Fantasy as such is always fundamentally the fantasy of (one’s) origins. In Freud’s “Wolf Man” case, to cite the psychoanalytic example Žižek cites in For They Know Not What They Do, the primal scene of parental coitus is the Wolf Man’s attempt to come to terms with his own origin—or to answer the infant’s perennial question “where did I come from?”
The problem here is this: who could the spectacle of this primal scene have been staged for or seen by, if it really transpired before the genesis of the subject that it would explain (see 3e, 4e)? The only answer is that the Wolf Man has imaginatively transposed himself back into the primal scene if only as an impassive object-gaze—whose historical occurrence he had yet hoped would explain his origin as an individual.
The problem here is this: who could the spectacle of this primal scene have been staged for or seen by, if it really transpired before the genesis of the subject that it would explain (see 3e, 4e)? The only answer is that the Wolf Man has imaginatively transposed himself back into the primal scene if only as an impassive object-gaze—whose historical occurrence he had yet hoped would explain his origin as an individual.
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