fantasy

Amish

dad joke

threesome

mennonite

imagination

riddle

lumber

sunshine

disillusion

disillusionment

dreamer

growing up

sexual fantasy

adulthood

travel

work

Tupperware

mundanity

adulting

fairy

is 'objectively subjective'. It is the bizarre category of the objectively subjective, or, the way things objectively seem to you even if they don't seem that way to you.

What, then, is fantasy at its most elementary' The ontological paradox, scandal even, of fantasy resides in the fact that it subverts the standard opposition of 'subjective' and 'objective': of course, fantasy is by definition not objective (referring to something that exist independently of the subject's perceptions)... however, it is also not subjective (something that belongs to the subject's consciously experienced intuitions, the product of his or her imagination). Fantasy rather belongs to the 'bizarre category of the objectively subjective the way things actually, objectively seem to you even if they don't seem that way to you.' (Zizek 'how to read lacan : 44)

is a paradoxical subversion of the standard opposition of 'subjective' and 'objective'. It is neither objective (existing independently of the subject's perceptions) nor subjective (the product of subject's imagination). It belongs to the bizarre category of the objectively subjective the way things actually, objectively seem to you even if they don't seem that way to you.

I will start out this evening with an assertion: fantasy is a place where it rains. Italo Calvino

is fundamentally ambiguous. It is the screen which protects us from the encounter with the 'real' and so must must remain repressed in order to function.

What we confront here is the fundamental ambiguity of the notion of fantasy: while fantasy is the screen which protects us from the encounter with the Real, fantasy itself, at its most fundamental what Freud called the 'fundamental fantasy,' which provides the most elementary coordinates of the subject's capacity to desire cannot ever be subjectivized, and has to remain repressed in order to be operative. (Zizek 'how to read lacan' : 50)

is like jam. You have to spread it on a solid slice of bread. Otherwise it remains a shapeless thing out of which one can't make anything.

Fantasy is like jam... you have to spread it on a solid slice of bread. If not, it remains a shapeless thing, like jam, out of which you can't make anything

is literally that which teaches us how to desire. When lacan says 'there is no sexual relationship' he means that everyone has to invent a fantasy and formula of one's own.

The first thing to note about fantasy is that it literally teaches us how to desire: fantasy does not mean that, when I desire a strawberry cake and cannot get it in reality, I fantasize about eating it... the problem is rather, how do I know that I desire a strawberry cake in the first place' This is what fantasy tells me. This role of fantasy hinges on the deadlock of our sexuality designated by Lacan in his paradoxical statement 'there is no sexual relationship': there is no universal guarantee of a harmonious sexual relationship with one's partner. Every subject has to invent a fantasy of his or her own, a 'private' formula for the sexual relationship the relationship with a woman is possible only inasmuch as the partner fits this formula. (Zizek 'how to read lacan : 41)

is only a state of mind that you can employ when existing in a real context.

Fantasy is only a state of mind that you can employ when existing in a real context. Woody Allen

is structured upon the paradoxical 'objectively subjective.' it is, for example, consciously thinking one is well disposed to jews (subjective), but in fact is revealed to harbor serious prejudices against them (objective).

When, for example, we claim that someone who is consciously well disposed towards Jews, nonetheless harbors profound anti-Semitic prejudices he is not consciously aware of, do we not claim that (insofar as these prejudices do not render the way Jews really are, but the way they appear to him) he is not aware how Jews really seem to him' (Zizek 'how to read lacan 44)

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