But by the time he did so, the term phantasia had detached itself from the technical vocabulary of Plato and Aristotle and come to mean something like fantasy or imagination in a non-technical sense (Watson 1988). ❋ Lagerlund, Henrik (2004)
The Latin verb ˜repraesentare™ was, however, used in relation to the Greek word phantasia, and it is Quintilian again who makes the connection. ❋ Lagerlund, Henrik (2004)
Whatever causes these phantasms, it is not the kind of phantasia which is consciously exercised by the poet. ❋ Unknown (1842)
There are two parts of the brain, Costa asserted, anterior and posterior; the front portion is further divided into phantasia and imagination. ❋ Unknown (2008)
Where Galen and Costa locate the vermis at the brain's posterior, for example, Avicenna places it at the front, between phantasia/imagination and the central common space (fig. 4.9). ❋ Unknown (2008)
Avicenna, who linked Aristotle's heart with Plato's brain by the flow of pneuma, associated the common sense with phantasia in the front region of the brain. ❋ Unknown (2008)
Sensations are received, he continues, by delicate pulses from the net below the brain (the rete mirabile), propelling the vital spirit (pneuma) into the front, where it is purified by passing back and forth between phantasia and imagination. ❋ Unknown (2008)
Note the use of the term prophetic by both, with its complex of connotations quite at odds with the grounding in science — religion and rapture, voices and visions, the conjuring otherwise known as fantasy defined, for the moment, not in terms of literature but in terms of psychology: the sustained fancy; the ludic or oneiric imagining; from the Greek phantasia; a making visible. ❋ Unknown (2009)
Very arguably, Aristotle's views about imagery (phantasmata) cannot be fully understood in isolation from his views about imagination (phantasia), which he defined as “(apart from any metaphorical sense of the word) the process by which we say that an image [phantasma] is presented to us” (De Anima 428a 1-4). ❋ Unknown (2009)
However one interprets Arcesilaus 'ultimate convictions, the crux of his attack on Stoicism is a critique of the “cataleptic” impression (the katalêptikê phantasia) the Stoics propose as a basis for their epistemology. ❋ Groarke, Leo (2008)
Platerus would have deceived him, by putting live frog's into his excrements; but he, being a physician himself, would not be deceived, vir prudens alias, et doctus a wise and learned man otherwise, a doctor of physic, and after seven years 'dotage in this kind, a phantasia liberatus est, he was cured. ❋ Unknown (2007)
As he immediately goes on to argue, phantasia is a distinct kind of mental state that cannot be reduced to sensation, understanding, belief, or even a combination of belief and perception. ❋ Caston, Victor (2007)
But I am sure to keep my PSP…mainly because I can play all my old classics on it…like crono trigger, tale of phantasia..and many others. ❋ Unknown (2005)
Forms received through the common sense and stored in phantasia are called representations. ❋ Lagerlund, Henrik (2004)
One suggestion has been that Plato's and Aristotle's technical usage of the word ˜phantasia™ should be translated as 'faculty of representation' and the plural ❋ Lagerlund, Henrik (2004)
In the front ventricle of the brain humans have two senses, namely the common sense, which receives all sense impressions, and phantasia, which retains them. ❋ Lagerlund, Henrik (2004)
Its job is to combine the forms or images stored in phantasia. ❋ Lagerlund, Henrik (2004)
In Aristotle, phantasia is what comes between aisthesis and nous, that is, the end product of sensation and the start of intellectual activity. ❋ Lagerlund, Henrik (2004)
The famous and received order of the elements and of the heavenly bodies is a dream and vainest fantasy [un sogno, et una vanissima phantasia], since it can neither be verified by observation of nature nor proved by reason or argued, nor is it either convenient or possible to conceive that it exists in such fashion. ❋ C. A. PATRIDES (1968)
Neither the poet nor the artist imi - tates external nature but realizes an ideal model in his soul (Cicero, Orator II. 7-10), if not the Ideas them - selves (Plotinus V. 8), thanks to his power of vis - ualization (phantasia) as “Longinus” (15) says. ❋ E. N. TIGERSTEDT (1968)
