p. 7: The first thing to note is that fantasy does not simply realize a desire in a hallucinatory way: rather, its function is similar to that of Kantian 'transcendental schematism': a fantasy constitutes our desire, provides its co-ordinates; that is, it literally 'teaches us how to desire'. The role of fantasy is thus in a way analogous to that of the ill-fated pineal gland in Descartes's philosophy, this mediator between res cogitans and res extensa: fantasy mediates between the formal symbolic structure and the positivity of the objects we encounter in reality--that is to say, it provides a 'schema' according to which certain positive objects in reality can function as objects of desire, filling in the empty places opened up by formal symbolic structure. To put it in somewhat simplified terms: 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.
p. 8: The second feature concerns the radically intersubjective character of fantasy.
p. 9: This radical intersubjectivity of fantasy is discernible even in the most elementary cases, like that (reported by Freud) of his little daughter fantasizing about eating a strawberry cake--what we have here is by no means a simple case of the direct hallucinatory satisfaction of a desire (she wanted a cake, she didn't get it, so she fantasized about it...). That is to say: what one should introduce here is precisely the dimension of intersubjectivity: the crucial feature is that while she was voraciously eating a strawberry cake, the little girl noticed how her parents were deeply satisfied by this spectacle, by seeing her fully enjoying it--so what the fantasy of eating a strawberry cake is really about is her attempt to form an identity (of the one who fully enjoys eating a cake given by the parents) that would satisfy her parents, would make her the object of their desire....
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