Sigmund Freud's Theory Of Sublimation

The idea suggested here is that sublimation typically takes repressions as causal antecedents. In this sense sublimation may be defined as another manifestation of the phenomenon that Freud calls “the return of the repressed.” What sublimation undo is the repressing of the energetic component; they steer it to an outlet, an aim that deviates from its original aim. Sublimation involves the improvement of superego. Freud believes that in most cases the threat of punishment related to this form of anxiety, when internalized, becomes the superego, which intervenes against the desires of the id (which works on the basis of the pleasure principle) arguing that “it is perhaps the emergence of the super-ego which provides the line of demarcation between

primal repression and after-pressure”.
Freud, Indeed, contrasts neurotics who owing to their repressions “have sacrificed many sources of energy” with cases of sublimation “in which the energy of the infantile wishful impulses is not cut off but remains ready for use-the unserviceable aim of the various impulses being replaced by one that is higher, and perhaps no longer sexual” . Here Freud is explicitly claiming that in sublimation it is the repression of the energy that is lifted. In other words, Freud puts the “representative of all moral restrictions, the advocate of the impulse toward perfection, in short it is as much as we have been able to apprehend psycho- logically of what people call the ‘higher’ things in human life.”
In Roland’s case too, because of primal repression in the result of his excessive parental influence (specially his depressed and alcoholic mother ) that manifested itself in terms of punishment and making him to live under such threatening conditions the superego ended to sublimation develops.

In other words, “The sexual repression which set in after this phase of his childhood [where he experienced the ‘excessive tenderness of his mother’] caused him to sublimate his superego. And it was this repression that gave rise to his superego and consequently his adult scientific and artistic drives.

In fact defense mechanism near Arnold, was used as a medium for protecting him against emotional issues which is probably the most valuable and intuitively accessible picture of one’s internal mental that one has. This for Freud is a classic case of sublimation. Indeed, there is even some tendency in the psychoanalytic literature to at least implicitly identify sublimation as a species of

repression.
Now, in 1986 as A.S. Baytt writes it, Roland is a twenty nine, a graduate Prince Albert College in 1978. He is researching Randolph Henry Ash (RHA), a noteworthy though fictitious Victorian poet, at the London Library. Ash is the subject of his dissertation. He works part-time for the noted Ash scholar James Blackadder (JB) in JB’s “Ash Factory” at the British Museum. JB, who is a Scot, has been editing the poet’s Complete Works since 1951. Roland is looking for sources to Ash’s poem Garden of Proserpina [Persephone]. Reading RHA’s copy of Vico’s Principj di Scienza Nuova [“New Science”, author lived 1668-1744].

The idea suggested here is that sublimation typically takes repressions as causal antecedents.

In this sense sublimation may be defined as another manifestation of the phenomenon that Freud calls “the return of the repressed.” What sublimation undo is the repressing of the energetic component; they steer it to an outlet, an aim that deviates from its original aim. Sublimation involves the improvement of superego. Freud believes that in most cases the threat of punishment related to this form of anxiety, when internalized, becomes the superego, which intervenes against the desires of the id (which works on the basis of the pleasure principle) arguing that “it is perhaps the emergence of the super-ego which provides the line of demarcation between primal repression and

after-pressure”.
Freud, Indeed, contrasts neurotics who owing to their repressions “have sacrificed many sources of energy” with cases of sublimation “in which the energy of the infantile wishful impulses is not cut off but remains ready for use-the unserviceable aim of the various impulses being replaced by one that is higher, and perhaps no longer sexual” . Here Freud is explicitly claiming that in sublimation it is the repression of the energy that is lifted. In other words, Freud puts the “representative of all moral restrictions, the advocate of the impulse toward perfection, in short it is as much as we have been able to apprehend psycho- logically of what people call the ‘higher’ things in human life.”
In Roland’s case too, because of primal repression in the result of his excessive parental influence (specially his depressed and alcoholic mother ) that manifested itself in terms of punishment and making him to live under such threatening conditions the superego ended to sublimation develops. In other words, “The sexual repression which set in after this phase of his childhood [where he experienced the ‘excessive tenderness of his mother’] caused him to sublimate his superego. And it was this repression that gave rise to his superego and consequently his adult scientific and artistic drives.
In fact defense mechanism near Arnold, was used as a medium for protecting him against emotional issues which is probably the most valuable and intuitively accessible picture of one’s internal mental that one has. This for Freud is a classic case of sublimation. Indeed, there is even some tendency in the psychoanalytic literature to at least implicitly identify sublimation as a species of repression.
Now, in 1986 as A.S. Baytt writes it, Roland is a twenty nine, a graduate Prince Albert College in 1978. He is researching Randolph Henry Ash (RHA), a noteworthy though fictitious Victorian poet, at the London Library. Ash is the subject of his dissertation. He works part-time for the noted Ash scholar James Blackadder (JB) in JB’s “Ash Factory” at the British Museum. JB, who is a Scot, has been editing the poet’s Complete Works since 1951. Roland is looking for sources to Ash’s poem Garden of Proserpina [Persephone]. Reading RHA’s copy of Vico’s Principj di Scienza Nuova [“New Science”, author lived 1668-1744].