Sea Witchery: a Brief Overview

Originally posted by mermaids-luv

At the request of so many followers, I have decided to mock up a little bit of information on Sea Magick and Sea Witchery.  This is just a brief overview to give you some information when wanting to research or begin working with the ocean, storms, the tides, and the many creatures associated with the sea. 

However, I will caution you that the many sea creatures (especially the Merfolk) are not very forgiving creatures, thus they can be pretty tough to handle for beginner, baby witches.  It takes an experience sea hag to get them to cooperate properly, so keep this in mind when studying them.

Once again, this is a brief overview and introduction to my craft and path.  if you have any questions, you can direct them to me via PM or ASK.

Let’s get started!


Traditionally, sea witches are witches who appear among sailors or others involved in the seafaring trade. Sea witches use witchcraft related to the moon, tides, and the weather, and are believed to have complete control over the seas. Many sailors fell prey to the sea witches curse on ships and were finally delivered to the one who rules all.  In some folklore, sea witches are described as phantoms, ghosts,or in the form of a mermaid. These creatures would then have the power to control the fates of ships and seamen.

As the name implies, sea witches are believed to be able to control many aspects of nature relating to water, most commonly the ocean or sea. However, in more modern times, sea witches can also practice witchcraft on or near any source of water: lakes, rivers, bath tubs, or even simply a bowl of salt water.

In addition to their powers over water, sea witches could often control the wind. A common feature of many tales was a rope tied into three knots, which witches often sold to sailors to aid them on a voyage. Pulling the first knot could yield a gentle, southeasterly wind, while pulling two could generate a strong northerly wind.

Sea witches often improvise on what they have, rather than making purchases from a store or from another person. Common tools include clam, scallop, or oyster shells in place of bowls or cauldrons. Other items include seaweed, fishing net, shells, sea grass, driftwood, pieces of sea glass, and even sand.

Other types of titles they use are: sirens, water witches, storm witches, and sea hags.


Eh, there isn’t really a specific type of person the sea calls to, however I have met many sea witches that would be described as walking contradictions.  Much like the sea, we can be quite flexible, but also forceful.  Moods tend to fluctuate with the tides and lunar cycle.  Hags both enjoy and love music and poetry; are quite expressive with their emotions, but also don’t easily award entry into their hearts; and can easily win the attention of a crowd, but then seek solitude in the comfort of their own homes.  You would be hard-pressed to find a stagnant sea witch–they’ll always be on the move, searching and discovering.  However, be warned: if you fall in love with one you must understand that a sea hag’s heart belongs to the Sea first and foremost, forever and always, and it calls to them over the span of lifetimes.


For the most part, sea witches draw their power directly from the source: the Ocean.  You’ll find that many of them, even landlocked sea hags, have trinkets from the shore and enjoy baths, storms, and the moonlight.  Of course, there are many different kinds of sea witches all over the world and it really just depends on what seafaring folk culture they subscribe to that determines their power source.


I am not even lying–there are HUNDREDS upon HUNDREDS of water and sea deities that sea witches call upon for aid and worship.  Probably the most popular would be Poseidon, Neptune, Lir, Gong-Gong, Hapi, Sobek,  Agwé, Aegaeon, Delphin, the Gorgons, Samundra, Pariacaca, Watatsumi, Rongomai, Njord, Nix, and even Davey Jones.

One of the beauties of being a sea witch is that you can call on many ancient and powerful deities to aid you in your craft.  However, I do advise that you make sure that these deities do not come from a culture/religion/belief system that is closed.  You can check out a full list of water/sea/storm deities here.



Water (salt, fresh, or storm), sand, sea shells and cockles, sea glass, driftwood, ship wood, compasses, maps, mirrors, bowls and chalices, sea weed, sea grass, fish and fish bones, coral, telescopes, sand dollars, pearls, bath salts/bombs/goodies, sea salt, linen, umbrellas and mops, windchimes, ropes, weather vanes, and blood are just some of the few tools we use in our practice.


The Mer or Merfolk are probably one of the more popular topics when it comes to sea witchery.  I get questions all the time like “DO YOU TALK TO MERMAIDS?” or “HOW CAN I GET A MERMAID TO BEFRIEND ME?” or “AREN’T MERMAIDS JUST THE COOLEST?”

The Merfolk are an integral part of sea witch culture, but they aren’t the end all be all when it comes to water spirits/fae/demons/entities.  There are so many to work with and all have interesting backstories.  But let’s talk about the Merfolk for a moment…

Depending to what you school you subscribe to, the Merfolk (also known as mermaids) could be fae, demon, or simply water spirits.  Some believe that  the Merfolk are a species of kithain (also known as changeling or fae.) Ancient and unknowable, the Merfolk pose something of a problem to both fae and human alike. The arrogance of the mer is tempered only by their truly alien natures.  The Merfolk claim that they are the sole legacy of the Tuatha De Danann, the oldest fae on Earth, dreamed long before any human ever set foot on land. When curious people ask how this could be, the merfolk are disconcertingly vague and ambiguous.

As I have stated before on the blog, the Merfolk are certainly an odd lot. The product of a totally alien mindset, the mer are simultaneously deadly, serious and playful, highly ritualized and completely free spirited, repressed and yet libidinous as a drunken prom date. The first thing one will notice about a mer is his incredible arrogance. Of course, as far as they are concerned, they have every right to be arrogant. After all, in their minds, they do rule the world.

Other mythologies tell us that mermaids are the bane of seamen.  These half-fish, half-women lured countless sailors to their deaths. Breathtakingly beautiful humans from their torso-upwards, their lower bodies where those of fish, complete with scales. Men find their songs irresistible and follow them willingly into the sea. Mermaids can be caught and held in exchange for the wishes they grant. The males of the species, Mermen, are regarded as vicious creatures who raised storms for the purpose of sinking men’s ships.  Occasionally they are successfully courted by human men. The offspring of such pairings are often granted great powers in healing by their mothers.

In short, mermaids are extremely beautiful, temperamental, powerful, and dangerous.  They are not to be confused with Sirens, either, and find contempt at the very accusation.  I will probably go into more detail about Merfolk magic in a different post.


Again, like the deities, there are so many different kinds of water spirits and this topic in of itself could be an entire article.  So, here is a brief list and some traits about my favorites…


In Greek mythology, the Sirens (Greek singular: Σειρήν Seirēn; Greek plural: Σειρῆνες Seirēnes) were dangerous creatures, who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on some small islands called Sirenum scopuli. In some later, rationalized traditions, the literal geography of the “flowery” island of Anthemoessa was somewhere tucked in a cape, with rocky shores and cliffsides.

Sirens were believed to combine women and birds in various ways. In early Greek art, Sirens were represented as birds with large women’s heads, bird feathers and scaly feet. Later, they were represented as female figures with the legs of birds, with or without wings, playing a variety of musical instruments, especially harps.


These are the elemental spirits of water. Their magic centers upon this element, whose course and function they can control. Undines exist within the water itself and cannot be seen with normal human vision. Their homes are typically within the coral caves in lakes or upon the banks of rivers, though smaller undines may choose to live under lily pads. Their appearance is similar to human beings in most cases, with the exception of those living in smaller streams or ponds. Undine clothing is shimmery, reflecting all the colors of water though green is typically the predominant color.Every body of water is home to undines, from ocean waves, to rocky pools, to marshlands, to rivers, to lakes and ponds. Even waterfalls and fountains have an undine living in their midst.


The shapeshifting selkies, who are also known as silkies or roane (Gaelic for seal), occupy the seas surrounding the Orkney and Shetland isles. The exact nature of their undersea world is uncertain, though some believe it to be encased in giant air bubbles. Their true forms are those of faeries or humans, though they take the form of large seals when traveling the through the oceans. In particular: great seals and grey seals are said to take human forms. Older tales tell that selkies are only able to take on human forms on certain nights of the year, such as Midsummer’s Eve or All Hallows.

Occasionally they encounter humankind, sometimes becoming their mates. A human male may take a selkie female as his wife if he finds her seal skin on the beach and hides it from her. In the end she always recovers the skin and returns to the sea, though she may return occasionally to watch over her human family from the safety of the waves.

A human woman may bear the child of a selkie male if she weeps seven tears or seven drops of blood in the nighttime sea. Such relationships are rarely lasting. Seven years hence, the selkie would return for his child, offering the mother a fee for nursing her own babe.


One of the most dreaded and best known of the Irish faeries is the Banshee, properly named the Beansidhe literally, “woman fairy.” The Irish have many names for her (perhaps they feared invocation of her true name may invoke her presence?) They included: Washer of the Shrouds, Washer at the Banks, Washer at the Ford and the Little Washer of Sorrow. The Scottish called her Cointeach, literally “one who keens.” To the cornish she was Cyhiraeth and to the Welsh either Cyoerraeth or Gwrach y Rhibyn, which translates as “Hag of the Dribble” (to the Welsh she sometimes appear as a male). In Brittany her name is Eur-Cunnere Noe.

The Beansidhe is an extremely beautiful faery, possessing long, flowing hair, red eyes (due to continuous weeping) and light complexions. They typically donn green dresses with gray cloaks. Their wailing foretells of a death nearby, though it never causes such a death (which is why they are wrongly feared.) 

As her other names might suggest, she frequently appears as a washerwoman at the banks of streams. In these cases, she is called the Bean Nighe (pronounced “ben-neeyah”). The clothing she washed takes different forms depending upon the legend. Sometimes it is burial shrouds, others it is the bloodstained clothing of those who will soon die. This particular version of the Bean Sidhe is Scottish in origin and unlike the Irish version, she is extremely ugly, sometimes described as having a single nostril, one large buck tooth, webbed feet and extremely long breasts, which she must throw over her shoulders to prevent them getting in the way of her washing . Her long stringy hair is partially covered with a hood and a white gown or shroud is her main wardrobe. The skin of the Beansidhe is often wet and slimy as if she had just been pulled from a moss covered lake. They are rumored to be the ghosts of women who died in childbirth and will continue to wash until the day they should have died. The keening music of Irish wakes, called caoine, is said to have been derived from the wails of the Beansidhe.


The Sea giveth and the Sea taketh away.  The sea is both mother and reaper, passionate and cold, serene and turbulent, loving and cruel, generous and vicious.  And if you meet a sea witch, you’ll know this to be true:

Neither chains of steel, nor chains of love, can keep her from the Sea.

* ( descriptive writing. )

Some words to use when writing things:

  • winking
  • clenching
  • pulsing
  • fluttering
  • contracting
  • twitching
  • sucking
  • quivering
  • pulsating
  • throbbing
  • beating
  • thumping
  • thudding
  • pounding
  • humming
  • palpitate
  • vibrate
  • grinding
  • crushing
  • hammering
  • lashing
  • knocking
  • driving
  • thrusting
  • pushing
  • force
  • injecting
  • filling
  • dilate
  • stretching
  • lingering
  • expanding
  • bouncing
  • reaming
  • elongate
  • enlarge
  • unfolding
  • yielding
  • sternly
  • firmly
  • tightly
  • harshly
  • thoroughly
  • consistently
  • precision
  • accuracy
  • carefully
  • demanding
  • strictly
  • restriction
  • meticulously
  • scrupulously
  • rigorously
  • rim
  • edge
  • lip
  • circle
  • band
  • encircling
  • enclosing
  • surrounding
  • piercing
  • curl
  • lock
  • twist
  • coil
  • spiral
  • whorl
  • dip
  • wet
  • soak
  • madly
  • wildly
  • noisily
  • rowdily
  • rambunctiously
  • decadent
  • degenerate
  • immoral
  • indulgent
  • accept
  • take
  • invite
  • nook
  • indentation
  • niche
  • depression
  • indent
  • depress
  • delay
  • tossing
  • writhing
  • flailing
  • squirming
  • rolling
  • wriggling
  • wiggling
  • thrashing
  • struggling
  • grappling
  • striving
  • straining

Appetite -

craving, demand, gluttony, greed, hunger, inclination, insatiable, longing, lust, passion, ravenousness, relish, taste, thirst, urge, voracity, weakness, willingness, yearning, ardor, dedication, desire, devotion, enthusiasm, excitement, fervor, horny, intensity, keenness, wholeheartedness, zeal

Arouse -

agitate, awaken, electrify, enliven, excite, entice, foment, goad, incite, inflame, instigate, kindle, provoke, rally, rouse, spark, stimulate, stir, thrill, waken, warm, whet, attract, charm, coax, fire up, fuel, heat up, lure, produce, stir up, tantalize, tease, tempt, thrum, torment, wind up, work up

Assault -

attack, advancing, aggressive, assailing, charging, incursion, inundated, invasion, offensive, onset, onslaught, overwhelmed, ruinous, tempestuous, strike, violation, ambush, assail, barrage, bombard, bombardment, crackdown, wound

Beautiful -

admirable, alluring, angelic, appealing, bewitching, charming, dazzling, delicate, delightful, divine, elegant, enticing, exquisite, fascinating, gorgeous, graceful, grand, magnificent, marvelous, pleasing, radiant, ravishing, resplendent, splendid, stunning, sublime, attractive, beguiling, captivating, enchanting, engaging, enthralling, eye-catching, fetching, fine, fine-looking, good-looking, handsome, inviting, lovely, mesmeric, mesmerizing, pretty, rakish, refined, striking, tantalizing, tempting

Brutal -

atrocious, barbarous, bloodthirsty, callous, cruel, feral, ferocious, hard, harsh, heartless, inhuman, merciless, murderous, pitiless, remorseless, rough, rude, ruthless, savage, severe, terrible, unmerciful, vicious, bestial, brute, brutish, cold-blooded, fierce, gory, nasty, rancorous, sadistic, uncompromising, unfeeling, unforgiving, unpitying, violent, wild

Burly –

able-bodied, athletic, beefy, big, brawny, broad-shouldered, bulky, dense, enormous, great, hard, hardy, hearty, heavily built, heavy, hefty, huge, husky, immense, large, massive, muscular, mighty, outsized, oversized, powerful, powerfully built, prodigious, robust, solid, stalwart, stocky, stout, strapping, strong, strongly built, sturdy, thick, thickset, tough, well-built, well-developed

Carnal -

animalistic, bodily, impure, lascivious, lecherous, lewd, libidinous, licentious, lustful, physical, prurient, salacious, sensuous, voluptuous, vulgar, wanton, , coarse, crude, dirty, raunchy, rough, unclean

Dangerous -

alarming, critical, fatal, formidable, impending, malignant, menacing, mortal, nasty, perilous, precarious, pressing, serious, terrible, threatening, treacherous, urgent, vulnerable, wicked, acute, damaging, deadly, death-defying, deathly, destructive, detrimental, explosive, grave, harmful, hazardous, injurious, lethal, life-threatening, noxious, poisonous, risky, severe, terrifying, toxic, unsafe, unstable, venomous

Dark -

atrocious, corrupt, forbidding, foul, infernal, midnight, morbid, ominous, sinful, sinister, somber, threatening, twilight, vile, wicked, abject, alarming, appalling, baleful, bizarre, bleak, bloodcurdling, boding evil, chilling, cold, condemned, creepy, damned, daunting, demented, desolate, dire, dismal, disturbing, doomed, dour, dread, dreary, dusk, eerie, fear, fearsome, frightening, ghastly, ghostly, ghoulish, gloom, gloomy, grave, grim, grisly, gruesome, hair-raising, haunted, hideous, hopeless, horrendous, horrible, horrid, horrific, horrifying, horror, ill-fated, ill-omened, ill-starred, inauspicious, inhospitable, looming, lost, macabre, malice, malignant, menacing, murky, mysterious, night, panic, pessimistic, petrifying, scary, shadows, shadowy, shade, shady, shocking, soul-destroying, sour, spine-chilling, spine-tingling, strange, terrifying, uncanny, unearthly, unlucky, unnatural, unnerving, weird, wretched

Delicious -

enticing, exquisite, luscious, lush, rich, savory, sweet, tasty, tempting, appetizing, delectable, flavorsome, full of flavor, juicy, lip-smacking, mouth-watering, piquant, relish, ripe, salty, spicy, scrummy, scrumptious, succulent, tangy, tart, tasty, yummy, zesty

Ecstasy -

delectation, delirium, elation, euphoria, fervor, frenzy, joy, rapture, transport, bliss, excitement, happiness, heaven, high, paradise, rhapsody, thrill, blissful, delighted, elated, extremely happy, in raptures (of delight), in seventh heaven, jubilant, on cloud nine, overexcited, overjoyed, rapturous, thrilled

Ecstatic -

delirious, enraptured, euphoric, fervent, frenzied, joyous, transported, wild

Erotic -

amatory, amorous, aphrodisiac, carnal, earthy, erogenous, fervid, filthy, hot, impassioned, lascivious, lecherous, lewd, raw, romantic, rousing, salacious, seductive, sensual, sexual, spicy, steamy, stimulating, suggestive, titillating, voluptuous, tantalizing

Gasp -

catch of breath, choke, gulp, heave, inhale, pant, puff, snort, wheeze, huff, rasp, sharp intake of air, short of breath, struggle for breath, swallow, winded

Heated -

ardent, avid, excited, fervent, fervid, fierce, fiery, frenzied, furious, impassioned, intense, passionate, raging, scalding, scorched, stormy, tempestuous, vehement, violent, ablaze, aflame, all-consuming, blazing, blistering, burning, crazed, explosive, febrile, feverish, fired up, flaming, flushed, frantic, hot, hot-blooded, impatient, incensed, maddening, obsessed, possessed, randy, searing, sizzling, smoldering, sweltering, torrid, turbulent, volatile, worked up, zealous

Hunger -

appetite, ache, craving, gluttony, greed, longing, lust, mania, mouth-watering, ravenous, voracious, want, yearning, thirst

Hungry -

avid, carnivorous, covetous, craving, eager, greedy, hungered, rapacious, ravenous, starved, unsatisfied, voracious, avaricious, desirous, famished, grasping, insatiable, keen, longing, predatory, ravening, starving, thirsty, wanting

Intense -

forceful, severe, passionate, acute, agonizing, ardent, anxious, biting, bitter, burning, close, consuming, cutting, deep, eager, earnest, excessive, exquisite, extreme, fervent, fervid, fierce, forcible, great, harsh, impassioned, keen, marked, piercing, powerful, profound, severe, sharp, strong, vehement, violent, vivid, vigorous

Liquid -

damp, cream, creamy, dripping, ichorous, juicy, moist, luscious, melted, moist, pulpy, sappy, soaking, solvent, sopping, succulent, viscous, wet / aqueous, broth, elixir, extract, flux, juice, liquor, nectar, sap, sauce, secretion, solution, vitae, awash, moisture, boggy, dewy, drenched, drip, drop, droplet, drowning, flood, flooded, flowing, fountain, jewel, leaky, milky, overflowing, saturated, slick, slippery, soaked, sodden, soggy, stream, swamp, tear, teardrop, torrent, waterlogged, watery, weeping

Lithe -

agile, lean, pliant, slight, spare, sinewy, slender, supple, deft, fit, flexible, lanky, leggy, limber, lissom, lissome, nimble, sinuous, skinny, sleek, slender, slim, svelte, trim, thin, willowy, wiry

Moan -

beef, cry, gripe, grouse, grumble, lament, lamentation, plaint, sob, wail, whine, bemoan, bewail, carp, deplore, grieve, gripe, grouse, grumble, keen, lament, sigh, sob, wail, whine, mewl

Moving -

(exciting,) affecting, effective  arousing, awakening, breathless, dynamic, eloquent, emotional, emotive, expressive, fecund, far-out, felt in gut, grabbed by, gripping, heartbreaking, heartrending, impelling, impressive, inspirational, meaningful, mind-bending, mind-blowing, motivating, persuasive, poignant, propelling, provoking, quickening, rallying, rousing, significant, stimulating, simulative, stirring, stunning, touching, awe-inspiring, energizing, exhilarating, fascinating, heart pounding, heart stopping, inspiring, riveting, thrilling

Need -

compulsion, demand, desperate, devoir, extremity, impatient longing, must, urge, urgency / desire, appetite, avid, burn, craving, eagerness, fascination, greed, hunger, insatiable, longing, lust, taste, thirst, voracious, want, yearning, ache, addiction, aspiration, desire, fever, fixation, hankering, hope, impulse, inclination, infatuation, itch, obsession, passion, pining, wish, yen

Pain -

ache, afflict, affliction, agony, agonize, anguish, bite, burn, chafe, distress, fever, grief, hurt, inflame, laceration, misery, pang, punish, sting, suffering, tenderness, throb, throe, torment, torture, smart

Painful -

aching, agonizing, arduous, awful, biting, burning, caustic, dire, distressing, dreadful, excruciating, extreme, grievous, inflamed, piercing, raw, sensitive, severe, sharp, tender, terrible, throbbing, tormenting, angry, bleeding, bloody, bruised, cutting, hurting, injured, irritated, prickly, skinned, smarting, sore, stinging, unbearable, uncomfortable, upsetting, wounded

Perverted -

aberrant, abnormal, corrupt, debased, debauched, defiling, depraved, deviant, monstrous, tainted, twisted, vicious, warped, wicked, abhorrent, base, decadent, degenerate, degrading, dirty, disgusting, dissipated, dissolute, distasteful, hedonistic, immodest, immoral, indecent, indulgent, licentious, nasty, profligate, repellent, repugnant, repulsive, revolting, shameful, shameless, sickening, sinful, smutty, sordid, unscrupulous, vile

Pleasurable -

charming, gratifying, luscious, satisfying, savory, agreeable, delicious, delightful, enjoyable, nice, pleasant, pleasing, soothing, succulent

Pleasure -

bliss, delight, gluttony, gratification, relish, satisfaction, thrill, adventure, amusement, buzz, contentment, delight, desire, ecstasy, enjoyment, excitement, fun, happiness, harmony, heaven, joy, kick, liking, paradise, seventh heaven


avaricious, ferocious, furious, greedy, predatory, ravening, ravenous, savage, voracious, aggressive, gluttonous, grasping, insatiable, marauding, plundering

Rapture -

bliss, ecstasy, elation, exaltation, glory, gratification, passion, pleasure, floating, unbridled joy

Rigid -

adamant, austere, definite, determined, exact, firm, hard, rigorous, solid, stern, uncompromising, unrelenting, unyielding, concrete, fixed, harsh, immovable, inflexible, obstinate, resolute, resolved, severe, steadfast, steady, stiff, strong, strict, stubborn, taut, tense, tight, tough, unbending, unchangeable, unwavering

Sudden -

abrupt, accelerated, acute, fast, flashing, fleeting, hasty, headlong, hurried, immediate, impetuous, impulsive, quick, quickening, rapid, rash, rushing, swift, brash, brisk, brusque, instant, instantaneous, out of the blue, reckless, rushed, sharp, spontaneous, urgent, without warning

Thrust -

(forward) advance, drive, forge, impetus, impulsion, lunge, momentum, onslaught, poke, pressure, prod, propulsion, punch, push, shove, power, proceed, progress, propel

(push hard) assail, assault, attack, bear down, buck, drive, force, heave, impale, impel, jab, lunge, plunge, press, pound, prod, ram, shove, stab, transfix, urge, bang, burrow, cram, gouge, jam, pierce, punch, slam, spear, spike, stick

Thunder-struck -

amazed, astonished, aghast, astounded, awestruck, confounded, dazed, dazed, dismayed, overwhelmed, shocked, staggered, startled, stunned, gob-smacked, bewildered, dumbfounded, flabbergasted, horrified, incredulous, surprised, taken aback

Torment -

agony, anguish, hurt, misery, pain, punishment, suffering, afflict, angst, conflict, distress, grief, heartache, misfortune, nightmare, persecute, plague, sorrow, strife, tease, test, trial, tribulation, torture, turmoil, vex, woe

Touch -

(physical) - blow, brush, caress, collide, come together, contact, converge, crash, cuddle, embrace, feel, feel up, finger, fondle, frisk, glance, glide, graze, grope, handle, hit, hug, impact, join, junction, kiss, lick, line, manipulate, march, massage, meet, nudge, palm, partake, pat, paw, peck, pet, pinch, probe, push, reach, rub, scratch, skim, slide, smooth, strike, stroke, suck, sweep, tag, tap, taste, thumb, tickle, tip, touching, toy, bite, bump, burrow, buss, bury, circle, claw, clean, clutch, cover, creep, crush, cup, curl, delve, dig, drag, draw, ease, edge, fiddle with, flick, flit, fumble, grind, grip, grub, hold, huddle, knead, lap, lave, lay a hand on, maneuver, manhandle, mash, mold, muzzle, neck, nestle, nibble, nip, nuzzle, outline, play, polish, press, pull, rasp, ravish, ream, rim, run, scoop, scrabble, scrape, scrub, shave, shift, shunt, skate, slip, slither, smack, snake, snuggle, soothe, spank, splay, spread, squeeze, stretch, swipe, tangle, tease, thump, tongue, trace, trail, tunnel twiddle, twirl, twist, tug, work, wrap

(mental) - communicate, examine, inspect, perception, scrutinize

Wet -

bathe, bleed, burst, cascade, course, cover, cream, damp, dampen, deluge, dip, douse, drench, dribble, drip, drizzle, drool, drop, drown, dunk, erupt, flood, flow, gush, immerse, issue, jet, leach, leak, moisten, ooze, overflow, permeate, plunge, pour, rain, rinse, run, salivate, saturate, secrete, seep, shower, shoot, slaver, slobber, slop, slosh, sluice, spill, soak, souse, spew, spit, splash, splatter, spout, spray, sprinkle, spurt, squirt, steep, stream, submerge, surge, swab, swamp, swill, swim, trickle, wash, water

Wicked -

abominable, amoral, atrocious, awful, base, barbarous, dangerous, debased, depraved, distressing, dreadful, evil, fearful, fiendish, fierce, foul, heartless, hazardous, heinous, immoral, indecent, intense, mean, nasty, naughty, nefarious, offensive, profane, scandalous, severe, shameful, shameless, sinful, terrible, unholy, vicious, vile, villainous, wayward, bad, criminal, cruel, deplorable, despicable, devious, ill-intentioned, impious, impish, iniquitous, irreverent, loathsome, Machiavellian, mad, malevolent, malicious, merciless, mischievous, monstrous, perverse, ruthless, spiteful, uncaring, unkind, unscrupulous, vindictive, virulent, wretched

Writhe -

agonize, bend, jerk, recoil, lurch, plunge, slither, squirm, struggle, suffer, thrash, thresh, twist, wiggle, wriggle, angle, arc, bow, buck, coil, contort, convulse, curl, curve, fidget, fight, flex, go into spasm, grind, heave, jiggle, jolt, kick, rear, reel, ripple, resist, roll, lash, lash out, screw up, shake, shift, slide, spasm, stir, strain, stretch, surge, swell, swivel, thrust, turn violently, tussle, twitch, undulate, warp, worm, wrench, wrestle, yank

Dirty, Pretty Things

Hey guys! I hope that everyone is having a supremely good day today! I’m sorta shy to post this because I’ve never written a sexy-time before, but I gave it a go lol. Basically, Tom and the reader go to the library and Tom gets a little frustrated by the book the reader picks out for him, and then, sexy-time ensues. I hope you like it!

Dirty, Pretty Things

He had lost her within the sea of words that had engulfed them both.

When Tom had first entered the grand library, the sight of so many shelves completely drenched in knowledge blew his eyes wide open. She, on the other hand, had immersed herself, diving in and out of shelves quickly, and coming out with towering stacks of novels. Tom watched, hands in his pockets, as she piled the literature as high as it could go without falling.

Grabbing her readings, he moved them to a secluded corner, where he sat down on the floor to wait for her to come back to him.

As she fluttered about, rushing in between sections and up and down staircases, her skin gave off a soft sheen of champagne that he knew came from her ridiculously expensive highlighter. The heels of her boots tapped anxiously across the floor. Sounding as though they were afraid they’d only be granted a set amount of time to wander through the library. The straps of the dress his girlfriend wore began to slip off her shoulders and she failed to fix them to their proper place again. When she bent down, Tom noticed that her position revealed a more than generous amount of her legs. He bit his lip and tried to ignore how alluringly endearing she looked.

Tom loved to watch her like this. She looked incredibly at home nestled inside the library’s massive selection of books. She wasn’t worried about other people, or how they could be perceiving her. Instead, her only focus was on choosing the best and most interesting novel to read.

After about forty minutes, she finally came back to him, carrying four more books in her hands.

“I picked some out for you to read as well,” she said, nestling decisively underneath his arm.

Due to the spot Tom had secured, she was sat directly next to the left corner of the wall with Tom cuddled into her right side. Tom beamed at her and pressed an open mouthed kiss to her lips. “What did you get for me darling?”

“Well, firstly, I grabbed you the first Harry Potter book because I think that it’s absolute insanity that you haven’t read it yet. Then, I grabbed Horns and The Shining, in case your in the mood for horror, but, if all else fails, maybe you could try Hidden Bodies or Dirty, Pretty Things?” She began to ramble on about why she had selected each novel and then stopped short. “Oh, shit, I should go back and bring you Fight Club, I really think that-.” Tom quickly wrapped an arm around her middle, securing her back down on the floor.

“No, no, I’m excited to read Dirty, Pretty Things. That’s the poetry book you’ve been off about with Kaylee, right? I want to read that one.” Tom watched her pull the thin, pink book out of the stack to hand to him.

She looked shy handing it over to him. As soon as his hands slid over the front cover, she quickly interjected, “you may not like it, but the words are just lovely and they make me,” she stopped short and shuddered.

Tom quirked a brow, “oh yeah? Better get started then.” He pressed a kiss to her forehead and rustled her hair.

Tom watched as she leaned forward and bit her lip, trying to decide what she wanted to read first. Eventually, she settled on A Tale For the Time Being and curled up against his chest.

Tom’s eyes skimmed over poem after poem, and he began to understand why she spoke so much about it, just not directly to him. The book was written about love, and carnal attraction and she was forever timorous.

The poetry in Dirty, Pretty Things was beginning to get to him, especially when he thought about her reading it. Michael Faudet’s words were dulcet and enticing, and Tom imagined whispering them softly into her ear, as he slipped his hands up her skirt.

Tom’s mind briefly wandered to her getting off on the words within the book and had to stop for a few seconds to recompose himself. He glanced down at her. The words on the page of her book seemed to leap and dance off the page, mocking him for being of more interest to her than he was. Shaking his head, he tried not to look at the uncovered, sweet smelling, perfumed, skin of her chest. Going back to his own book, he attempted to allow the book’s poetry to command his full attention once again.

The first poem Tom encountered as he flipped the page nearly killed him. He stopped breathing and read over the words three more times before letting out a shaker gasp.

The only words on the page were, “Put your hands on my knees, she said, and think of me as a book you’ve been dying to read.”

Tom looked from the poem to her, then again and again before he felt his jeans getting even tighter than they were before. This had to be a sign. Shit, they were in a library, surrounded by books, all alone in a dimly lit corner of the library. Not to mention, books and literature were her favorite things in the word. She had told him a while ago that the best compliment she’d ever received had been from slew of teachers who had all insisted that she had the best taste in books they’d seen in a long time. Michael Faudet’s words were taunting him.

“Baby,” he started, gently tilting her chin up to look at him. “I’m bored.”

She frowned, “do you not like the book because I can go and grab you another, or maybe-,” Tom cut her short by sliding a soft hand across her throats to sweep her hair off her shoulder.

“Let’s trade. You can read Dirty, Pretty Things out loud to me. I’m sleepy and I wanna listen to you read the poems.” Tom gently guided his book into her palms.

She flushed red and stuttered for a minute. “Tom, I can’t.

“Why not?” He countered.

“You’ve read it,” She muttered, looking away from him. “The words are libidinous.”

Tom brought her eyes back to his and licked his lips before he spoke. “I wanna hear you read them darling.” He moved to kiss the spot just below her lips. Tom dared lower and lower, tangling his hands in her hair as he went. When he reached her collarbones, she finally snapped.

Letting out an airy sigh, she gasped out, “fine Tom.”

He smirked and placed a final kill on the base of her throat and corrected his posture so that he was sitting with his arms protectively circling her frame.

She moved to flip to the next page when Tom interrupted her. “Do you mind reading from the beginning? I wanna hear it all in your voice.”

Narrowing her eyes, she flipped back to the first page and began to read. As she read through the first few poems, Tom’s hands began to totter.

First, he slipped them up and down her arms, feigning an effort to keep her warm. Then, he began to give her small kisses on the forehead, cheek, neck and hand. She looked at him, slightly confused as to why he’d ask her to read out loud if he wasn’t going to pay attention.

Nevertheless, she kept reading.

As she flipped the page, her breathing was cut short. Tom knew exactly which poem she’d stumbled across. “Sweetheart, do you want to play a game?” Tom asked her, his voice rough and low in her ear.

She blinked up at him, her cheeks flushed cherry red as she managed to stutter out a few syllables.

“How about I tell you the rules first?” He paused briefly, and then began to talk. “The book you’ve chosen for me has actually proven itself to be quite the naughty thing and I think that you gave it to me on purpose. Since you like to play so many little games instead of just telling me directly what you want, I think that maybe I’ll give games a go too.” Tom stopped to look at her again. Her pupils had consumed the typical color of her eyes and her hands were slightly shaking. Taking them within his own, he kissed the backs of both of her hands.

“If you’ll allow me, I’d very much like to reenact that poem. You are the book that I’ve been dying to read.”

Her eyes shut and she bit her lip to contain the moan threatening to slip past.

“Here’s the catch though, I still want you to read to me. If you stop reading out loud, I’ll stop what I’m doing and you wouldn’t want that, would you?” Tom peppered her neck with open mouthed kisses.

She nodded her head, eyes still shut tight.

“No, darling, I need verbal consent, just to be sure.” Tom continued his assault on her neck.

Her eyes finally snapped open and she rolled her head around to look directly into Tom’s eyes. “Please.” She whispered.

With that, Tom smirked and lifted the hem of her dress and slipped his hand further up her thighs.

Her voice shook, “the kind of love letter I write are the ones you read in bed, stretched out beneath the sheets with one hand between your legs.”

Tom pressed his mouth to her and she convulsed against his lips, gasping out the words to the next line.

Face Time ; Sebastian Stan

WARNINGS: cyber sex theme-ish, masturbation, nsfw!!, parts of seb cussing in romanian, kinda hot tbh –be prepared

summary: being parted from Sebastian, as he visits his homeland, can be a pain in the ass –especially because both of you are always in dire need of sex.

A/N: heh so much Romanian shit happening….i cant even comprehend. sorry if you felt attacked with this drabble

The monitor of your laptop illuminated bright white lights around your dim lit room. You faced against the monitor and scrolled around Youtube and other social medias trying to find updates about the interviews of Sebastian –though completely ignoring the fact that you could directly ask Sebastian yourself via a simple text. And as you looked through the videos suggested, you came across a previous interview about Captain America: The First Avenger in 2011.

Keep reading

Each time there is writing. No writing opens a passage without this bodily violence. How otherwise does one explain the charge–others would say the investment–the libidinal, even narcissistic charge that everyone brings to his own texts? It is my body, this is my body. Every poem says, “This is my body,” and the rest: drink it, eat it, keep it in memory of me. There is a Last Supper in every poem, which says: “This is my body, here and now.” And you know what comes next: passions, crucifixions, executions. Others would also say resurrections.
—  Jacques Derrida, “Rams: Uninterrupted Dialogue–Between Two Infinities, the Poem,” Sovereignties in Question: The Poetics of Paul Celan
“It’s Kinda Distracting...” (Joji)

Anon Request: I really would like to read a post about the reader trying to get Joji to stop editing for a bit and to pay attention to her, like he’s trying to focus but he eventually gives in? Like maybe reader just starts to give him the succ and he can’t help it? I just love this blog it’s chill if you have other stuff to do too dude

I sat in bed, patiently waiting for Joji to finish whatever he was doing on the computer and climb in bed next to me. I had been libidinous for the past week and a half, craving his touch and wanting his hands all over me. At first, I left him alone, wanting him to finish whatever project he had himself set on. But as time went on, the less he came to bed. I would hear the water of the shower on, signaling he was occupying the bathroom, but he would come out newly dressed in some sleepwear and then go back to his “man cave” to proceed with what he was doing earlier. I laid there on my back, trying to make myself engaged in some other activity other than just staring blankly at nothing. The TV bored me and made me lethargic, my eyes drooping slowly. I sat up rapidly, slapping myself out of it, I went over to Joji’s little “man cave”, opening the door, I saw him behind his desk on his laptop in nothing but his plaid, flannel pajama pants. I leaned on the doorframe using my shoulder as I crossed my arms over my chest. I bit my lip as I watched him: his damp hair slightly getting in his view as his eyes concentrated on the screen, his bare torso exposed as he sat there unbothered.

“Hey.” I let out softly letting my fingers dance across the wooden frame of the door, “You coming to bed?”

“Uh…what time is it?” he asked without looking up, the mouse clicking louder than usual.

“Currently, it is twelve o’ three a.m.” I answered looking at the nearby clock.

Fearlessly, I walked into the room hoping I’d catch his eye, but I didn’t succeed. I sat on the edge of his desk and he sighed, telling me he wasn’t finished with what he was working on. With my bare legs, and being in nothing but my underwear, he wasn’t paying attention. Joji loved it when I showed off this much skin and would refuse to keep his hands off of my body. He was not even close to finishing up his work, but that didn’t mean he had to put me off the way he was. I brought myself back onto my feet and walked behind the chair he was seated on, I placed my hands-on his shoulders and massaged them lightly. Leaning into him a little slightly, I placed a soft kiss on the skin of his neck, earning an annoyed groan from him.

“Baby, not right now, okay? I’m not done editing yet. And after I’m done with this I need to edit a video I’m uploading soon.” he whined as he shrugged me off, “We can continue this tomorrow, okay? I promise.”

“You promised me yesterday…” I muttered.

Although it dawned on me that I should leave him alone so he can edit at his own pace without feeling rushed, I couldn’t help but grow more impatient as the minutes, hours, seconds, went by. I sighed and brought myself to my knees, not wanting to let any more time to go to waste. I made sure to make quick movements before I changed my mind completely. Joji was always one to cherish his time alone when it came to editing, and I was the one to always respect that, but he’s never edited this long before. Crawling my way around his desk in order to enter through the open front part of it, I was pretty bothered by the fact he hadn’t noticed me duck down onto my hands and knees or noticed me as I crawled away. My chin came in contact with his knee lightly as I placed it on there, hoping he’d get the gist of what my actions were trying to show him. Joji seemed to not have any reaction to what I was doing so I amped up my motions: I let my hand trail up his clothed leg, the loose fabric so thin I could manage to feel his leg hairs through his pants. My hand stopped at his crotch, to which he then sat up straighter with a jolt, “Whoa, hey…what are you doing under there?” he asked me confused.

“I just wanna touch you a little bit…” I admitted as I continued to caress his groin area.

“Babe, come on out from under there. It’s kinda distracting…I told you I’m busy editing.” he sighed in his ‘I told you already not to do that’ tone.

“Keep editing…I promise you wont get too distracted.” I explained as I somehow found my hand creeping it’s way into his pants.

Joji agreed to letting me touch him as he worked. There were a few times, within the couple of minutes that I sat there jerking him off, I felt him suppress moans and grunts. As he grew harder I decided to let my mouth do the rest of the work. I took his length from out of his boxers and his pants, the cold air making him feel relieved due to the temperature rising in his pants. The clicks of his mouse continued as I begin licking up his shaft slowly, then taking him in my mouth as I swirled my tongue along his tip. Joji gasped then cleared his throat, as if he didn’t want me to know how good it made him feel because he was too busy focusing on his bright screen. Taking more of him in my mouth was always challenging since he was big in size but it was well worth it if it meant getting a reaction out of him. He groaned in a rough manner, his clenched fists now lying beside him. With one hand on his shaft, I made swift movements with my wrist skillfully as I carried on sucking. Sooner than expected, his hands found their way into my hair, entangling in the nest on my head as he tried putting my hair in a ponytail. It wasn’t long enough until his moans became irregular and more notable as they got louder. He sucked in a breath as I took his cock out of my mouth and looked up at him. His eyes were dark as he bit his lip, motioning me to keep going. I knew he was close and instead of me making a witty comment, I went back to sucking him off. Using my tongue to massage his length as I bobbed my head up and down with his help, he cussed in Japanese. It turned me on when he did that and even if this was just me sucking him off and not him fucking me after, I didn’t care…he was a sight to see what he was in pleasure.

“Y/N…fuck.” he breathed.

Placing my hands on either side of his thighs, I took more of him into my mouth, earning moans from him, I took it as my sign of approval.

“Y/N..” he moaned with his hand entangled in my hair as the other was clenching the arm of the chair, “Fuck, stop…I- I’m gonna cum.”

The thing I loved most about sucking Joji off was that he would always try and cut it short for fear that he might cum too quickly but would give in anyway if it meant that at the end of the day it would be me getting the job done. His grip on my hair got tighter and he cussed once more in his foreign language before whispering, “Fuck, just like that, baby.”

Doing as I was told, he moaned, his cock twitching in my mouth as his cum doused the back of my throat. Letting out a chain of cuss words from his lips, he lightly panted as I persisted to suck him off. Joji let out a grunt and removed my lips from his cock. I studied him attentively as he got up from his chair and held out his hand to me. Thinking he was going to help me up from my spot under his desk, I was in for a wild ride when he instead yanked me up on my feet and turned me around so that my butt was facing him and my hips were pressed against his desk. It was as though he’d finally snapped out of his trance and acknowledged me, as he should.

“Thought you didn’t wanna get distracted?” I provoked, turning my head to look at him.

Joji was strenuously removing my underwear from under the oversized shirt but soon stopped once it fell to my ankles. He chuckled to himself, “Thought this was what you wanted?” he told me in a taunting manner as he slipped a finger inside me.

I gasped and gripped the desk so hard it made my knuckles turn white. Joji went on and added another finger, he pumped them inside me vigorously. Hanging my head low as my moans grew louder, he suddenly stopped. About a few seconds passed by with no action or motion from him so I turned around to see what it was he was doing and I witnessed him sucking his fingers before he grasped his cock and pushed himself inside me at a fast pace. I grabbed one of his hands that was placed on my waist and tightened my clutch on it as he filled me with every inch of him, clouding my mind with euphoria. Joji grunted in an animalistic manner when he began thrusting faster and rougher, taking my leg and propping it up on the desk made it more so he had more access and could go deeper than he already was. I removed my hand from his and slammed it flat back on the desk, letting my hands and arms glide forward so that the upper part of my body was occupying the desk. Joji’s fingers worked my clit earning a loud moan from me.

“Joji..” I warned him with my eyes shut tightly as I focused on how sensual he was making me feel.

Alternatively, he took this as his signal to get rougher and faster, which is exactly what he did. I brought my self back up on my hands and Joji began ramming me with his thick cock, turning me into a spastic moaning disaster. My moans became consistent and as did his. Gripping his hands tightly, I came all over him as he continued thrusting distortedly, letting me know he was going to cum, so I turned around and took his length into my mouth once more as I planted my my knees on the floor. Joji’s hands went straight for my hair as I sucked him off, he moaned in a raspy deep tone. Once he came, I swallowed willingly and got up, observing his panting figure as he plopped himself into his swivel chair, tucking his dick away. He was sweaty and so was I. Picking my underwear up with his fingers, he smiled and threw them at me, “You gonna go back to editing?” I asked with my eyebrow raised as I began putting my underwear on.

“I’m not done with you yet…that was round one, I’m taking a small break. So there’s no use in putting those back on.” he laughed referring to my lace underwear as they were hooked with my fingertips.

I slid them down and went to sit on his lap, “Let’s move this somewhere more comfortable.” he winked at me.

Distracting him was my best idea yet, and even Joji agreed.

Originally posted by fiddlesticksimagines

The first time Warren had told you his middle name was when you were helping him fill out paperwork, and you abruptly realized that you didn’t know your boyfriend’s middle name. When you asked, his face fell, and he tried to take the paper from you, insisting that he would just fill it out himself. You persisted, and only after swearing up and down that you would never tell anyone, he told you.


Warren immediately turned scarlet, but attempted to hide his embarrassment behind a scoff, returning his attention to the papers in front of him. You could tell from his reaction that it was something he really disliked, so you never brought it up again.

Until he came home from a mission injured.

You had received a telepathic message from Professor Xavier, giving you a heads up that Warren had been injured due to thoughtlessness on one of their missions. He had apparently not been paying attention, and had taken a somewhat serious hit. You were assured that he would be perfectly fine, but that didn’t ease your concern and annoyance.

By the time Warren walked through the doors of the mansion, shirtless with a large bandage on his side (yet he still wore his leather jacket, which you were certain he had been adamant about having), you were somewhere between furious and immensely worried. When you saw that he wore a smile, indicating that he was perfectly fine, the anger was the emotion that took over.


Warren turned white as a ghost, staring at you with an expression of utter fear. Peter and Scott, on the other hand, looked as if they had just seen the most glorious sight in all of creation.

Kenneth?!” they hollered in unison, pure delight filling their voices. Warren didn’t even look at them, his eyes locked on you.

“I would highly suggest we all evade this lovers’ quarrel,” Charles declared, then nudged Peter and Scott, before leaving with the rest of the group in tow.

“What the hell were you thinking?” you inquired, seething with rage as you stormed over to Warren, who still looked somewhat terrified.

“I’m sorry, baby girl, I wasn’t thinking –”

“Exactly! You could have died, Warren! You could have died and never came back to me!” you yelled, and your voice betrayed you as it cracked at the end of your statement. Warren’s fear faded to a frown, and just as you were opening your mouth to continue, he pulled you into a hug.

“I’m sorry that I was reckless. You make me promise to be safe before every mission, and I broke that promise. I scared and upset you, and I’m so sorry. It’ll never happen again, baby. I swear.”

The anger almost immediately subsided, and you exhaled slowly before wrapping your arms around his torso, mindful of the bandage. Warren kissed the top of your head, then tipped your chin up to look at him and pressed a deep kiss to your lips.

“I love you,” he murmured after breaking the kiss and resting his forehead against yours.

“I love you, too, you ass.”

Warren smiled before kissing you once more, then draped an arm over your shoulders, leading you to your room.

“So, is there anything I can do to make it up to you?” Warren asked, and the suggestiveness in his voice was very plain. You didn’t even have to look up at him to know that he was smirking.

“I should probably be the one making something up to you.”


“Because now Peter and Scott know that your middle name is Kenneth.”

Warren groaned loudly, running a hand through his blond curls.

“Yeah, you definitely need to do some repenting,” Warren agreed, although the libidinous tone was still evident in his voice. You grinned up at him, shooting him a playful wink.

“That can most certainly be arranged.”

@emmcfrxst even though she already persuaded me to send it to her @shayara @raypclmer @jxbilationlee @frostypalmer @phoenixejean @xxlil-miss-tricksterxx

‘Use me’: a statement of vertiginous simplicity, it is not mystical, but materialist. Let me be your surface and your tissues, you may be my orifices and my palms and my membranes, we could lose ourselves, leave the power and the squalid justification of the dialectic of redemption, we will be dead.
—  Jean-Francois Lyotard. Libidinal Economy.
The Freudian Theory of Enneagram


My interest in enneagram is not the behaviors associated with these core personality features, but why these fears and desires came into existence in the first place. In other words, which elements of personality determine a person’s type?

Many newcomers to enneagram reject it because it seems almost arbitrary. For example, wing theory is supported by extensive observation but the actual reason for wing theory is nebulous at best. That’s a theme in the enneagram: there’s a great deal of accurate observational evidence, but there’s no lynchpin to tie it together. My position is that the enneagram is not arbitrary at all: in fact, it’s entirely internally consistent. This is achieved by looking at the enneagram through the lens of Freudian psychoanalysis.

Sigmund Freud developed the structural model of the psyche: he posited that there was an id, ego, and superego, existing at different levels of awareness within the mind. I’m going to explore the connection between the nine enneatypes and the id, ego, and superego agencies.

Freud proposed that a libidinal energy exists, which represents all psychic (mental) energy. Every mental process takes some amount of this energy. There is a finite amount of libidinal energy, and someone who invests their libidinal energy into their id will likely be very different than someone who invests this energy into the superego. My theory is that each enneagram type spends their libidinal energy in different ways, and this can be explained through Freudian psychoanalysis.


Almost everyone is familiar with the concepts of the id, ego, and superego. Collectively, they are called the Freudian agencies. Don’t confuse these with the Freudian drives. The drives are Eros and Thanatos (Love and Death, respectively.) The drives are not discussed in my post.

Here’s a brief summary so we’re all on the same page. If you already know this, then skip down to the next section. (Even if you think you know this, you may want to give it a quick skimming!

You can visualize the human mind as having three levels: conscious, pre-conscious, subconscious. The conscious level is where you are right now. The pre-conscious exists just under the surface of the conscious mind. You can access the pre-conscious but it’s a challenge. Accessing the subconscious is even harder, and Freudian psychoanalysis relies on clues to figure that level out. (You may have heard of Freudian dream analysis; the purpose of it is to plumb the subconscious.)

The id, ego, and superego exist across these levels. Here’s a great diagram for illustration purposes:

Keep that in mind as we discuss the id, ego, and superego.

  • Id: The id is a reservoir of psychic energy and the only component of the personality that’s present at birth. It wants immediate gratification; it’s impulsive, desirous and chaotic. As you can tell, the id is very troublesome; it’s not rational. It doesn’t consider the consequences of its actions. It utilizes what Freud called “primary process thinking”; when the id cannot be satisfied, it generates a mental image of what it wants to satiate it. (Keep this in mind when we discuss Type 3.) It’s considered “primary” because it exists before all other processes. The id is entirely subconscious.
  • Ego: The ego is your interface to reality. It exists in both the conscious mind and the pre-conscious mind. This is the part of your mind that’s responsible for rational decision-making. It utilizes “secondary process thinking”, which acts to rationally get what you want. Instead of imagining the pizza in your id with the “primary process”, the “secondary process” is what induces you to call up the pizza place.
  • Superego: The superego develops over time, and it’s the last to form. It contains all your standards of right and wrong. Contrary to popular belief, this isn’t just the conscience. It contains the ego ideal and the conscience, and they’re two sides of the same coin. The ego ideal is the summation of all positive behaviors. A good example might be “sharing” or “being helpful.” The conscience is the flipside; it only comes into play with negative behaviors. It makes you feel bad when you do something against your ego ideal. (Keep this in mind when we talk about Type 6.)

As you can see, there are some themes here. You can see how the id and the superego are going to butt heads with the ego acting as an intermediary. This is important when analyzing the types.

Lastly, Freud developed the concept of the libido. The libido is a pool of energy that you can spend on mental tasks. It’s conceivable that you could spend more libidinal energy on your superego desires than your id desires (or ego instead of id, or so on), and thus, enneatypes are born.


Each enneagram type is distinct because of their unique set of fears and desires. These fears and desires are the core components of each type, and they can be explained using a Freudian model.

My theory is that every type is associated with libidinal energy expenditure on the id, ego, or superego. This means that an id type would prefer id motivations in their daily life, while a superego type would look toward their superego. This doesn’t mean that id types don’t have a superego, it’s just less used than a superego type, for example.

A) ID AGENCY (Desirous/Energetic/Aggressive)


Basic Fear: To become worthlessness.

Basic Desire: To become usefulness and to have value.

Agency: Id

The Type 3 is a motivated, goal-oriented achiever. They are part of the Image triad in Enneagram, and many people associate the Type 3 with “ostentatiousness”; but that there’s far more to Type 3 than status seeking. Healthy threes are often industrious and highly successful, and that’s because of their id.

The id is the source of the libido drive. But the libido doesn’t just mean sex! It means all psychic energy. Type 3 is so industrious because they channel their libido into productive pursuits. At the same time, they get a deep id gratification when they accomplish something. They don’t put their energies into serving a higher cause, like Type 1 or 2. Instead, their energy is directed back at themselves. This isn’t a bad thing: it makes Type 3 one of the most dynamic and proactive types in the enneagram.

To Encourage Integration:

Don’t let your id convince you that you are completely responsible for all your successes. Appreciate the contributions of others. Not everything is a competition; you can allow people into your life, even if they steal the spotlight from time to time. As you integrate, you’ll begin to cultivate a 6-like trust of other people.

To Avoid Disintegration:

An unhealthy 3 may fall into the trap of focusing on their own failures and creating more and more apathy. This forms into a downward spiral that can be dangerous. Try not to lose sight of your goals.

Type 3 Wings:

  • Type 3 with a 2 Wing (Id-Superego): A 3w2 focuses their libidinal energies on themselves, but they are much more likely to seek the interaction of others in this process. Nothing would fulfill the 3 id and 2 superego more effectively than bringing some people along for the ride on the Type 3 success train. As a result, 3w2s are often more comforting and energetic than 3w4s.
  • Type 3 with a 4 Wing (Id-Ego): A 3w4 has all the id desires of a 3, but it’s tempered with the withdrawn nature of the 4. The 3w4 is often more detached from others, choosing to cultivate their image from afar. 4 is an ego type, and one coping mechanism for the ego type is to withdraw into itself to avoid the conflict between the id and superego. You can see this in the 3w4: they’d rather build themselves up behind closed doors first, then present themselves to others.


Basic Fear: To be deprived and to be in pain.

Basic Desire: To have their needs and wants met.

Agency: Id.

The id is the home of the “avoid pain/seek pleasure” principle that seeks the instant gratification of desires and the immediate end to pain. A Type 7 individual focuses their libidinal energy on this principle, producing a dynamic and motivated personality.

Type 7 individuals are truly powerhouses and are perhaps the most energetic type in the enneagram. This energy can make them quite aggressive, although in a less “in your face” way than Type 8. When a Type 7 is doing something they really love, it’s like there’s no stopping them. That’s why Type 7 is often called “The Generalist”; they usually have a wide range of things they like, and they can be enthusiastic about all of them.

Like 8 (another id type) they tend to overdo it when it comes to things they like. This is a classic function of the id.

To Encourage Integration:

Type 7 integrates to Type 5, an ego type. Once the id desires are consistently satisfied, they move some libidinal energy to the ego. As the Type 7 becomes secure and positive in their lives, they are likely to adopt the contemplative and inquisitive nature of the Type 5.

To Avoid Disintegration:

Type 7 disintegrates much like Type 8 and Type 3; all id types share the pattern of lashing out as they disintegrate. The id is not a rational agency and if it’s not satisfied, it can end up self-destructing more easily than you expect. One way to avoid this is to not set unrealistic expectations for life; you don’t want to make your goals unattainable.

Type 7 Wings:

  • Type 7 with a 6 Wing (Id-Superego): The superego elements of Type 6 make Type 7w6 more society-oriented than 7w8. A 7w6 has the characteristic 7 enthusiasm, but they are also aware of what others consider positive because of the superego 6 wing. 7w6s are more like entertainers, directing their energy toward socially exciting activities. The 7w6 is often the life of the party.
  • Type 7 with an 8 Wing (Id-Id): 7w8 combines an id core type with an id wing and this creates a very assertive personality. They direct their incredible energy almost entirely on their id, making them extremely passionate. No type is likely to be adventurous like a 7w8.


Basic Fear: To be harmed or controlled by others.

Basic Desire: To be in control of their own life.

Agency: Id.

A Type 8 individual has a well-developed id, which motivates them to be independent and resourceful. A Type 8 knows what they want - and they know that the most direct path is the quickest way to get it. For that reason, Type 8s are straightforward, assertive, and direct. The id tends to push to get to what it wants, so it won’t back down when confronted with resistance. In fact, resistance only makes the Type 8 amp up the aggression; they are going to get what they want.

The vice of Type 8 is often called “lust”, and that makes sense. They want what they want, and they want lots of it.

This is why conflict energizes an 8: it satisfies their id desires. In fact, some 8s may pursue conflict simply because it’s so satisfying to the id. Contrast this with counterphobic 6: a cp6 is aggressive to deal with fear, an 8 may be aggressive because the aggression itself is satisfying.

However, the id has a side to it that’s more playful, and this comes out with the 8 in private. The 8 ideal is magnamity; the ability to use their power in an equitable and just way. This tends to develop as an 8 grows older.

To Encourage Integration:

Understand that there’s a higher power in not using your power at all. The ultimate test of power is whether you can control yourself or not.

To Avoid Disintegration:

Use your energy in a just way. Not everything is deserving of aggressive confrontation. Understand that not everyone sees conflict the way that you do.

Type 8 Wings:

  • Type 8 with a 7 Wing (Id-Id): The id qualities of 8 and 7 stack in the 8w7. Because of the enthusiast 7 wing, they 8w7 is often very adventurous and intense. 8w7 is also the most likely type to seek conflict for the sake of conflict alone. 8w7s are often unaware of their own strength and may push much more than is necessary to get what they want.
  • Type 8 with a 9 Wing (Id-Ego): The ego element of Type 9 makes the 8w9 more aware of their impulses. An 8w9 is less likely to underestimate their power, like an 8w7. This awareness gives the 8w9 better impulse control than 8w7, so the 8w9 is less likely to strike out at others without being provoked first. They are much more likely to draw a line in the sand and dare you to cross it. However, 8w9s run the risk of bottling up their aggression and having it explode at inopportune moments.

B) EGO AGENCY (Withdrawn/Identity Focused)


Basic Fear: To lose their identity.

Basic Desire: To be unique and authentic.

Agency: Ego.

The ego is in a tough position: it’s the mediator between the id, superego, and the outside world. It takes a great deal of libidinal energy to juggle this many factors at one time: so, to compensate, Type 4 withdraws and constructs a unique image inside themselves to rise above the stresses caused by their most basic impulses. Indeed, according to enneagram theory, the Type 4’s highest virtue is “equanimity”, which means balance under stress.

Consequently, Type 4s are artistic and unique individuals. They are inherently romantic, relishing in the bittersweet separation they feel from the rest of the world. On one hand, it’s bitter because they’ll never see themselves as integrated into the rest of the world. But it’s also sweet, because it confirms how unique they are, thus alleviating the identity confusion that inherently comes with the id-superego tension. Instead of bowing to the id, or the superego, or the outside world, they take a fourth path - that is, withdrawal from the world. This makes Type 4 possibly the most creative enneatype.

Type 4s often favor esoteric ideas, but not always. Concepts that are just as unique as they are often appeal to them. Their ego is constantly filtering, deciding what to integrate and what to discard. The Type 4 identity snowballs, growing more expansive as they gain more experiences. Eventually they integrate to Type 1 as their identity solidifies.

To Encourage Integration:

You have to acknowledge that your identity is a work-in-progress at all times. If you’re putting something off because you think you’re not ready… well, stop putting it off!

To Avoid Disintegration:

Be careful: negative emotions can distance you further and further from other people, possibly resulting in depression. Don’t let your ego drive to be unique spiral out of control.

Type 4 Wings:

  • Type 4 with a 3 Wing (Ego-Id): A 4w3 is more in touch with their id desires, giving them a greater outward intensity than the 4w5. 4w3s are often very passionate and active.
  • Type 4 with a 5 Wing (Ego-Ego): The withdrawn traits of 4 and 5 combine here to create a more cerebral 4. 4w5 is usually more esoteric and mystical, and is more likely to withdraw from the world to explore their inner selves. 4w5 may be one of the most contemplative types in the enneagram.


Basic Fear: To be useless or helpless.

Basic Desire: To be competent.

Agency: Ego.

Type 5 is an ego type, and like the Type 4, the Type 5 feels the stress caused by balancing the id, superego, and the outside world. However, they deal with it in a different way than the Type 4. The Enneagram Institute describes the key motivation of five: “To understand the environment, to have everything figured out as a way of defending the self from threats from the environment.” This “defense of self” aspect can only exist in the ego sphere.

The Type 5 is the most likely to declare that knowledge is power. And this makes sense: in an ideal world, the Type 5 would be all-knowing and thus able to handle any problems the ego might face. As the Type 5 becomes more confident in their knowledge, they become assertive like a healthy 8. If they feel that they are useless, they can stop caring and become apathetic like an unhealthy 7.

The cerebral nature of the Type 5, combined with the Type 5 tendency to withdraw into one’s self, creates a rich inner world that’s often inexplicable to other people.

To Encourage Integration:

Recognize that you can do a lot of good with your knowledge; it’s not just for your own mind alone. Feel free to be assertive but magnanimous with what you know.

To Avoid Disintegration:

Don’t over-think things. Type 5 is probably the most likely type to over-analyze and end up never taking action. This can lead to feelings of helplessness. As a 5, you’ll have a tendency to pull away from your emotions. Don’t let this alienate you from yourself.

Type 5 Wings:

  • Type 5 with a 4 Wing (Ego-Ego): 5w4s have the motivation of a 5 with the strong ego identity of a 4. The identity-focused four wing makes the 5w4 more iconoclastic and artistic, as they use their knowledge to drive their own path through the world. A 5w4 is likely to be more in touch with their emotions than a 5w6, although they’re still not comfortable with them. 5w4 often resist the influences of others and can sometimes be mistaken for a Type 8 because of it.
  • Type 5 with a 6 Wing (Ego-Superego): The superego wants to create structure. Type 6 is a superego type, and so a 5w6 will be a more concrete thinker than 5w4 because of it. 5w6s are more likely to be scientific than a 5w4 - instead of using their knowledge to form an identity, they use their knowledge to make all the pieces of the world fit. This means that a 5w6 is less likely to be iconoclastic as they would favor logical systems; for example, the scientific method was probably formulated by a 5w6.


Basic Fear: To be lost, to be annihilated.

Basic Desire: To have stability and peace of mind.

Agency: Ego

The ego is the rational mediator between id, superego, and the outside world. Type 9 individuals focus their energy on this ego function, making them the regulators of their own mind. They want every facet to mesh well, and their ideal state is one of inner harmony as the id, superego and outside world coexist within them perfectly.

You could think of the Type 9 as loving balance: they want to make sure their id is not too pushy, and their superego isn’t demanding too much, and the outside world is minding their place. If one or more elements becomes out of balance, the Type 9 can get paranoid and suspicious like an unhealthy 6 because they lost the harmony that they invested so much in.

The Type 9 is often called “the mediator” because they seek to eliminate threats to their harmony within their universe, and this sometimes entails settling disputes with other people. But look at the word “mediator” in a broad sense: they want to mediate their inner world, and sometimes they mediate things in the outer world because of it.

The Type 9 is probably the best representation of the ego in the enneagram. It’s my opinion that the purest form of love is created by the ego, and that shines through in the Type 9.

To Encourage Integration:

Be selective about what you do; don’t put yourself in situations that will unbalance you. You want to meet and maintain your ideal inner harmony.

To Avoid Disintegration:

In tough situations, don’t let the stress paralyze you. Because Type 9s are constantly mediating their id, superego and the outside world, they may succumb to simply “shutting down” when it gets too hard. Don’t withdraw like that; power through it.

Type 9 Wings:

  • Type 9 with an 8 Wing (Ego-Id): The 9w8 has a slight id edge that makes them assertive and powerful like a Type 8. However, their aggressive tendencies are looked at in the light of maintaining harmony: they are only going to act like an 8 when it’s to maintain the inner peace. Type 9w8s in difficult situations can often mistype as Type 8s because of this.
  • Type 9 with a 1 Wing (Ego-Superego): The 9w1 has elements of the superego Type 1 in their personality. They embrace the ego ideal of being calm and collected and tend to back off in a conflict. They are more likely to solve a situation by withdrawing instead of fighting, like a 9w8 would. This makes the 9w1 generally more apt to solve interpersonal problems between other people than a 9w8.

C) SUPEREGO AGENCY (Moralistic/Rule Oriented/Structured)


Basic Fear: To be corrupt or defective.

Basic Desire: To be good and to have integrity.

Agency: Superego.

Type 1 is the perfect embodiment of the “ego ideal” described by Freud as a part of the superego. Freudian personality theory holds that the superego strives against the id and the ego, and similarly, a Type 1 individual strives to uphold their moral principle. Whatever that principle happens to be, it’s a very real part of the Type 1 lifestyle because the Type 1’s influences often flow from their superego.

Type 1s have a strong ability to determine what is right and what is wrong, and can be judgmental of both themselves and others if they don’t uphold what’s right. They not only have a strong superego, but they are confident in it; enough to present it to the outside world in an often-assertive manner.

If you are a Type 1, you’ll notice that hypocrisy may be an issue for you. There probably have been times in your life where you failed to live up to your ideal, and this may give you some degree of primal satisfaction but you still feel guilty. This is your superego doing battle against your id. A force always takes the path of least resistance - so you are likely to try to justify your actions within your existing rule-set than revise your rules. That’s because you have a very strong superego and it’s difficult to assail directly.

To Encourage Integration:

Allow your id more room to breathe. Fulfill your desires occasionally; take the time to assess the realistic concerns behind your moralistic drives.

To Avoid Disintegration:

Don’t let your superego dictate everything you do; your internal rules may be fallible. Keep in mind that your superego is not rational: it will come up with perfectionist standards that may be completely impossible to follow.

Type 1 Wings:

  • Type 1 with a 9 Wing (Superego-Ego): The link to the ego drive softens the 1w9 in some respects, making them more relaxed as they are more able to temper the will of their superego. This type probably finds it easier to integrate to 7.
  • Type 1 with a 2 Wing (Superego-Superego): This wing doubles-up on superego aspects, making the 1w2 more incorruptible and aggressive than the 1w9. 1w2 is often more confident in their superego ideals and are more likely to be confrontational about them. However, this type is more likely to suffer stress because the superego is not rational and will likely generate unrealistically perfectionist standards.


Basic Fear: To be undeserving of love.

Basic Desire: To have unconditional love.

Agency: Superego.

Type 2 is called “The Helper” because this type is associated with a concern for the well-being of others. Any type can care for others, but for Type 2, it’s a core motivation. There’s a tension within Type 2: they help out of the goodness of their heart, but they also want to be loved. This is a typical function of the superego: their superego sees “helping” as a laudable ideal, and the superego reward is love. The id understands love, but not unconditional love; love that extends beyond the present moment is not consistent with the instant gratification drive that the id possesses. Instead, this resides in the superego, and helping others allows the Type 2 to achieve their ego ideal.

There is a darker side to Type 2. Unhealthy Type 2s can be manipulative and fall in love with their own goodness. As I’ve stated before, even though Type 2 is a superego type, a Type 2 individual still possesses an id. For the world to make sense, the Type 2’s ego has to rationalize the conflict between the id and the superego. They do this by turning their instincts into something that they would find morally laudable. This allows them to retain their superego’s integrity while fulfilling id desires.

To Encourage Integration:

Avoid the temptation to only look at your positive elements. Honestly confront your shortcomings, because you can’t deal with them unless you do. This may be psychologically stressful, but it helps you understand your limitations so that you don’t overextend yourself. Once this self-certainty has been attained, the Type 2 gains some assertive characteristics of the Type 8. But instead of being assertive to fulfill their id desires, they become assertive to accomplish their superego’s goal: to help others.

To Avoid Disintegration:

Recognize where your desires are coming from: are you doing things to satisfy some base impulse (id), or are you actually trying to help others (superego)? Try to channel your less altruistic desires into pursuits that don’t put you at risk of manipulating others.

Type 2 Wings:

  • Type 2 with a 1 Wing (Superego-Superego): This wing doubles-up on superego elements, making the 2w1 very moralistic. A 2w1 can appear more “uptight” than a 2w3 in many ways, since the id seems like a foreign force to them. They are more likely to be blindsided by their id desires because of that.
  • Type 2 with a 3 Wing (Superego-Id): A 2w3 is more in touch with their basic id desires, making them more spontaneous and energetic than the 2w1. Some of the 3 image focus bleeds through, making the 2w3 more concerned with how they appear to the outside world than the 2w1. A 2w3 would be more in touch with their primal desires than a 2w1. This is exactly what you would expect out of a Superego-Id connection.


Basic Fear: To lack security.

Basic Desire: To have security.

Agency: Superego.

Type 6 is the most misunderstood type in the enneagram. Type 6 qualities are often perceived as contradictory: they like structure, but on the other hand, they can also rebel against it. This is actually perfectly consistent: as a superego type, a Type 6 individual wants to create a set of concrete rules for the world.

Contrast this with Type 1 (another superego type): the Type 1 loves principles, but the Type 6 is about rules. The 6 is always striving to perfect their rule-set; whether that means going their own way in the world or adopting someone else’s set of rules. This explains why Type 6 can be both rebellious and cooperative.

Type 4 and Type 6 are analogous: the Type 4 wants to perfect their identity, and the Type 6 wants to perfect their superego. This is why 6s are seen as troubleshooters: they’re good at sorting through problems to find the answer that their superego seeks.

They are highly aware of what doesn’t fit within their established rule-set, and often focus on the “conscience” aspect of the superego. This is why Type 6 individuals have a very attuned sense for the negative consequences of an action, which reinforces their troubleshooting ability.

As you can see, this constant back-and-forth within the superego creates anxiety. A Type 6 individual puts their libidinal energy into their superego, but there’s always uncertainty for them. There are two ways for a Type 6 to deal with it: by being phobic or counterphobic. A 6 can be phobic at some times and counterphobic at others: they represent two ways of dealing with a fear.

To Encourage Integration: 

You’re a superego type, so you may end up neglecting your id desires. Try to balance yourself like a 9 would. Type 6 integrates into a healthy Type 9, and upon reaching that, you’ll feel much more calm.

To Avoid Disintegration:

 Watch out for pessimism. Self-doubt is your downfall: feel free to doubt the rest of the world, but have faith in yourself.

Type 6 Wings:

  • Type 6 with a 5 Wing (Superego-Ego): A 6w5 combines the troubleshooting nature of a 6 with the cerebral and investigative nature of the 5. A 6w5’s ability to detach from a situation like a 5 can help alleviate some of their anxiety. They have a sense for very precise details in a situation and can be a very concrete thinker. I’d imagine that many highly technical professions are filled with 6w5. 6w5s are usually emotionally stable and can appear to be aloof because of the 5 tendency to withdraw.
  • Type 6 with a 7 Wing (Superego-Id): The 6w7 is more energetic than the 6w5, since they have a stronger connection with their id. A 6w7 is often more impulsive than 6w5 and is much more likely to go out into the world to fulfill their desires. They’re also more oriented toward others, and would likely base their internal rule-set on their interactions with other people. This is a very expressive type; there’s an element of chaos to 6w7 that’s not present in 6w5.


Id Types: 3, 7, 8 (Desirous/Energetic/Aggressive)
Ego Types: 4, 5, 9 (Withdrawn/Identity Focused)
Superego Types: 1, 2, 6 (Moralistic/Rule Oriented/Structured)

K dramas that I recommend. (Netflix)

NEVER DIE - an immortal who appears as a 20 year old beauty finds love with a young, mortal man. Their relationship blossoms, but time is not on their side.

(Fave) OH MY GHOST- possessed by the ghost of a lustful virgin, a timid assistant chief becomes confidently libidinous, drawing the attention of a haughty culinary star.

JUMPING GIRL- sang-ah would do anything to shield pop star ah-shin from rabid fans. But after an act of protection gone wrong, it looks like she’s the crazy one.

(Fave) STRONG GIRL BONGSOON- born with supernatural strength, bongsoon fights evil and procures justice while getting tangled in a love triangle with her CEO boss and cop crush.

PLAYFUL KISS- high school senior hani can’t stop fantasizing about the brilliant seungjo, who hardly seems to know she exists, but soon, she has bigger problems.

(Fave) BOYS OVER FLOWERS- unassuming high school girl jandi stands up to..and eventually falls for..a spoiled rich kid who belongs to the school’s most powerful clique.

CLICK YOUR HEART- a charming student catches the eye of an athlete, an intellectual, a brooding loner and a passionate dancer in this choose your own adventure romance.

NOBLE MY LOVE- timid veterinarian yoonseo’s Life is centered on her animal clinic. Then she has a chance a encounter with CEO kanghoon, who’s her polar opposite.

MISS PANDA AND MR.HEDGEHOG - when gifted patissier with a gloomy past meets a bright and easygoing cafe owner, he begins to shed his thorns and learns to love again.

MY SECRET DIARY (The Miracle) - polar opposites in personality and looks, fraternal twin sisters who live completely different lives wake up one day to find they’ve switched bodies.

(Fave) DREAM KNIGHT- inhyeong, a bullied high schooler who lost everything after her parents death, causes an embarrassing scene for her favorite K pop idol group got7.

(Fave) MY ONLY LOVE STORY- the story of princess pyeonggang is the basis for a historical drama that stars song sujeong, a top celeb with a huge ego and a foul mouth. (Korean guys in traditional clothing is going to be the death of me, so this is why I need to see hwarang. Because let’s face it kim taehyung ❤️)

OPERATION PROPOSAL- kang baekho is heartbroken as he watches his first love, yiseul, marry another man. But then a mysterious stranger gives him a chance for a do over.

Pulsión de Muerte

Dentro de la última teoría freudiana de las pulsiones, designan una categoría fundamental de pulsiones que se contraponen a las pulsiones de vida y que tienden a la reducción completa de las tensiones, es decir, a devolver al ser vivo al estado inorgánico.

Las pulsiones de muerte se dirigen primeramente hacia el interior y tienden a la autodestrucción; secundariamente se dirigirían hacia el exterior, manifestándose entonces en forma de pulsión agresiva o destructiva.

El concepto de pulsión de muerte, introducido por Freud en Más allá del principio de placer (Jenseits des Lustprinzips, 1920) y constantemente reafirmada por él hasta el fin de su obra, no ha logrado imponerse a los discípulos y a la posteridad de Freud a igual título que la mayoría de sus aportaciones conceptuales. Sigue siendo una de las nociones más controvertidas. Para captar su sentido, creemos que no basta remitirse a las tesis de Freud acerca de la misma, o encontrar en la clínica las manifestaciones que parecen más aptas para justificar esta hipótesis especulativa; sería necesario, además, relacionarla con la evolución del pensamiento freudiano y descubrir a qué necesidad estructural obedece su introducción dentro de una reforma más general («vuelta» de los años 20). Sólo una apreciación de este tipo permitiría encontrar, más allá de los enunciados explícitos de Freud e incluso de su sentimiento de innovación radical, la exigencia de la cual este concepto es testimonio, exigencia que, bajo otras formas, ya pudo ocupar un puesto en modelos anteriores. 

Resumamos primeramente las tesis de Freud referentes a la pulsión de muerte. Ésta representa la tendencia fundamental de todo ser vivo a volver al estado inorgánico. En este sentido, «Si admitimos que el ser vivo apareció después que lo no-vivo y a partir de esto, la pulsión de muerte concuerda con la fórmula […] según la cual una pulsión tiende al retorno a un estado anterior». Desde este punto de vista, «todo ser vivo muere necesariamente por causas internas». En los seres pluricelulares, « […] la libido sale al encuentro de la pulsión de muerte o de destrucción que domina en ellos y que tiende a desintegrar este organismo celular y a conducir cada organismo elemental (cada célula) al estado de estabilidad inorgánica […]. Su misión consiste en volver inofensiva esta pulsión destructora, y se libera de ella derivándola en gran parte hacia el exterior, dirigiéndola contra los objetos del mundo exterior, lo cual se hace pronto con la ayuda de un sistema orgánico particular, la musculatura. Esta pulsión se denomina entonces pulsión destructiva, pulsión de apoderamiento, voluntad de poder. Parte de esta pulsión se pone directamente al servicio de la función sexual, donde desempeña un papel importante. Se trata del sadismo propiamente dicho. Otra parte no sigue este desplazamiento hacia el exterior; persiste en el organismo, donde se halla ligado libidinalmente […]. En ella debemos reconocer el masoquismo primario, erógeno»

En el desarrollo libidinal del individuo, Freud describió el juego combinado de la pulsión de vida y la pulsión de muerte, tanto en su forma sádica como en su forma masoquista. 

Las pulsiones de muerte se incluyen en un nuevo dualismo, en el cual se contraponen a las pulsiones de vida (o Eros), que en lo sucesivo comprenderán el conjunto de las pulsiones anteriormente distinguidas por Freud. Así, pues, en la conceptualización freudiana, las pulsiones de muerte aparecen como un nuevo tipo de pulsiones, que no tenía un puesto en las clasificaciones anteriores (así, por ejemplo, el sadismo y el masoquismo se explicaban por una compleja interacción de pulsiones de tendencia totalmente positiva); pero al mismo tiempo Freud los considera como las pulsiones por excelencia, en la medida en que, en ellas, se realiza eminentemente el carácter repetitivo de la pulsión. 

¿Cuáles son los motivos más manifiestos que indujeron a Freud a establecer la existencia de una pulsión de muerte? 

1) La consideración, en muy diversos registros, de los fenómenos de repetición, que difícilmente pueden reducirse a la búsqueda de una satisfacción libidinal o a una simple tentativa de dominar las experiencias displacenteras; Freud ve en ello la marca de lo «demoníaco», de una fuerza irrepresible, independiente del principio de placer y capaz de oponerse a éste. Partiendo de este concepto, Freud va a parar a la idea de un carácter regresivo de la pulsión, idea que, seguida sistemáticamente, le conduce a ver en la pulsión de muerte la pulsión por excelencia.

2) La importancia adquirida, en la experiencia psicoanalítica, por las nociones de ambivalencia, agresividad, sadismo y masoquismo, tal como se desprende, por ejemplo, de la clínica de la neurosis obsesiva y de la melancolía. 

3) Desde un principio el odio se le apareció a Freud como imposible de deducir, desde el punto de vista metapsicológico, de las pulsiones sexuales. Jamás hará suya la tesis según la cual « […] todo lo que se encuentra en el amor de peligroso y hostil debería atribuirse más bien a una bipolaridad originaria de su propio ser». En Las pulsiones y sus destinos (Triebe und Triebschicksale, 1915), el sadismo y el odio son puestos en relación con las pulsiones del yo: « […] los verdaderos prototipos de la relación de odio no provienen de la vida sexual, sino de la lucha del yo por su conservación y afirmación»; Freud ve en el odio una relación con los objetos «más antigua que el amor». Cuando, como consecuencia de la introducción del concepto de narcisismo, tiende a borrar la distinción entre dos tipos de pulsiones (pulsiones sexuales y pulsiones del yo) convirtiéndolos en modalidades de la libido, cabe pensar que halló especial dificultad en hacer derivar el odio dentro del marco de un monismo pulsional. El problema de un masoquismo primario, que se había planteado desde 1915, era como el índice que señalaba el polo del nuevo gran dualismo pulsional que se acerbaba. 

La exigencia dualista es, como se sabe, fundamental en el pensamiento freudiano; se pone de manifiesto en numerosos aspectos estructurales de la teoría y se traduce, por ejemplo, en la noción de pares antitéticos. Es particularmente imperiosa cuando se trata de las pulsiones, por cuanto éstos proporcionan, en último término, las fuerzas que se enfrentan en el conflicto psíquico. 

¿Qué papel atribuye Freud a la noción de pulsión de muerte?

Ante todo debe notarse que, según subraya el propio Freud, tal noción se basa fundamentalmente en consideraciones especulativas y que, por así decirlo, se le fue imponiendo progresivamente: «Al principio presenté estas concepciones con la única intención de ver adonde conducían, pero, con los años, han adquirido tal poder sobre mí que ya no puedo pensar de otro modo». Al parecer fue sobre todo el valor teórico del concepto y su concordancia con una determinada concepción de la pulsión lo que hizo que Freud insistiera tanto en mantener la tesis de la pulsión de muerte, a pesar de las «resistencias» que encontró en los propios medios psicoanalíticos y la dificultad que plantea el intento de basarla en la experiencia concreta. En efecto, como subrayó Freud en repetidas ocasiones, los hechos muestran que, incluso en los casos en que la tendencia a la destrucción de otro o de uno mismo es más manifiesta, en que la furia destructiva es más ciega, puede existir siempre una satisfacción libidinal, satisfacción sexual dirigida hacia el objeto o gozo narcisista. «Lo que encontramos siempre no es, por así decirlo, mociones pulsionales puras, sino asociaciones de dos pulsiones en proporciones variables». En este sentido dice a veces Freud que la pulsión de muerte « […] se substrae a la percepción cuando no va teñido de erotismo».

Esto se traduce también en las dificultades que encuentra Freud para sacar partido del nuevo dualismo pulsional en la teoría de las neurosis o en los modelos del conflicto: «Siempre seguimos experimentando que las mociones pulsionales, cuando logramos reconstruir su curso, se nos aparecen como derivados del Eros. Si no fuera por las consideraciones propuestas en ´Más allá del principio del placer´ y finalmente por las contribuciones del sadismo al Eros, nos resultaría difícil mantener nuestra concepción dualista fundamental». En el artículo Inhibición, síntoma y angustia (Hemmung, Symptom und Angst, 1926), que reconsidera el conjunto del problema del conflicto neurótico y sus diversas modalidades, sorprende efectivamente ver el poco lugar que Freud concede a la oposición entre los dos grandes tipos de pulsiones, oposición a la que no atribuye papel dinámico alguno. Cuando Freud se plantea explícitamente el problema de la relación entre las instancias de la personalidad que acaba de diferenciar (ello, yo, superyó) y los dos tipos de pulsiones, se observa que el conflicto entre instancias no es superponible al dualismo pulsional; aunque Freud se esfuerza en determinar la parte correspondiente a las dos pulsiones en la constitución de cada instancia, en compensación, cuando se trata de describir las modalidades del conflicto, no se ve intervenir la supuesta oposición entre pulsiones de vida y pulsiones de muerte: «No se trata de limitar una u otra de las pulsiones fundamentales a una determinada provincia psíquica. Es necesario poderlas encontrar por todas partes». Con frecuencia el «hiatus» entre la nueva teoría de las pulsiones y la nueva tópica es todavía más sensible: el conflicto se convierte en un conflicto entre instancias, en que el ello termina por representar el conjunto de las exigencias pulsionales, en oposición al yo. En este sentido Freud pudo decir que, desde un punto de vista empírico, la distinción entre pulsiones del yo y pulsiones de objeto seguía conservando su valor; es solamente « […] la especulación teórica [la que] nos ha hecho admitir la existencia de dos pulsiones fundamentales [Eros y pulsión destructiva] que se ocultan tras las pulsiones manifiestas, pulsiones del yo y pulsiones de objeto». Como puede verse, aquí reasume Freud, incluso en el plano pulsional, un modelo de conflicto anterior a Más allá del principio del placer, suponiendo simplemente que cada una de las dos fuerzas presentes que vemos efectivamente enfrentarse («pulsiones del yo», «pulsiones de objeto») comprende ella misma una unión de pulsiones de vida y de muerte. 

Finalmente, sorprende ver la pequeñez de los cambios manifiestos que la nueva teoría de las pulsiones aporta, tanto en la descripción del conflicto defensivo como en la de la evolución de las fases pulsionales. 

Si Freud afirma y mantiene hasta el fin de su obra la noción de pulsión de muerte, no lo hace como una hipótesis impuesta por la teoría de las neurosis. Lo hace porque tal noción es, por una parte, el resultado de una exigencia especulativa que éste considera fundamental, y, por otra, le parece inevitablemente sugerida por la insistencia de hechos muy precisos, irreductibles, que adquieren a sus ojos una importancia creciente en la clínica y en la cura: «Si se abarca en conjunto el cuadro que forman las manifestaciones del masoquismo inmanente en tantas personas, la reacción terapéutica negativa y el sentimiento de culpabilidad de los neuróticos, resulta imposible adherirse a la creencia de que el funcionamiento psíquico viene dominado exclusivamente por la tendencia al placer. Estos fenómenos indican, de una forma que no puede ignorarse, la presencia en la vida psíquica de un poder que, según sus fines, denominamos pulsión agresiva o destructiva, y que hacemos derivar de la pulsión de muerte originaria de la materia animada»

La acción de la pulsión de muerte podría incluso entreverse en estado puro cuando tiende a desunirse de la pulsión de vida, por ejemplo, en el caso del melancólico, en el cual el superyó aparece como « […] una cultura de la pulsión de muerte»

El propio Freud indica que, dado que su hipótesis « […] descansa esencialmente sobre bases teóricas, es preciso admitir que no se halla tampoco al abrigo de objeciones teóricas». En efecto, numerosos analistas han trabajado en este sentido, sosteniendo, por una parte, que la noción de pulsión de muerte era inaceptable y, por otra, que los hechos clínicos invocados por Freud debían interpretarse sin recurrir a esta noción. En forma muy esquemática, estas críticas pueden clasificarse según distintos niveles: 

1) desde un punto de vista metapsicológico, se rehúsa considerar la reducción de tensiones como el patrimonio de un grupo determinado de pulsiones; 

2) tentativas de describir una génesis de la agresividad: ya sea haciendo de ésta un elemento correlativo, al comienzo, de toda pulsión, en la medida en que ésta se realiza en una actividad que el sujeto impone al objeto, ya sea considerándola como una reacción secundaria a la frustración proveniente del objeto;

3) reconocimiento de la importancia y de la autonomía de las pulsiones agresivas, pero sin que éstas puedan adscribirse a una tendencia autoagresiva; negación a hipostasiar, en todo ser vivo, del par antitético: pulsiones de vida —pulsión de autodestrucción. Puede muy bien afirmarse que existe desde un principio una ambivalencia pulsional, pero la oposición entre amor y odio, tal como se manifiesta desde los comienzos en la incorporación oral, sólo debería entenderse en la relación con un objeto exterior. 

Por el contrario, la escuela de Melanie Klein reafirma con toda su fuerza el dualismo de las pulsiones de muerte y pulsiones de vida, atribuyendo incluso un papel fundamental a las pulsiones de muerte desde los comienzos de la existencia humana, no sólo en la medida en que están orientadas hacia el objeto exterior, sino también en cuanto operan en el organismo y dan lugar a la angustia de ser desintegrado y aniquilado. Pero cabe preguntarse si el maniqueísmo kleiniano recoge todas las significaciones que Freud había atribuido a su dualismo. En efecto, los dos tipos de pulsión invocados por Melanie Klein se contraponen ciertamente por su fin, pero no existe entre ellos una diferencia fundamental en cuanto a su principio de funcionamiento. 

Las dificultades que ha encontrado la posteridad freudiana en integrar la noción de pulsión de muerte inducen a preguntarse qué es lo que considera Freud, con el nombre de Trieb, en su última teoría. En efecto, produce cierto embarazo designar con la misma palabra pulsión lo que Freud, por ejemplo, describió y mostró en su acción al detallar el funcionamiento de la sexualidad humana (Tres ensayos sobre la teoría sexual [Drei Abhandlungen zur Sexualtheorie, 1905]) y estos «seres míticos» que él ve enfrentarse, no tanto a nivel del conflicto clínicamente observable como en una lucha que va más allá del individuo humano, puesto que se encuentra en forma velada en todos los seres vivos, incluso los más primitivos: «[…] las fuerzas pulsionales que tienden a conducir la vida hacia la muerte podrían muy bien actuar en ellos desde el principio; pero sería muy difícil efectuar la prueba directa de su presencia, ya que sus efectos están enmascarados por las fuerzas que conservan la vida».

La oposición entre las dos pulsiones fundamentales guardaría relación con los grandes procesos vitales de asimilación y desasimilación; en último extremo, desembocaría incluso « […] en el par antitético que impera en el reino inorgánico: atracción y repulsión». Este aspecto fundamental o incluso universal de la pulsión de muerte fue también subrayado por Freud de muchas formas. Se pone de manifiesto especialmente en la referencia a concepciones filosóficas como las de Empédocles y Schopenhauer. 

Algunos traductores franceses de Freud se han dado perfecta cuenta de que la última teoría de las «pulsiones» se situaba en un plano distinto al de sus teorías anteriores, como indica el hecho de que prefieren hablar de «instinto de vida» y de «instinto de muerte», mientras que, en los restantes textos, traducen el Trieb freudiano por «pulsión». Pero esta terminología es criticable, ya que la palabra instinto se halla más bien reservada por el uso (y esto en el propio Freud) para designar comportamientos preformados y fijos, susceptibles de ser observados, analizados, y específicos del orden vital.

De hecho, lo que Freud intenta explícitamente designar con el término «pulsión de muerte» es lo que hay de más fundamental en la noción de pulsión, el retorno a un estado anterior y, en último término, el retorno al reposo absoluto de lo inorgánico. Lo que así designa, más que un tipo particular de pulsión, es lo que se hallaría en el principio de toda pulsión. 

A este respecto, resulta instructivo observar las dificultades que experimenta Freud para situar la pulsión de muerte en relación con los «principios de funcionamiento psíquico» que había establecido mucho tiempo antes, y sobre todo en relación con el principio de placer. Así, en Más allá del principio del placer, como indica el mismo título de la obra, se postula la existencia de la pulsión de muerte a partir de hechos que parecen contradecir dicho principio, pero al mismo tiempo Freud termina afirmando que «el principio de placer parece, de hecho, hallarse al servicio de las pulsiones de muerte». 

Por lo demás, se dio cuenta de esta contradicción, lo que le condujo a continuación a distinguir del principio de placer y el principio de nirvana; este último, como principio económico de la reducción de las tensiones a cero, « […] se hallaría enteramente al servicio de las pulsiones de muerte». En cuanto al principio de placer, cuya definición se vuelve entonces más cualitativa que económica, «representa la exigencia de la libido». 

Cabe preguntarse si la introducción del principio de nirvana, «expresando la tendencia de la pulsión de muerte», constituye una innovación radical. Fácilmente puede mostrarse cómo las formulaciones del principio de placer dadas por Freud a todo lo largo de su obra confundían dos tendencias: una tendencia a la descarga completa de la excitación y una tendencia al mantenimiento de un nivel constante (homeostasis). 

Por lo demás, se observará que en la primera etapa de su construcción metapsicológica (Proyecto de psicología científica [Entwurf einer Psy-chologie, 1895]) Freud había diferenciado estas dos tendencias hablando de un principio de inercia y mostrando cómo éste se convertía en una tendencia «a mantener constante el nivel de tensión». 

Por lo demás, estas dos tendencias han continuado distinguiéndose, en la medida en que corresponden a dos tipos de energía, libre y ligada, y a dos modos de funcionamiento psíquico (proceso primario y proceso secundario). Desde esta perspectiva, la tesis de la pulsión de muerte puede verse como una reafirmación de lo que Freud consideró siempre como la esencia misma del inconsciente en lo que éste ofrece de indestructible y de arreal. Esta reafirmación de lo que hay de más radical en el deseo inconsciente es correlativa con una mutación en la función última que Freud asigna a la sexualidad. En efecto, ésta, con el nombre de Eros, ya no se define como una fuerza disruptora y eminentemente perturbadora, sino como principio de cohesión: «El fin de [el Eros] consiste en crear unidades cada vez mayores y mantenerlas: es la ligazón; el fin de [la pulsión destructiva] es, por el contrario, disolver los conjuntos y, de este modo, destruir las cosas»

Con todo, aun cuando en la noción de pulsión de muerte se pueda descubrir un nuevo avatar de una exigencia fundamental y constante del pensamiento freudiano, no puede dejarse de subrayar que aporta una nueva concepción: hace de la tendencia a la destrucción, como aparece, por ejemplo, en el sadomasoquismo, un dato irreductible, es la expresión privilegiada del principio más radical del funcionamiento psíquico, y por último liga indisolublemente, en la medida en que es «lo que hay de más pulsional», todo deseo, agresivo o sexual, al deseo de muerte.

Starchild, 1.

Pairing: Park Jimin / Reader

Genre: Bad Boy!Jimin, Fluff + Slight Angst

Rating: PG-15

Warnings: None.

Summary: It’s been one hell of a night, hasn’t it?

Count: 1515 words.

Note: Inspired by Teena Marie’s Starchild album. Thank you for screaming about this with me @minmelly, @sydist , @vintaege + @trbld-writer .



It has been the sixth time that he had noticed her and during each time, she was attired as a vintage waitress—hair displayed in a simple ponytail, cheeks and lips compliments with a lustful shade of rouge, shirt buttoned just to her collarbones and her skirt swaying purposefully with every step. She would pass the bar he frequented at rather regularly and it would seem to be at the moments he loitered outside, leant against a lamppost whilst the orange fluorescent lighting engulfed his figure.

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EXO react to their gf wanting to try anal sex

*dramatic anime nosebleed* o////o So, I’ll just be writing their reaction to their girlfriend wanting to try it, not actually writing the sex. If you want me to go in depth on the sex, please do send me that request. 

*As always, gifs do not belong to me. Credit where it’s due. 


Xiumin: Something tells me he would love this, more than he displays it. I still believe Minseok to be a giving partner rather than a demanding one, so anything his girlfriend wants, he’ll be attentive and diligent in fulfilling even her most libidinous desires and fantasies. His eyes would light up briefly as he approaches her with a look of satisfaction. “Mmm, my jagi…you always surprise me.” 

Originally posted by icallhimbangjamesbang

Luhan: If he agrees, it would be reluctantly. Luhan has a very traditional approach with sex, so this request would definitely catch him off guard. “Y-you want what?” he would inquire in disbelief, rubbing the back of his neck while chuckling softly, lucidly flustered at his girlfriend’s request. “I mean if you really want it..” Luhan would acquiesce softly, hands coming to rest upon her hips. 

Originally posted by ludork

Kris: Of all the members, I feel like Kris would love this the most, agreeing without a trace of vacillation. His eyes would darken with a carnal sensuality at his girlfriend’s request. “That…can be arranged,” he would mutter huskily in concurrence. This is the perfect means of sex to exert Kris’s feral dominance. Casting aside all hesitation, he would be atop of her in no time, growling lowly into her ear as his hand traverse below her waist: “you’re in for it now baobei.” 

Originally posted by dazzlingkai

Suho: Omg, he would be so perplexed at this; Suho’s reaction would be congruous to Luhan’s. His face would flush over with a soft roseate hue upon hearing his girlfriend’s request. Like Luhan, Suho is rather vanilla, so this would be a strangely, pleasant astonishment. “Jagi! You never told me about this before..” Over his vanilla disposition, Suho is willing to please his girlfriend. Though he may not feel the idea initially, he’ll warm up to it eventually. This would be the perfect type of sex to release Joonmyun’s ravenous libido. 

Originally posted by junmyeonstuff

Lay: Though Yixing is the most vanilla member to me, he has a vast avidity. He would attempt to conceal his bashful expression when his girlfriend approaches him about her desire. However, Yixing’s only discontent with the idea would be the possibility of hurting her. “Baobei…wouldn’t that hurt you?” He would take it upon himself to properly ensure that his girlfriend will not feel any discomfort. 

Originally posted by xingblingmi

Baekhyun: He’ll chuckle with a mixture of bashfulness and amusement upon hearing his girlfriend’s request. He’ll quickly see the allure to his girlfriend’s desire however. Baekhyun would lower his gaze wantonly, smirking widely as he runs a hand towards her butt. “Babe that’s so…naughty~” Giving her butt a light, playful squeeze, Baek would lead her to the nearest couch, fervidly running his hand all over her most erogenous areas. “You should ask for this more often~” 

Originally posted by littlebyuns

Chen: Next to Kris, Jongdae would love this A LOT. No second thoughts, no reluctance would be traced towards Jongdae the second his girlfriend brings this up to him. A wry smirk would manifest upon his features as he chuckles lowly, eyebrows raised. “Mm, that’s hot babe. Never thought you’d ask.” Promptly, he would sneakily lay a well rounded spank to his girlfriend’s ass before encircling her within a back hug. “I’m really happy you asked~”

Originally posted by sooranghaes

Chanyeol: “O-of course! Y-you want to do what?” He’s rendered evidently dumbfounded at his girlfriend’s words. Chanyeol is almost certain that she’s playing some sort of practical prank on him that entails getting a laughable reaction out of him. He’s having dreaded flashbacks to when he ended up pranking her and piecing the clues together that this is her attempt at getting back at him. Once he catches his girlfriend’s genuine drift, he’d still be stuttering for a response. “Y-you’re serious? You’re serious! Wow jagi! You’re incredible!” 

Originally posted by sugutie

D.O: He’d attempt to conceal himself coughing so suddenly at his girlfriend’s words. “You’re into this? Since when?” he’s genuinely caught off guard by this however contemplative over her words. Though this isn’t a personal kink for Kyungsoo, I think he’d still be relatively enticed (as I’ve mentioned he has a lustful side along with his romantic side) Something tells me Kyungsoo would love this mostly due to the dominating role he’d be given. 

Originally posted by sehuntiful

Tao: He’d giggle uncontrollably upon registering his girlfriend’s words, beginning to prod at her cheeks playfully. “Well that’s different baobei~ What have you been watching to come up with that?!” Tao would be most comical in this instance with his girlfriend. But the mood will shift quickly as his gaze darkens and his hands begin to wander his girlfriend’s body cheekily. “So….should we arrange something?” 

Originally posted by shinylightblue

Kai: Surprisingly, Jongin would be the most bashful of all the members in this scenario. His face would flush over soft roseate hues at his girlfriend’s request, while he places a hand at the back of his neck, coughing awkwardly into a fist. “W-what gave you that idea?” Genuinely inquisitive as to her reasoning, he would listen to her pensively with a widened smirk to accompany his expression. “It’s not a bad idea jagi,” he’d murmur softly before running a hand down her face. 

Originally posted by dazzlingkai

Sehun: He’d do well in masking the initial befuddlement when asked about the matter. Allowing the thought to register properly with Sehun, he would slowly adjust to the idea; becoming gradually enticed by his girlfriend’s request. “Well, we both wanted to try new things,” he would accede while eyeing her fervidly, becoming increasingly anxious to start with her.  

Originally posted by fy-sexo-exo

Requests will be open soon my loves. Thank you for your patience and understanding… <3


Inside the File Storage

Originally posted by youkicklikeanineyearoldgirl-cm

Television Show/ Movie/ Anime: Criminal Minds

Pairing: Spencer Reid x reader

Word count: 935

Genre: Slightly Smut

A/n: I’ve been dying to get this out of my mind, I just saw one little casual scene of Criminal Minds an BOOM, can’t get the prompt out of my head!

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Conceptos fundamentales del Psicoanálisis: El concepto de Sublimación

Para una mejor comprensión de esta definición, se recomienda la lectura previa de los conceptos de falo, castración y narcisismo desde Freud y Lacan, que se encuentran en los siguientes links:



Narcisismo desde Freud:

Narcisismo desde Lacan:

El concepto de sublimación

A menudo los psicoanalistas consideraron la sublimación como una noción alejada de su práctica clínica, mal articulada en el seno de la teoría y dotada de un sentido cuya connotación era demasiado general, estética, moral o intelectual. En efecto, la utilización abusiva del término sublimación en el ámbito siempre ambiguo del psicoanálisis aplicado, sumada al hecho de que Freud nunca terminó de elucidar verdaderamente dicho concepto, explican que éste haya sido relegado por diversos autores al rango de una entidad teórica secundaria. Nuestra posición es diferente. Creemos, por el contrario, que el concepto de sublimación, si bien está en el límite del psicoanálisis, constituye sin embargo un concepto crucial y que sigue siendo una herramienta teórica fundamental para guiar al psicoanálisis en la dirección de la cura. Crucial, porque está situado en el cruce de distintas elaboraciones conceptuales tales como la teoría metapsicológica de la pulsión, la teoría dinámica de los mecanismos de defensa del yo y, en especial, la teoría lacaniana de la Cosa. Pero es también una herramienta clínica fundamental ya que aun cuando este concepto no es reconocible de inmediato en un análisis, su lugar en la escucha del clínico es importante para reconocer y puntuar determinadas variaciones del movimiento de la cura.

Ahora bien, más allá de esta doble importancia conceptual y técnica, la noción de sublimación es necesaria para la coherencia de la teoría freudiana, necesariedad que puede expresarse en la siguiente pregunta: ¿cuál es la razón de existir del concepto de sublimación? ¿Cuál es su encrucijada teórica? ¿Qué problema en particular viene a solucionar? Respondemos que la sublimación es la única noción psicoanalítica susceptible de explicar el que obras creadas por el hombre — realizaciones artísticas, científicas e incluso deportivas— alejadas de toda referencia a la vida sexual, sean producidas, no obstante, gracias a una fuerza sexual tomada de una fuente sexual. Por lo tanto, las raíces y la savia del proceso de sublimación son pulsionalmente sexuales (pregenitales: orales, anales, fálicas) mientras que el producto de dicho proceso es una realización no sexual conforme a los ideales más acabados de una época dada. En consecuencia, ya desde ahora podemos afirmar que el concepto de sublimación responde fundamentalmente a la necesidad de la teoría psicoanalítica de dar cuenta del origen sexual del impulso creador del hombre.

Acabamos de plantear la sublimación como el medio de transformar y de elevar la energía de las fuerzas sexuales, convirtiéndolas en una fuerza positiva y creadora. Pero también debemos concebirla a la inversa, como el medio de atemperar y de atenuar la excesiva intensidad de esas fuerzas. Es en este sentido que Freud, desde los inicios de su obra, considera la sublimación como una de las defensas del yo contra la irrupción violenta de lo sexual o, como lo escribiría veinte años más tarde, como uno de los modos de defensa que se oponen a la descarga directa y total de la pulsión. Por lo tanto el concepto de sublimación puede ser considerado según dos puntos de vista complementarios que aúnan los diferentes enfoques freudianos: la sublimación es, o bien la expresión positiva más elaborada y socializada de la pulsión, o bien un medio de defensa susceptible de atemperar los excesos y los desbordamientos de la vida pulsional.

Abordaremos los siguientes temas considerando estos dos puntos de vista de manera concomitante:

—La sublimación como contrapartida del resurgimiento de un recuerdo sexual intolerable.

—La sublimación como contrapartida del estado pasional en la relación analítica.

—La sublimación como contrapartida de la fuerza desmesurada de la moción pulsional. Definición de una pulsión sublimada.

—La sublimación como la capacidad plástica de la pulsión.

—Un ejemplo de sublimación: la curiosidad sexual sublimada en deseo de saber.

—Las dos condiciones del proceso de sublimación: el yo y el ideal del yo del creador.

—Presentaremos el enfoque lacaniano del concepto de sublimación mediante el comentario de la fórmula: “la sublimación eleva el objeto a la dignidad de la Cosa.”

—En conclusión, resumiremos los rasgos principales de una pulsión sublimada, así como los rasgos específicos de una obra creada por sublimación.

La sublimación es una defensa contra el recuerdo sexual intolerable

En 1897, en las cartas a Fliess, Freud se pregunta por la estructura de la histeria y descubre que la causa de esta patología es la voluntad inconsciente del enfermo de olvidar una escena de seducción paterna de carácter sexual. La histérica, para evitar la rememoración brutal de la escena sexual, inventa fantasmas construidos sobre el terreno del recuerdo que quiere apartar. Así, la enferma consigue atemperar la tensión de dicho recuerdo, es decir, sublimarlo. Por consiguiente, estos fantasmas intermediarios tienen por cometido depurar, sublimar y presentar al yo una versión más aceptable del acontecimiento sexual reprimido. Que quede claro: lo que se sublima es el recuerdo sexual; en cuanto al fantasma, es a un tiempo el medio que posibilita esta sublimación, y el producto final de la sublimación.

Freud da el ejemplo de una joven histérica inconscientemente culpable por sus deseos incestuosos hacia el padre. La paciente está en conflicto con un recuerdo inconsciente que quiere olvidar, con el cual está identificada a mujeres sexualmente deseantes, con más exactitud, domésticas de baja moralidad de quienes la paciente sospechaba habían mantenido un comercio sexual ilícito con su padre. La joven, a fin de impedir el retorno de este recuerdo intolerable por incestuoso, construyó un argumento fantasmático diferente al argumento del recuerdo, en el cual es ella misma la que se siente despreciada y teme ser tomada por prostituta. En el recuerdo, ella se identifica con las domésticas que supuestamente desean al padre, mientras que en el fantasma, por la intermediación de una transmutación que Freud denomina sublimación, se identifica con estas mismas mujeres, pero esta vez en tanto mujeres corruptas, acusadas de prostitución. Gracias a la sublimación, considerada aquí como una mutación en el sentido de la moralidad, el fantasma ha vuelto moralmente aceptable un recuerdo incestuoso e inmoral. El sentimiento inconsciente de ser culpable de desear al padre fue reemplazado, gracias a la sublimación, por un sentimiento conciente de ser víctima del deseo de los otros. Cabe observar que este cambio sólo fue posible al precio de la aparición de síntomas neuróticos tales como la angustia experimentada por la joven histérica al salir sola por la calle, por miedo a ser tomada por una prostituta.

Arribamos, entonces, a una primera conclusión al conferir a la sublimación una función de defensa que atenúa o transforma el carácter insoportable de los recuerdos sexuales que el sujeto quiere ignorar. La sublimación operó el desplazamiento de una representación psíquica inconsciente ligada al deseo incestuoso, hacia otra representación psíquica aceptable para la conciencia, aunque portadora de síntomas y generadora de sufrimiento.

La sublimación es una defensa contra los excesos de la transferencia amorosa en la cura

Pero Freud también sitúa la función defensiva de la sublimación en el interior mismo de la cura analítica. Esta vez, la amenaza de la emergencia de lo sexual surge de modo singular en el marco de la relación transferencial y puede manifestarse, por ejemplo, bajo la forma de una exigencia amorosa dirigida por la paciente a su analista.

“La transferencia puede manifestarse como una apasionada exigencia amorosa o en formas más mitigadas. (…) En este último caso algunas mujeres llegan incluso a sublimar la transferencia y modelarla hasta hacerla en cierto modo viable” y posibilitar así la prosecución de la cura. Entonces, saber sublimar la transferencia quiere decir que el vínculo amoroso de carácter pasional puede, e incluso debe, ir cediendo el lugar —mediante una progresiva deserotización— a una relación analítica viable. Después de un primer momento de investimiento libidinal de un objeto erógeno, en este caso el psicoanalista, el proceso de sublimación se desarrolla tan lentamente como por ejemplo el trabajo de duelo, o incluso como ese otro trabajo que implica para el analizante integrar en sí la interpretación enunciada por el analista (trabajo denominado de elaboración). La sublimación consecutiva a la pasión en la transferencia, el duelo consecutivo a la pérdida, y la elaboración consecutiva a la interpretación, todos ellos requieren mucho tiempo, el tiempo indispensable para permitir que las múltiples representaciones del pensamiento inconsciente se encadenen.

Pero a la exigencia de tiempo se le agrega además el peso del dolor inherente al ejercicio inconsciente del pensamiento. Ya que pensar, es decir el desplazamiento incesante de una representación sexual a otra no sexual, es penoso; para el analizante sublimar es una actividad dolorosa. Freud, en su correspondencia con el pastor Pfister, no duda en reconocer que las vías de la sublimación son demasiado trabajosas para la mayoría de los pacientes. Se ven constreñidos a someterse a las exigencias del trabajo analítico que implica un tiempo de dominio de las pulsiones —y por lo tanto una parte de sublimación—, y a renunciar entonces a su inclinación a ceder de inmediato al placer de una satisfacción sexual directa.

La sublimación es una defensa contra la satisfacción directa de la pulsión. Definición de una pulsión sublimada

Abordemos ahora la sublimación en su relación con lo sexual, estudiado ahora ya no como un recuerdo insoportable, ni como un estado pasional de la transferencia, sino como siendo una moción pulsional que tiende a satisfacerse de modo inmediato. Tengamos presente que la pulsión jamás logra tomar la vía de la descarga directa y total, porque el yo, por temor a ser desbordado, le opone una acción defensiva. Precisamente, la sublimación es considerada por Freud como uno de los cuatro modos de defensa empleados por el yo contra los excesos de la pulsión. Estos modos de defensa son denominados más frecuentemente los destinos de la pulsión, ya que el resultado final de una pulsión va a depender de la barrera que encuentre en su camino.

En primer lugar, el flujo pulsional puede estar sujeto al destino de la represión, o de una tentativa de represión seguida de un fracaso que, entonces, dará lugar al síntoma neurótico. Este mismo flujo también puede encontrar —segundo destino — otra forma de oposición: el yo retira el flujo pulsional del objeto sexual exterior sobre el cual había recaído y lo vuelve sobre sí mismo. La formación psíquica característica de este segundo destino en el cual la pulsión vuelve sobre el propio yo es el fantasma. Así, en un fantasma el investimiento que cargaba el objeto sexual es reemplazado por una identificación del yo con ese mismo objeto. El tercer avatar del flujo pulsional consiste en una pura y simple inhibición. La pulsión inhibida se transforma entonces en afecto tierno. Y finalmente —cuarto destino, el que en realidad nos interesa—, la moción pulsional es desviada y toma la vía de la sublimación. En este caso, diremos que una pulsión es sublimada cuando su fuerza es desviada de su primera finalidad de obtener una satisfacción sexual para ponerse al servicio, entonces, de una finalidad social, ya sea artística, intelectual o moral. Ahora bien, el cambio del fin sexual de la pulsión en beneficio de otro fin no sexual sólo será posible con la condición de que se cambie primero el medio empleado para la obtención del nuevo fin. Para que la pulsión sea sublimada, es decir, para que obtenga una satisfacción no sexual, será preciso que se sirva también de un objeto no sexual. Por lo tanto, la sublimación consiste en reemplazar el objeto y el fin sexuales de la pulsión por un objeto y un fin no sexuales.

Ahora bien, a pesar de ser fundamental para el proceso de sublimación, esta doble sustitución de objeto y de fin no basta para definirlo. Falta aún precisar que una pulsión sublimada depende también de dos propiedades comunes a toda pulsión. Por una parte, la pulsión sublimada, como toda pulsión, preserva la cualidad sexual de su energía (trátese de una pulsión sublimada o no sublimada, la libido es siempre sexual); y por otra, la pulsión sublimada, como toda pulsión, se mantiene constantemente activa (esté o no sublimada la fuerza de su actividad permanece constante, es decir, siempre en busca de una plena satisfacción que, en definitiva, jamás alcanza). Lo que queremos decir es que la fuerza pulsional sublimada sigue siendo siempre sexual porque la fuerza de donde proviene es sexual; y permanece siempre activa porque — puesto que su fin jamás es alcanzado plenamente— su empuje insiste y persiste. Sabemos que el fin de una pulsión es el alivio procurado por la descarga de su tensión; pero también sabemos que como esta descarga jamás es completa, la satisfacción es irremediablemente parcial.

En consecuencia, ya sea la satisfacción sexual (pulsión reprimida) o no sexual (pulsión sublimada) sólo puede ser una satisfacción parcial o, si se quiere, insatisfacción. Trátese del síntoma producto de la represión, del fantasma producto de la vuelta de la pulsión sobre el yo, de la ternura producto de la inhibición, o aun de la obra artística producto de la sublimación, reconoceremos allí las expresiones diversas de una misma insatisfacción, es decir, de una misma satisfacción parcial. A los ojos de Freud los seres humanos son seres deseantes cuya única realidad es la insatisfacción.

¿Qué es lo que caracteriza, en suma, a la sublimación? Por la vía de la búsqueda vana de una satisfacción imposible, es decir de una descarga total, la sublimación es una satisfacción parcial obtenida gracias a objetos distintos de los objetos sexuales eróticos. Por lo tanto podemos formular la siguiente conclusión:

Una pulsión sublimada será llamada sexual si pensamos en su origen y en la naturaleza de su energía libidinal, y será llamada no sexual si pensamos en el tipo de satisfacción obtenida y en el objeto que la procura.

La sublimación designa la capacidad plástica de la pulsión

Pero, si queremos ser rigurosos, debemos matizar esta última conclusión; debemos distinguir con claridad la pulsión sublimada de la operación de sublimación que la hizo posible. La sublimación no es tanto una satisfacción cuanto la aptitud de la pulsión para encontrar nuevas satisfacciones no sexuales. Sublimación quiere decir sobre todo plasticidad, maleabilidad de la fuerza pulsional. Freud lo escribe con mucha precisión: la sublimación es la “posibilidad de cambiar el fin sexual (…) por otro, ya no sexual, es decir, la capacidad de cambiar una satisfacción sexual por otra, desexualizada. El destino de la pulsión que denominamos sublimación es, hablando con propiedad, la operación misma de cambio, el hecho mismo de la sustitución. Por lo tanto, la sublimación es, ante lodo, el pasaje de una satisfacción a otra, más bien que un modo particular de satisfacción.

Un ejemplo de sublimación: la curiosidad sexual sublimada

El caso de la curiosidad sexual infantil como expresión directa de la pulsión voyeurista, y su transformación ulterior en sed de saber, ilustra bien esta sustitución de una finalidad sexual por otra desexualizada. El primer fin de la curiosidad sexual es, por ejemplo, obtener placer en descubrir las partes ocultas del cuerpo de la mujer, y completar así la imagen incompleta de un cuerpo parcialmente velado. Ahora bien, la exploración sexual del cuerpo femenino por el niño puede transformarse más tarde en el adulto, gracias a la sublimación, en deseo de un saber más global. Podemos decir con Freud que la pulsión de ver está sublimada "cuando es posible arrancar su interés curiosidad de los genitales y dirigirlo a la forma física y total”. Como ya lo habíamos dicho, en la sublimación el cambio de fin sólo puede operarse si hay cambio de objeto: el cuerpo en su totalidad sustituye la región local de los órganos genitales; el todo toma el lugar de la parte. Por cierto, en la pulsión voyeurista sublimada, tanto el fin como el objeto cambian de naturaleza: el fin primeramente sexual (obtener el placer visual de descubrir y explorar el cuerpo sexual femenino) se transforma en fin no sexual (por ejemplo, obtener el placer de conocer la anatomía del cuerpo), y el objeto sexual y local (órganos genitales) se transforma en no sexual y global (el cuerpo como objeto de estudio). Así, la sublimación de la pulsión voyeurista consiste en el pasaje de una satisfacción erótica y parcial, ligada a un objeto erótico local (los órganos genitales femeninos), a otra satisfacción no sexual pero igualmente parcial, ligada a un objeto más global y desexualizado (el cuerpo entero como objeto de conocimiento científico). La imagen local, que velaba el lugar sexual erotizado y atraía la curiosidad infantil, se transforma de modo progresivo por la mediación de la sublimación, en una imagen global del cuerpo que despierta el deseo de saber propio del creador. Es ésta otra sed, la de conocer y de producir, la que empuja al artista a engendrar su obra.

Para ilustrar mejor el proceso de la sublimación vamos a apoyarnos en una célebre observación clínica de Freud, en la cual tanto la curiosidad sexual infantil como otras formaciones pulsionales están sublimadas. Se trata del caso de un niño de cinco años, “Juanito”, presa del miedo a ser mordido por caballos en la calle. Este miedo fóbico infantil de estar expuesto en la calle al peligro de los animales proviene de la transformación en angustia de la energía libidinal de las pulsiones; el empuje sexual de las pulsiones inconscientes se transforma en el niño en angustia fóbica conciente. En efecto, la energía libidinal propia de las pulsiones que anidan en Juanito (pulsiones sádicas hacia la madre, tendencias hostiles y homosexuales respecto del padre, pulsiones voyeuristas-exhibicionistas, pulsiones fálicas que originan la masturbación), seguirá dos destinos. Una parte de la libido será transformada en angustia luego de haber sido sometida a un intento fallido de represión. Mientras que otra parte de la energía libidinal, la que escapó al intento de represión, será sublimada bajo la forma de un muy vivo interés del niño por un objeto no sexual y global: la música. Este nuevo investimiento libidinal que carga los sonidos y la armonía musical inicia un largo proceso de sublimación que se continuará hasta la edad adulta cuando Juanito llegue a ser un excelente músico.

Las dos condiciones del proceso de sublimación

1. La sublimación requiere de la intervención del yo narcisista para producirse. Hemos empleado la expresión “satisfacción desexualizada”. Pero ¿qué se entiende por desexualización? El término es ambiguo ya que podría dejar pensar que ya no hay libido sexual en la pulsión. Ahora bien, hemos afirmado justamente lo contrario. Insistamos una vez más en el hecho de que la libido sublimada jamás pierde su origen sexual. De lo que se trata en la sublimación no es de “desexualizar globalmente” la pulsión, sino tan sólo de desexualizar su objeto. Desexualizar equivale a sustraer el investimiento libidinal que carga un objeto considerado erótico, para referirlo a otro objeto no sexual y así obtener una satisfacción igualmente, no sexual. Pero el éxito de este cambio desexualizante depende de una operación intermedia decisiva para toda sublimación: primero el yo retira la libido del objeto sexual, luego la vuelve sobre sí mismo y, finalmente asigna a esta libido un nuevo fin no sexual. Como podemos observar, el fin inicial de la pulsión de obtener una satisfacción sexual directa se sustituye ahora por una satisfacción sublimada, por ejemplo artística, gracias al placer intermediario de gratificación narcisista del artista. Es este narcisismo del artista el que condiciona y sostiene la actividad creadora de su pulsión sublimada.

En este punto debemos hacer una precisión. No toda desexualización es por ello una sublimación, pero en cambio, toda sublimación es, necesariamente, una desexualización. Dicho de otra manera, hay desexualizaciones que no tienen relación alguna con la sublimación, como por ejemplo la actividad del trabajo cotidiano o las actividades del ocio. Pero ¿qué es lo que especifica entonces al proceso de sublimación? Para responderlo, hemos de situar primero la segunda condición necesaria para este proceso.

2. El ideal del yo inicia y orienta la sublimación. El proceso de sublimación, es decir, el pasaje de una satisfacción erotizada e infantil a otra no erotizada e intelectual, no podría desarrollarse sin el sostén imprescindible de los ideales simbólicos y de los valores sociales de la época. Ahora bien, que las obras creadas por sublimación adquieran un valor social no significa que respondan a una utilidad social determinada. En general, los productos artísticos, intelectuales o morales no están sometidos a ninguna exigencia práctica en particular. La prueba más tangible de esto es la precocidad de los procesos de sublimación en los niños, tal como lo vimos en el caso de Juanito, o también en la renovada puesta en juego de las pulsiones sublimadas en el marco de la cura analítica durante el trabajo del analizante. Se trate de un pintor, de un músico, de un niño o de un analizante, todos ellos están entregados a una tarea cuyo resultado no puede ser medido por medio de criterios de eficacia, de utilidad o de ganancia. Cuando afirmamos que los objetos que procuran la satisfacción sublimada son objetos desexualizados y sociales, nos referimos principalmente al hecho de que responden a ideales sociales que exaltan la creación de nuevas formas significantes. Estos ideales sociales, interiorizados e inscritos en el yo del creador, son parte integrante de esa formación psíquica fundamental que Freud denomina ideal del yo. Las relaciones de esta formación de ideal con la sublimación no siempre fueron claramente elucidadas por Freud. No obstante, podemos afirmar que el ideal del yo cumple dos funciones respecto del proceso de sublimación.

En primer lugar, tal como acabamos de señalarlo, el ideal juega el rol de desencadenante del proceso, con la particularidad de que, una vez iniciado el movimiento de sublimación, el impulso creador de la obra se separa del ideal del yo que lo había suscitado al comienzo. En el caso de Juanito, es sin duda la música —ideal anhelado por el padre— la que toma la forma del ideal del yo incitando al niño a gozar del placer de los sonidos y las melodías, y a compensar de esta manera el sufrimiento neurótico de su fobia. Una vez experimentado el primer goce auditivo, el impulso pulsional de la sublimación se transformará en puro gusto por los sonidos, fusión íntima, físicamente sensual, con la materialidad del espacio sonoro; de allí en más, toda referencia ideal, toda norma o valor abstracto se reduce y se funde en el seno de este contacto siempre sensual y apasionado que mantiene el artista con los materiales de su creación.

A esta primera función de incentivo simbólico se le suma una segunda según la cual el ideal indica la dirección del movimiento iniciado. Precisamente, esta segunda función referencial del ideal del yo permite aclarar una formulación freudiana retomada frecuentemente pero rara vez explicitada. Cuando Freud afirma que la sublimación representa la satisfacción de la pulsión sin la represión, esto no significa en modo alguno que la fuerza pulsional sea descargada, plena y libre de toda constricción. Por cierto, la expresión “sin represión” quiere decir ausencia de una censura que impida el paso del empuje de la pulsión, pero no por ello implica la idea de una fuerza pulsional errática y disminuida. La sublimación de la pulsión no es por cierto la represión, pero es no obstante una constricción impuesta a la actividad pulsional bajo la forma de una desviación del curso de su flujo hacia una satisfacción distinta de la satisfacción sexual. Ahora bien, el elemento que impone este desvío no es la censura que reprime, sino justamente el ideal del yo que exalta, guía y enmarca la capacidad plástica de la pulsión.

Enfoque lacaniano del concepto de sublimación: “la sublimación eleva el objeto a la dignidad de la cosa"

La teoría lacaniana de la sublimación descansa íntegramente en una proposición princeps formulada por Lacan en su seminario sobre La ética del psicoanálisis: “La sublimación eleva un objeto (narcisista e imaginario) a la dignidad de la Cosa.” Nos limitaremos aquí a explicar el sentido general de esta fórmula partiendo del efecto provocado por la obra —producto de la sublimación— en aquel que la mira. Ya habíamos subrayado una primera característica de las obras creadas por sublimación: son en principio objetos desprovistos de toda finalidad práctica y que responden a ideales sociales elevados, internalizados subjetivamente bajo la forma del ideal del yo del creador. Pero la especificidad de las producciones intelectuales, científicas y artísticas elaboradas con la fuerza sexual de una pulsión sublimada reside principalmente en su cualidad de objetos imaginarios. Estas obras, y en especial la obra de arte, prototipo de creación producida por sublimación, no son cosas materiales sino más bien formas e imágenes nuevamente creadas, dotadas de una singular eficacia. Se trata de imágenes y de formas significantes trazadas a la manera de la imagen inconsciente de nuestro cuerpo, más exactamente, de nuestro yo inconsciente narcisista. Ahora bien, estas obras imaginarias de la sublimación son capaces de producir dos efectos fundamentales en el espectador: lo deslumbran por su fascinación, y suscitan en él el mismo estado de pasión y de deseo suspendido que había llevado al artista a engendrar su obra.

¿Qué deducir de esto sino que una representación de nuestro yo narcisista, proyectada afuera en la existencia objetiva de una obra, ha sido capaz de reenviar al espectador a su propio deseo de crear? Una imagen modelada por el yo ha provocado en el espectador un similar movimiento pulsional hacia la sublimación, es decir, hacia una satisfacción no sexual, global, cercana a un vacío infinito, de un goce sin límites. Elevar el objeto narcisista a la dignidad de la Cosa quiere decir, entonces, que la impronta del yo del creador, objetivada en obra de arte, ha abierto en el otro la dimensión intolerable de un deseo de deseo, de un deseo en suspenso sin ningún objeto asignado. El objeto imaginario y narcisista —verdadera condensación de estos tres componentes que son la fuerza pulsional, el narcisismo del creador y la forma acabada de la obra— se disuelve y se disipa ahora en el vacío de la emoción intensa y poderosa que suscita en el admirador fascinado.


Resumamos de modo esquemático los rasgos principales de una pulsión sublimada:

— La fuente de la cual proviene es, como para toda pulsión, una zona erógena y por lo tanto sexual.

— El empuje de la pulsión, marcada por el origen sexual de su fuente, sigue siendo siempre, independientemente de su destino, libido sexual.

— El fin específico de la pulsión sublimada es una satisfacción parcial pero no sexual.

— El objeto específico de la pulsión sublimada es igualmente no sexual.

— En suma, una pulsión sublimada será llamada sexual si pensamos en su origen y en la naturaleza de su energía libidinal, y será llamada no sexual si pensamos en el tipo de satisfacción obtenida (parcial) y en el objeto que la procura.

— La sublimación no es, hablando con propiedad, una satisfacción, sino la capacidad plástica de la pulsión de cambiar de objeto y de encontrar nuevas satisfacciones. La fijeza de la pulsión sobre un objeto sexual se opone a la movilidad de la sublimación desexualizada.

— El movimiento de la sublimación, que se origina en una fuente sexual y culmina en una obra no sexual, sólo puede cumplirse con dos condiciones. Por una parte, el yo del creador debe estar dotado de una particular potencialidad narcisista capaz de desexualizar el objeto sexual cargado por las fuerzas pulsionales arcaicas que resultan de la fuente sexual. Por otra, la creación de la obra producto de la sublimación responde a los cánones de un ideal anhelado por el yo narcisista del creador. Insistimos: una actividad de origen sexual, desexualizada a través del narcisismo, orientada hacia el ideal del yo y generadora de una obra humana no sexual, tal es la dinámica propia del movimiento de la sublimación.

Para concluir, resumamos ahora los rasgos de las obras creadas gracias a la actividad de una pulsión sublimada:

— La obra producida por sublimación no tiene ninguna finalidad práctica o utilitaria.

— La obra de la sublimación responde a ideales sociales elevados, internalizados subjetivamente en el ideal del yo del artista creador.

— Las obras de la sublimación son imágenes y formas significantes nuevamente creadas, más bien que cosas materiales.

— Se trata de imágenes y de formas trazadas a la manera de la imagen inconsciente de nuestro cuerpo, o más exactamente a la manera de nuestro yo inconsciente narcisista.

— Las obras imaginarias de la sublimación son capaces de producir dos efectos fundamentales en el espectador: lo deslumbran por su fascinación, y suscitan en él el mismo estado de pasión y de deseo suspendido que había llevado al artista a engendrar su obra.

— La obra de arte, verdadera condensación de esos tres componentes que son la fuerza pulsional, el narcisismo del creador y la forma acabada de la obra, se disuelve y se disipa ahora en el vacío de la emoción intensa y poderosa que suscita en el admirador.


-Nasio, Juan David:  Enseñanza de siete conceptos cruciales del psicoanálisis. Barcelona: Gedisa, 1988

In honor of the birthday boy <3 


‘Call me baby,’ outside. Where all gazes are locked upon you, as he proudly traipses town with you around his arms, encircled affectionately. Little do these spectators know of the wicked love games you’ll both become participants in. It’s nearly comical how you’ve both got the whole town misled into thinking of you both as chaste and innocent. You’re especially enraptured by him when he returns to you from another mundane gig at the local bar. Like any other rockstar, he’ll stagger towards you with a wry smirk, messy blonde hair with slight beads of sweat, and subtle glitter stains across his face and leather jacket, as indication of the intense partying that must have occurred during this show. 

Somehow, he becomes charming by tenfold in this state of seductive disarray. You’ll breathe aloud his pet name ‘baby’ before casting aside all hesitation to engulf within a ravenous kiss. A broiling heat manifests below your naval as his hand ghosts below your hips, resting firmly upon your ass. Permitting one cheek a forceful squeeze, he abruptly ends the kiss before ushering you upon a nearby sofa. A dangerously flirtatious smirk materializes upon his features as he approaches you lustfully. “What’s the word kitten?” The word ‘baby’ passes your lips, while your heart races at an increased speed, knowing what awaits you next. 

Always remember his golden rule: always call him baby. Otherwise, you can expect one of his sharp, yet tantalizing spanks as ‘punishment.’ He’s already managed to disrobe and bind your hands together, leaving your arms immobile, allowing him to have his way with your body. You continuously chant the word ‘baby’ in a haze of avidity, while he continues to work on you, slicking your body with lukewarm oils. You squirm in a euphoric haze as his mouth makes contact with your core, tongue smoothing over your dewy folds. “Hmm~ Tastes so good babe.” Squarely placing a kiss to your libidinous clit, he chuckles softly before embedding two pretty digits within your core, thrusting at a moderate pace. Your ecstasy increases with each lavish suck he’ll permit to your nub as you mewl aloud much to his satisfaction. “What’s the word doll?” still enraptured by the dexterous movements of his digits, firmly thrusting within your erogenous core, you failed to say his most coveted word. 

With growing eagerness, he arises from between your thighs, much to your consternation. Watching through opaque eyes as he rises, commencing to unbuckle the leather belt upon his torn jeans, he briefly flicks a hand in a ‘come hither’ motion signaling for you to drop to your knees. With hands still tightly bound, you lick your lips in anticipation as you sink to the level of his waist, watching closely as he pulls you closer to him, proceeding to guide his hardened length to your lips. “Fuck kitten, look up at me while you’re sucking me off. Your mouth is fucking perfect,” he’ll growl lowly, while you bob your head along his member, batting your eyes with emphasis. While softly sucking against his length, you’ll moan aloud his favorite word in a muffled tone, much to his enjoyment. Strings of obscenities spill from him as you continue to groan the word into his member, licking a long stripe from the base to the tip. He’ll roughly remove your head from his waist, eyeing you with unwavering dominance as he softly chuckles huskily. “Forget ‘baby.’ You can call me monster.”

Happy birthday to my personal bias list wrecker Baby Baek. <3 

❥ Share with any Baekhyun stans!


5/3/17: FIRE WALK WITH ME vs PHENOMENA - The Comparative Analysis No One Asked For!

TWIN PEAKS: FIRE WALK WITH ME (1992) and PHENOMENA (1985) might not occur to most people as a pair, but they have two obvious things in common: They are products of two of the world’s best loved genre filmmakers, and they were thought to represent the nadir of each director’s career at the time of release. Incidentally, they are also both predicated on a sort of Alice through the looking glass format, and as such, they may have more to offer as a duet than a cursory consideration would suggest. 

At the time of its release, after David Lynch’s groundbreaking television series was cancelled, the former suffered a lot from the preciousness with which audiences regarded Twin Peaks. A show fan (as opposed to a Lynch fan) might accept cutesy kookiness but not psychoanalytic abstraction; they might welcome a few good scares, but not being subject to constant terror and misery; and importantly, they might enjoy the idea of a cheerleader with a dark side, but sicken when the facts of Laura Palmer’s life are laid bare unromantically in all their R-rated glory.Topping all that off with the absence of most of the show’s beloved characters and/or actor (many of who expressed bitterness over Lynch more or less abandoning the program in its oft-maligned second season), it is unsurprising that the film met with boos, walkouts and scathing reviews upon release.

After a fashion, FIRE WALK WITH ME enjoyed a favorable reappraisal by its public, but no such forgiveness would come for Dario Argento’s PHENOMENA. This grisly fairy tale in which Jennifer Connelly uses her psychic connection with insects, and the aid of Donald Pleasance’s wayward helper monkey, to solve a series of murders, was understandably considered by many to be the beginning of the end of Argento’s already outrageous career. Up to that point, fans delighted in the logistical acrobatics of manic detective stories like PROFONDO ROSSO, and happily accepted the relatively anemic narrative of a fever dream like SUSPIRIA in light of its astonishing aesthetic powers. (Wiser sorts might even call this lack of “sense” a virtue) However, even these adventurous viewers had a hard time with PHENOMENA’s delirious dialog, its hysterical score that blends opera with heavy metal and surf rock, and its entirely preposterous premise. I have yet to come across a piece of critical writing that values this film as more than a collection of extreme examples of Argento’s defining characteristics as an artist. With that said, I have preemptively congratulated myself for attempting to say something about it as a story.

Both FWWM and PHENEMONA tell a little girl lost tale, in which the girls are specifically lost in a world of intimate violence and betrayal, with supernatural overtones. The mountain town of Twin Peaks, where prom queen Laura Palmer will live and die, is bathed in a searing white light by day as if to parody the pretended purity and simplicity of its people. A similarly blinding daylight bleaches the eerie environs of the Swiss Alps where a movie star has sent his beautiful daughter, Jennifer Corvino, to a fancy boarding school. By night, a cursed darkness seeps out of the pines surrounding both settings, laying cover for libidinous young men and bloodthirsty murderers. Our schoolgirl heroines have to battle both the mundane evils of ignorant adults and predatory peers, and real monsters disguised as loving fathers, upstanding school teachers, and even innocent children.

Although FIRE WALK WITH ME is a prequel to Twin Peaks, Laura Palmer is already in deep trouble at the beginning of the movie. Because she’s the most popular girl in the world, no one in a position to help thinks to wonder about her erratic behavior, nocturnal flights from her home, and often transparent misery. Laura’s fate is therefore determined by the remaining men in her life–her boyfriend Bobby, who is more a rabid dog than a person; her secret boyfriend James, who doesn’t have the humility to imagine that anything could be more powerful or important than his shallow teenage love for Laura; and Jacques, the owner of a bar on the wild Canadian border, who feeds Laura’s cocaine addiction and her compulsion to endanger and degrade herself. As in real life, Laura’s relationships are patterned after her relationship with her father, who in this case is essentially the devil.

Jennifer Corvino is also haunted by the specter of her father, which has a huge impact on her life, even though he never materializes. When she arrives at the elite Richard Wagner Academy for Girls, she is burdened with the stigma of having a rich, famous, and desirable daddy. Her social life basically has two facets, which her new roommate Sophie demonstrates efficiently: Jennifer is either subject to other people’s sexual obsession with her father, or subject to their sadism and jealousy. When Jennifer reveals that she knows movie star Paul Corvino, Sophie mindlessly assails her with a lustful rant about his body, and an invasive question about whether she has fucked him yet. Jennifer patiently explains that Paul Corvino is her father, but it’s hard to blame Sophie for her reaction, since Jennifer has brought armloads of pinups of her dad to decorate their dorm. The oedipal vibe of this scene (and the movie in general) is underlined by a weird comic touch in which Jennifer, hungry from her long journey, eats a jar of baby food left behind by Sophie’s family. Throughout the film, Jennifer will pine for the father who has abandoned her for a foreign film shoot, and have to fight alone against even less caring adults.

Of course, where Jennifer’s character is colored by this subtle form of romance with her father, Laura’s life is entirely ruined by the very real affair that her father carries on with her during the twilight fugue states shared by both of them. Her awareness of this ongoing trauma bubbles up to her consciousness in the form of hallucinatory visions of a demonic older man called Bob, who has been raping her since childhood. Laura sees him lurking behind her bedroom furniture, blames him for pages torn out of her secret diary, and believes he that he intends to fully possess her and thereby incarnate himself as her. Laura has only one real friend in the world, who she can’t possible tell about Bob: Donna Hayward (played here by Moira Kelly rather than Lara Flynn Boyle, to pretty much universal dismay). Donna loves Laura with the kind of unconditional love that most often occurs when a person doesn’t really know anything about their loved one. Donna’s innocence is so comically total that Laura must shield her not only from the story of Bob, but from her crippling drug addiction and frightening forays into prostitution. Inevitably, Donna martyrs herself on the cross of their friendship, attempting to prove her devotion by borrowing some of Laura’s sluttier clothes, getting wasted and almost screwing a young tough in the middle of Jacque’s bar. The harrowing sequence concludes with Laura, who has been perfectly evil to Donna all night in an attempt to ward her off, giving vent to a shattering scream at the sight of her friend being molested. Still, she is unable to experience or express actual love, screeching at her best friend, “DON’T YOU EVER WEAR MY STUFF!” 

Donna’s love for Laura is as deep as her maturity allows, as FIRE WALK WITH ME and Twin Peaks frequently touch on the way in which teenage relationships are, paradoxically, exactly as passionate as they are shallow. PHENOMENA takes this a step farther, describing the corrosive, sadistic social environment that tends to sprout up between girls. After Jennifer tells the heartbreaking story of her philandering mother walking out on the family on Christmas (which, apropos nothing, has a curious similarity to Phoebe Cates’ dead santa story from GREMLINS), Sophie says, as if she hadn’t heard a word, that she’s glad Jennifer has arrived because she gets so lonely at night. Throughout their entire conversation, in fact, Jennifer’s dialog and Sophie’s dialog never seem to quite match up, as if they were in two separate movies. This makes for an acute description of the way in which young women readily perform the drama of being best friends forever, while not really acknowledging each other as individuals, or even liking each other very much. Shortly hereafter, Sophie absconds with Jennifer’s black and gold Armani pullover (all of the apparel in this film is provided by Armani, which contributes excellently to the film’s slick, icy look) to rendezvous with her boyfriend along the treeline. First she brags about knowing the daughter of a celebrity and stealing her clothes, but when she realizes that her boyfriend is now interested in Jennifer, she changes her tune. “She wears her hair like mine,” Sophie boasts, as if she were the influencer, and then cattily divulges that Jennifer sleepwalks, and must be crazy. PHENOMENA being essentially a slasher movie, Sophie isn’t long for this world, but Jennifer responds to her gruesome murder with a spirit of vengeance for her supposed friend.

PHENOMENA also boasts the mother of all mean girl sequences, a psychotic update of CARRIE’s “plug it up” scene, in which Jennifer’s classmates have cottoned to the fact that she “thinks” she can speak to bugs. A fabulous swirling tracking shot gathers a growing gang of girls around Jennifer, as they taunt her with insect noises which transform into a chant: WE WORSHIP YOU! WE WORSHIP YOU! Naturally, Jennifer’s insect friends descend on the school, threatening to crash through the windows as she declares messianically, “I love you. I love you all.” Of course, the grownups at the academy are partially to blame for the atmosphere around Jennifer. This revelation about her powers came to light because, guided by the psychic voice of a firefly, Jennifer wandered into the night to retrieve from the trees one of Sophie’s gloves, which contains a helpful maggot. This is another one of the film’s great and powerful scenes: Jennifer, cherubic in a white nightgown and dwarfed by the cold luminous cube of her dorm, glides across the pitch-black lawn as if in slow motion–while, in stark contradiction to this dreamy image, the soundtrack blares with a massive, speedy metal anthem. It’s a fascinating aesthetic device that Argento will employ again later in the film, accompanying slow, quite action with crushing, thrashy music. In any case, when Jennifer naively surfaces the fact that a maggot told her about Sophie’s murder, the domineering headmistress (the astonishing-looking Dalila Di Lazzaro, who is no Alida Valli, but she gets the job done) calls the men in the white coats. Jennifer is subject to a number of humiliating experiments and tests to evaluate her mental health (“Do you take anything? Like, do you understand…DRUGS?”), on which she storms out. Where Laura Palmer is almost totally alone in the world due to her perceived perfection, Jennifer Corvino is isolated by constant scrutiny.

Laura has just one, tragically ineffectual source of aid–generically, forces from the Black Lodge. The backwards-speaking Man From Another World seems to try to warn her, and Agent Cooper, of her fate, but he speaks only in poetic code. Dale himself tries and fails to advise her through her dreams, and Laura also receives strange messages from one of her Meals On Wheels recipients. Mrs. Chalfont and her grandson, a mute junior magician who hides behind a disturbing pagan mask, try to intervene with Laura, but only manage to terrorize her further. A person’s ordinary sources of support are absent or utterly corrupt, including Laura’s mother (the always excellent Grace Zabriskie), a terminally nervous chainsmoker who exists in a state of fragile, attenuated silence, unable to confront what she seems to know is happening between her husband and her daughter. Although Sarah Palmer also receives visions from the Black Lodge, she retreats from them in terror and resigns herself to her circumstances. She even accepts, tremulously, an obviously drugged libation from her husband before bedtime, when the trouble begins.

The great power of FIRE WALK WITH ME, and also Twin Peaks, is that Laura’s father is not pure evil. Even if you were to start totally from scratch for the movie, you could never in a million years cast a more perfect individual than Ray Wise as Leland Palmer. Wise’s limitlessly expressive face, physical vitality, and unpredictable vacillation between warmth and violence lend the perfect depth to Leland, who simultaneously inspires pity and fear. He truly loves his daughter, frantically trying to console her when they are shockingly confronted by the One-Armed Man in traffic, and even appearing tearfully at her nightstand in a display of emotion that amounts to a tacit admission of guilt. He evinces a genuine desire to be close to his daughter, which is unfortunately inseparable from his desire to be with her as a man. Leland is much more than a good guy by day, and a bad guy when witlessly possessed by an evil spirit. Within David Lynch’s supernatural fable is a completely authentic story about mental illness and incest that strikes all the right psychological chords.

While Jennifer’s father never becomes more than an idea, she does attract a separate father figure in the course of mission to identify Sophie’s killer, who probably also murdered another schoolgirl in the recent past. Donald Pleasance plays a paraplegic forensic entomologist who happened to have been close friends with the original victim. Jennifer meets him after one of her somnambulistic excursions, during which she narrowly escapes being gang raped by some virile college men. She is surprised in the woods by a chimpanzee, who she trustingly follows to the safety of Dr. John McGregor’s eccentric home in the woods. McGregor, who apparently has a way with teenage girls, quickly determines that Jennifer has a special connection to insects–specifically, he notes that a certain beetle in his care is trying to get it on with her: “You’re arousing him, and he’s doing his best to arouse you.” While McGregor is meant to be charming, and never does anything explicitly inappropriate, his role in the story contributes to a feeling that Jennifer can never escape her freudian circumstances, whether she is being accused of having sex with her father, actually pining for her father, or being eroticized by the nearest father figure in her life.

Whatever it may lack in psychological realism compared with FWWM, PHENOMENA takes much stranger strides in examining the role of the mother in this sort of saga. Already we have been introduced to the idea of Jennifer’s deadbeat mom, and the angry, jealous-seeming headmistress who tries to have her committed, but there is a third figure in play who the audience may have counted out at the beginning of the movie. Dario Argento’s erstwhile creative and romantic partner Daria Nicolodi (from whom he separated the year of this film’s release–and whatever it means, Argento cast his daughter Fiore, from another partnership, as the first victim) plays Frau Bruckner, an employee at the school who seems pretty dismissible at first. She suddenly becomes relevant toward the last act when McGregor is murdered by the mysterious killer. Seemingly sympathetic, Bruckner invites Jennifer to spend the night at her home–but once they’re there, the older woman suddenly becomes strange and threatening. Noticing a profusion of shrouded mirrors in the house, Jennifer prompts her hostess to deliver a disturbing monologue about her “sick” son, who we find out is the product of a rape. Whatever is wrong with him, she considers him a burden and a constant torment. “These things can happen in a woman’s life,” Bruckner observes darkly. Indeed, even a normal pregnancy is something that happens to a woman, something she cannot share with her husband nor her children. The child is under no natural obligation to empathize with the trials of motherhood, and inevitably, the person that the child becomes is under no one’s control. This can be pretty bad news on the part of the mother, but from the child’s point of view, if you are primarily identified as something that has happened to your mother, then what can you possibly expect from her?

For Jennifer, this type of logic leads her in an unfortunate direction. Things escalate quickly with the obviously bad-news Bruckner, leading to a chase that includes one of the gnarliest images ever to grace a screen: Jennifer, clad in her white-on-white uniform, plunges into the basement dungeon, which is occupied mainly by a pit that is brimming with a stew composed of putrifying human remains. Jennifer struggles to tread water in this rancid soup as Bruckner taunts her; nearby, an interloping detective is chained to a wall, and uses Jennifer’s diversion to break his own thumb and slip out of his manacles, attacking Bruckner with the chain. Jennifer flees the scene, and finds herself in the room of Bruckner’s little boy. Foolishly, she identifies with him, perhaps from one abandoned and stigmatized child to another, and tells him that he is finally free of his evil mother. When she removes the shroud from a mirror, the child flies into a rage, revealing himself to be indescribably deformed and equally violent. He chases Jennifer out to a lake and onto a motorboat, in a scene curiously reminiscent of the end of FRIDAY THE 13TH. She summons a swarm of insects that skeletonize the boy, and makes her way to shore, only to be confronted by Bruckner. The madwoman confesses to murdering McGregor and others in order to hide her son’s taste for schoolgirl blood, and nearly decapitates Jennifer with a piece of sheet metal–before she is attacked by Inga, McGregor’s helper monkey. This is preceded by the most ludicrous segment of the entire film. It is comparatively acceptable when Detective Jennifer went out into the countryside with a stylized glass box containing a corpse-sniffing fly, but it is truly hard to excuse when vengeful Inga goes on the trail of her master’s killer, finding a discarded razor in a garbage can, and presumably, tracing it back to Bruckner. Here at the end of this wild ride, Jennifer watches Inga slash Bruckner to pieces. As Wikipedia eloquently puts it, “With the ordeal over, Jennifer and the chimp embrace.”

Even detractors of PHENOMENA will usually admit that its high camp is extremely entertaining. FIRE WALK WITH ME has hardly a shred of humor, unlike the frequently kitschy and nostalgic Twin Peaks, making it a constant stream of wrenching terror and sadness. Laura’s appalling fate is sealed by a sort of self-fulfilling prophecy: She is being raped by her father, which produces in her a suicidal self-loathing, which leads to her become a whore, and then when her father discovers this activity, he chooses to murder her. Although FWWM is much easier to identify as a work of art, its finale has problems that are not dissimilar to PHENOMENA, and I personally find it less easy to like. Half-possessed by Bob, Leland drags Laura and another young sex worker off to a disused train car. There, he savagely brutalizes both women in an aria of sadism that forms the peak of the film’s grueling progression. The sequence is punctuated by hysterical confessions from Leland and Bob about their collaborative, lifelong victimization of Leland’s child. It is hard to watch, and even harder to look away. This is all well and good, but then, as if Lynch had painted himself into a corner, something utterly untrue to the world of the film takes place. Referencing a corny religious painting in Laura’s bedroom, an actual angel appears to the dying girl. As her soul leaves her body and is relegated to the Black Lodge for eternity, this tacky, cliched angel figure appears to give Laura some solace. If it is meant to be a hallucination, this is a lousy place for it, since Twin Peaks literally features ethereal figures all the time. If it is meant to be taken literally, and I believe it is, an angel is a lousy choice, since the Black Lodge is mainly dominated by (pseudo-) Native American ideology. There is a single reference to a guardian angel in an especially terrible piece of the second season, but I would refuse to accept that as a reasonable excuse for this. Just to pour some salt in the wound, the angel is accompanied by opera music, making a jarring aesthetic departure from the entire rest of the film and the show, which is characterized as much by Angelo Badalamenti’s jazz score as anything else. Lynch could at least have cast Julee Cruise as the angel to help keep us in the mood, but no such luck. This interruption makes it hard to stay focused on the film’s concluding image of Laura weeping in terror and relief, under Dale Cooper’s benevolent gaze, in the Black Lodge.

By this late hour, the reader may be wondering how I came to the conclusion that FIRE WALK WITH ME and PHENOMENA should be paired. The truth is simply that I watched them together one night, with no particular intention, and was totally startled by the way that they mirror and compliment one another. The excoriating sunlight, the ominous winds, the lumber, the simple savagery of youth, the special brutality of women, the unavoidable victimizing effect of parenthood on both parties, it was all there. PHENOMENA may present a more abstract account, compared with FWWM’s confrontational emotional realism, but a special synergy exists between the two films, in their address of their shared subject matter. Each presents an individual lens on the material, but together, they form a kind of piercing microscope that reveals profound truths about lost girl fables. I strongly recommend this double bill for all serious students of these tales.

Before I cut myself off, I would just like to make one further remark about FIRE WALK WITH ME. It is a serious shame that people remember Laura Palmer better than they remember the actress Sheryl Lee. Even I sometimes have a hard time remembering her name, and I do find that fans who can easily name Lara Flynn Boyle and Sherilyn Fenn have a hard time calling Laura Palmer anything other than Laura Palmer. I’m not entirely sure what accounts for this, other than the possibility that the Laura Palmer character is so archetypally exciting to people that she’s more important as a symbol, than as a body of work executed by a skilled performer. It’s completely unfair to Sheryl Lee, who gives us a performance that I wouldn’t even want to live through myself. The woman has to cry throughout the entire film, which seems exhausting to say the least, but it’s not a simple matter of emoting; she makes it so raw that it’s terrifying to watch. Lee takes a simple line like “Who was that man? Do you know him?”, and delivers it with the blistering urgency of a woman mounting the gallows. There is a lot to love about the formal composition of FWWM, but the truth is that without this actress’s torturous commitment to making Laura Palmer psychologically correct, the whole structure might come crashing down. Everyone whose life has been touched by Twin Peaks, even those of us who relate to the more iconic Donna and Audrey, owe Sheryl Lee more thanks than we have given her.