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To avoid possible misunderstandings, let me add this: when I talk about the recreation of the phantasm of the event by the phantasm of the word, one could infer that I am concerned with the "translation" of a certain event.
What we know, in this sense, are things, but according to the immaterial mode of the intellect reflecting its concepts back upon the phantasm.
In A Child is Being Killed: Primary Narcissism and the Death Drive, Leclaire argues that this "child" is in the first instance the phantasm of the infant as it existed in a state of primary narcissism and which, as "primary narcissistic representative," holds a privileged place in the adult unconscious.
It seems difficult to reconcile the medieval theory of the phantasm, the Benjaminian analysis of beauty, the Heideggerian narrative of illatency, and the Kantian language of the sublime with the camp as paradigm of modernity, with the nudity of the Muselmann.
8) The phantasm is so powerful that, one day, it might annul the memory of the real thing, when reality does not present itself the way the traveller had at first imagined it.
A security guard outside a Kirkby factory, however, had 20/20 vision, and he could clearly see the phantasm that night.
Ralph Singh notes the ghostly aspect of the city--it reveals itself to him in a procession of appearances--what Foucault calls the incorporeal materiality of the phantasm.
At the same time by this gesture she will show the other power and the right to choose between reality and fiction, between fiction which is always a real event, like the phantasm, and so-called reality, which may always be nothing but a hyperbole of fiction.
As such, it echoes the passive construction that Prometheus had used in Act I after hearing the phantasm of Jupiter repeat the curse of Jupiter that Prometheus himself refuses to utter again: "it doth repent me.
The other DVD release Batman: Mask of the Phantasm, is set for June16 and is reckoned to be the best animated movie about the superhero.
13) Indeed, the late-medieval tendency to convert every philosophical concept into an image and, as Couliano suggested, the renaissance pursuit of the Art of Memory--a comprehensive, visually-based mnemonic system--probably depended on 'the Aristotelian principle of the absolute precedence of the phantasm over speech and of the phantasmic essence of the intellect'.
Lonergan writes: "For human understanding, though it has its object in the phantasm and knows it in the phantasm, yet it is not content with an object in this state.