PsychBytes

A publication of the Washington Baltimore Center for Psychoanalysis

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Emotional Triggers

Justin A Frank, MD
Member, The Washington Center for Psychoanalysis
November 2015 | Volume 2 | Issue 10

In traditional Freudian theory, a gun symbolizes the penis and having a gun represents power and dominance: protecting, threatening or destroying. To some the gun means relying on oneself, countering fears of vulnerability or weakness. To others the gun means triumphing over fears of losing one’s potency. The meanings of guns can be intensified by fear of government regulation that would undermine the Constitution’s Second Amendment right to own guns.

We all were once two years old, the age at which expressions of power first strongly emerge. Two-year-olds can say no, can refuse to submit to parental pressure to become toilet-trained. Not wanting to be bossed around or forced to behave in socially required ways can persist throughout development and mix with later desires not to be bullied.

As children we all desire the power we think adults have – especially the imagined freedom to act without restraint. However, through identification with seemingly powerful adults we become able to delay gratification and look forward to the time we can be as big and powerful as mommy or daddy.

Guns can actualize the lingering fantasy of immediate power without bringing to bear the perspective gained over years of growth and development. Suddenly feelings of helplessness or shame at being weak can be countered by brandishing one’s gun. Attempts to regulate guns become unconsciously equated with parental actions perceived as threatening personal autonomy.

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One aspect of Joachim Trier’s 2026, Academy Award-nominated film, Sentimental Value, lingers: the idea that a house can hold memory, and in doing so, remind people of who they are and who they have been. The family home in the film becomes a kind of unconscious structure, a repository for grief, history, and the versions of themselves they could not keep.

I have never had that kind of house.

I have moved every two to four years for as long as I can remember. My life can be mapped through new cupboards and unfamiliar ceilings. I learned early how to fold myself into spaces never meant to hold me for long. Even now, some part of me is already preparing an exit.

WHY MAKE MIRROR ART IN WAR-TORN TEHRAN?

Why does Aref Montazeri, an Iranian sculptor whose art sells for over a million dollars, continue to make his towering works from shards of mirror glass in his studio in Tehran, amid window-shattering bomb blasts? He gently wraps his creations in shock-absorbing material, but why continue with such a fragile medium? In a Wall Street Journal article by Kelly Crow (May 2-3, 2026), he says, “Nothing, not even war, should prevent us from pursuing what we aim for.”

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