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Therefore the change in [[Freud]]'s ideas in 1897 does not imply a rejection of the fundamentally discursive and imaginative nature of [[memory]]; [[memory|memories]] of past events are continually being reshaped in accordance with [[unconscious]] [[desire]]s, so much so that [[symptom]]s originate not in any supposed "objective facts" but in a complex [[dialectic]] in which [[fantasy]] plays a vital role.
[[Freud]] uses the term "[[fantasy]]", then, to denote a [[scene]] which is presented to the imagination and which stages an [[unconscious]] [[desire]].
The [[subject]] invariably plays a part in this [[scene]], even when this is not immediately apparent.
The [[fantasy|fantasized]] [[scene]] may be [[conscious]] or [[unconscious]].
When [[unconscious]], the [[analyst]] must reconstruct it on the basis of other clues.<ref>Freud. {{F}} 1919e.</ref>
==Jacques Lacan==
The [[fantasy]] is thus characterized by a fixed and immobile quality.
Although "[[fantasy]]" only emerges as a significant term in [[Lacan]]'s work from 1957 on, the concept of a relatively stable mode of [[defence]] is evident earlier on.
==More== Although the matheme (SO S <> a) designates the general structure of the neurotic fantasy, Lacan also provides more specific formulas for the fantasy of the hysteric and that of the obsessional neurotic.<ref>{{S8}} p.295</ref>
These unique features express the subject's particular mode of ./OUISSANCE, though in a distorted way. The distortion evident in the fantasy marks it as a compromise formation; the fantasy is thus both that which enables the subject to sustain his desire,<ref>{{S11}} p.185; {{Ec}} p.780</ref> and "that by which the subject sustains himself at the level of his vanishing desire."<ref>{{E}} p.272</ref>
==More==
Lacan holds that beyond all the myriad images which appear in dreams and elsewhere there is always one 'fundamental fantasy' which is unconscious.<ref>{{S8}} p.127</ref>
In the course of psychoanalytic treatment, the analyst reconstructs the analysand's fantasy in all its details. However, the treatment does not stop there; the analysand must go on to 'traverse the fundamental fantasy."<ref>{{S11}} p.273</ref>.
In other words, the treatment must produce some modification of the subject's fundamental mode of defence, some alteration in his mode of jouissance.
==More==
Although [[Lacan]] recognises the power of the image in fantasy, he insists that this is due not to any intrinsic quality of the image in itself but to the place which it occupies in a symbolic structure; the fantasy is always 'an image set to work in a signifying structure."<ref>{{E}} p.272</ref>
[[Lacan]] criticises the [[Klein]]ian account of fantasy for not taking this symbolic structure fully into account, and thus remaining at the level of the imaginary; 'any attempt to reduce [fantasy] to the imagination . . . is a permanent misconception."<ref>{{E}} p.272</ref>
In the 1960s, [[Lacan]] devotes a whole year of his seminar to discussing what he calls "the logic of fantasy," again stressing the importance of the signifying structure in [[fantasy]].<ref>{{L}} 1966-7</ref>
