They simplify things for people--in the anti-Semitic (Western) imaginary, the fantasm
of the Jew supports a black-and-white world divided between discrete ethnic "identities," i.e.
She could therefore be called a homosexual figure of desire, since the ego desires reassurance of its phallic self-sameness or maleness: "I" = "I." This hermaphroditic fantasm
is, in any case, an interior paramour Byron will soon sexually realize with his half-sister--the lost half of his ego--on his return to England.
What occurs in Marlow's viewing of the Western metropolis through "the veil of the colonial fantasm
" is what might be called a "metonymy of the veil," as one fantasy (Western metropolis as civilized place of light) is displaced by another (Western metropolis as horrific place of darkness).
Princess Amber has been kidnapped, and if she is not rescued in time--and if the beastly fantasms
entice one more king to complete their number--then Elidor will return to darkness under the rule of these monsters.
Not a far cry from the paranoiac hallucinations that were to follow in Sydney Bridge Upside Down, this passage tells us much about Pakeha adolescent male fantasms
, which ought not be confused with total reality--as cautioned by the postcolonial and feminist reading strategies emerging around the time of Ballantyne's death in 1981.
(69) What I, however, find telling in this connection is that the examples Zizek adduces of subjects who have 'traversed the fantasy' are always open to the 'little others' in a way not possible for those of us who are still trapped in the circles of our various fantasms
. They are capable of the most unpremeditated honesty and generosity towards others.
What kinds of collective fantasy (or fantasms
) are fed by the conjunction of violence, sexuality and temporal compression?
He succeeds most admirably in his parade of parodic fantasms
jabbing one another in unadulterated, brilliant verbal arrays.
First, citing Rubiner's Afterword to Kameraden der Menschheit (176), the passage in Picard's contribution to Die Erhebung, where he personifies war as Mars, (51) Rubiner's Die Gewaltiosen, the two poems specified in note 42 and Der Sohn, Lukacs accuses Expressionism of attacking metonyms rather than the military-industrial complex for which those parts stand (GV, 110), and fantasms
, abstractions and personifications rather than realities (GV, 114, 131 and 140-1).