alOE dimensions as compared wth the control group (YakacGuzel Akarsu,2006) A study of creatve atttude of Polish gfted students showed strongestcorrelaton of imagnatonal and intellectual OEs wth nonconrmst qualtesand heurstic strategy Creatve atttude s a conguraton of strongnonconrmst (personalty) and heurstic (cogntve) dmensons (Lmont et al.2009)

Research on artstically gfted persons showed hgher scores on al OEs, utespecally on imaginational and emotonal (Piechowsk & Cunnngham, 985;Pechowski Silverman Falk, 1985) In a comparatve study across cultures Venezuea and USA artsts had hgher scores on emotional magnatonal, andintelectua OEs (Falk et al. 1997) Gied musicans n Poland, ages 1930showed higher scores on all OEs than the control group, ut statstcally

signicant dferences were present just r sensual magnatonal andemotional OEs (Huevc, 2012)

Posh students ages 1315 showed a positive correlation between musicaltalent and psychomotor OE, between talent n ne arts and sensual OE andbetween cogntve talent and intellectual OE Scores of 17year old students inspeciaized careerorented classes showed a positve correlaton betweenathetic taent and psychomotor OE, between educatonal and humanistcartstc abiltes and emotional OE etween humanistcfne arts �btes andsensua, emotional and intelectual OEs The results may indcate the exstence

of specic relatons between various specc ablites and the types of OE aswell as the inuence of OE prole on the development of specc alties(Lmont, 2010a, 200b, 2012)



52 Wieslawa Limont

In most studies, cognitively gied people demonstrate a characteristic proe ofelevated scores on imaginational, intellectual and emotional OEs. Persons withhigh artistic ability obtained higher scores in all types of OE, but statisticallysignicant results only r sensual, imaginational, and emotional OEs. Theexistence of such pattes was pointed out by Dabrowski in his perusal ofbiographies of outstanding creators Irrespective of age, cognitively giftedpeople demonstrate a high level of intellectual OE However, in creative adultsthe levels of imaginational and emotional OEs are higher than in the cognitivelygied

6. Conclusions

The attempt to view the theory of positive disintegration as a theory of

creativity and talent development shows that the theory has provided a strongstimulus to research Furthermore, though developed in the past century, thetheory can serve as a means of linking together results of current and tureinvestigations And inversely, one can nd in the theory answers to questionsraised by researchers of creativity and talent. One example is the problem of"evil genius and "evil creativity Was Hitler creative or not? Robert Steberg(2010) writes that the opposite of the "dark side of creativity is the "bright sideof creativity. The bright side is associated with wisdom and the developmentof morality and ethics on a high level.

What causes some eminently talented and creative persons to realize theirpotential on the "dark side? What determines that other eminent creatorsproduce works, ideas, and theories on the "bright side r the benet ofmankind? The answer may lie in the dierence between one-sided and multisided (and multilevel) development as described by Dabrowski

Another example is the "Sylvia Plath eectthe assertion that women poetsand writers succumb to mental illness more oen than their male counterparts(Kaufman, 2001). Isn't it possible that this dierence may be associated withdierent overexcitability proles of women and men poets? Answers to suchquestions may be sought in Dabrowski's theory. t is perplexing that the theorytheoretically so rich and rtile in research questions is still not lly assimilatedby researchers of creativity and the creative process

Akwedgmet

wish to thank Michael M Piechowski r reading an early version of thischapter, r his many valuable comments and hours of discussion via email,and r translating this chapter




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