ABSTRACT
The perverse subject always places itself as object. This is why the formula of the fantasme and the formula of the drive match in perversion: because the subject places itself as an object, as an object of jouissance in the drive. This proves that the idea that the perverse enjoys is merely a neurotic fantasy: there is no other case where the satisfaction of the drive is more limited by the structure of the fantasme than in the case of the perverse. In the perverse drive, the subject is the support of the scene, that is to say, he is the fantasme. That is why drive and fantasme are so closely linked in perversion. The object by means of which the drive closes itself has to be differentiated each time; that is, the trick of the eternally lost object around which the drive revolves.
