Fantasy

Screenplay imaginary, in which the subject is nearly always present, representing, more or less distorted by defensive processes, the realization of a wish and substitute in the final analysis, an unconscious desire, which can not be realized with ease by momentary impediments whether physical, moral or opportunities (ego ideal).

The costume comes in different forms: daydreams or fantasies conscious and unconscious fantasies, arising from the interpretation of dreams or slips, or the return of the repressed. The terms of costumes, phantasmatic, can not fail to evoke the opposition between imagination and reality. If we do this opposition a main reference of psychoanalysis, we are invited to set the fantasy as a production purely illusory, would not resist an observation of reality. Freud opposed to the inner world, which tends to satisfy the illusion (the pleasure principle), an outside world that increasingly requires the subject through the perceptual system, the reality principle.

The way Freud discovered the importance of fantasy in the etiology of the neuroses is invoked often in the same direction: Freud, who had begun to admit the reality of childhood scenes pathogens found during the analysis, this definitely would have abandoned the initial conviction, denouncing its “error”, apparently material reality of these scenes, in some cases nothing more than “psychic reality” (the subject’s own fantasies, with respect to its conflict). “One should always assign a particular reality (psychic) ​​to unconscious desires. When found in a patient unconscious desires are, in

actually forced to say that we are facing a psychic reality, which is a form of reality itself, especially within built by the ego and can not be confused with the reality of this person before its objects. “What Freud described as the fantasies are, first, the daydreams, scenes, episodes, novels, fictions, that the subject forge and tells itself in the waking state. In 1895 Studies on Hysteria, Breuer and Freud showed the frequency and importance of this activity in fantasy hysterical person, and wrote it as often “unconscious,” ie, producing states during sleep, the absence or hypnoid states. In “The Interpretation of Dreams, 1900,” Freud goes on to describe the fantasies from the model of daydreams. These fantasies or daydreams may suffer a secondary elaboration, similar to the work of the rational ego in the dream, trying to adapt them to the reality imposed by the ideal ego and the superego, modoficando them.

Freud is, in costume, a vantage point where he could be captured live, the process of moving between different psychic systems, or return of the repressed repression. The costumes come close and remain aware of the (preconscious), undisturbed until it is acted upon by the development of disinvestment, but are rejected and repressed as soon as they exceed a certain level of investment that could threaten the mental stability of the ego . In metapsychological more complete definition of fantasy that Freud had, it turns its aspects seem more distant from each other: “They [the

fantasies] are on the one hand, highly organized, not contradictory, take full advantage of the conscious system and our understanding would be difficult to distinguish them from the formations of that system, on the other side (often) are unconscious and unable to become aware , appearing in the deformed

dreams. In treatment, the analyst must seek the fantasy that lies behind the productions of the unconscious as in the dream, the symptom in action during the therapeutic process, repetitive behaviors (e.g. washing hands).

The fantasy is the most closely related to desire. How can we conceive this relation? It is known that, for Freud, the desire has its origin and model in the experience of satisfaction: “The first wish seems to have been due to an investment of hallucinatory memory of satisfaction.” Fantasy can also be a resource used by the individual , unconsciously, to cope with a painful reality, for which he is not yet strengthened enough. We report a case study in which the therapist, to inquire about costumes, observes: “The patient had reported a very intense fantasy about being in a red convertible car, speeding, following a handsome young man older than her and, to a certain point, with the car on the move, they then reached orgasm together. Moving forward in therapy, trying to interpret elements of this fantasy, the therapist discovers that the patient had an older brother who had always been his idol (but she even mentioned during the interview) that he passed the entrance exam, won a convertible car of family and while walking with his girlfriend, at high speed, had an accident and died. In fact, the family, to try to minimize this great loss, never mentioned the name of his brother, it was like he had never

existed, but that loss was deeply repressed, without elaboration of mourning, being transformed into a fantasy of pleasure, she could modify the final. The car he won was not red, but she then saw the state of the vehicle after the accident – the color of blood and recorded this image. “