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The following article constitutes Part One one of a two-part inquiry into Thomas Aquinas’s theory of time perception, developed in his Aristotelian commentaries. It includes the introduction and first section, dealing with the principles of Thomas’s account, established in his discussion of the relation between time and motion in his commentary on Physics IV, c. 10-14. Part Two then deals with the psychology of time perception, divided into two sections. The first provides a detailed analysis of the roles of the common and proper senses, imagination or phantasia, and sense-consciousness in Thomas’s commentaries on the De sensu et sensato and De memoria et reminiscentia, arguing for a dynamic and multi-layered conception of phantasms. The second and final section then provides an illustration of Thomas’s theory of time perception by applying it to the analysis of three temporal phenomena: linguistic utterances, musical intervals, and sensible motions.

In this visual essay I present a body of artistic work done within informal urban and suburban heritage sites in Kyoto. Through the media of text, photography, film and site-specific painting, my works from the cycle Spirit Grounds engage with these sites involving material physical aspects as well as beliefs, fictions, and more-than-human beings. Building upon this, I propose ‘phantom writing’ or ‘phantasmography’ as a situated, multidisciplinary and multisensory approach aimed at understanding and designing contemporary places, landscapes and environments, acknowledging and mediating the agency of diverse phantoms and phantasms.

The article examines conflicts of class affiliation in the bodily practices of young Pol- ish men of working-class origin. The empirical basis of the analysis is individual in-depth inter- views with biographical elements carried out in 2022 as part of a study on the bodily practices of four generations of Polish men. The article contains the state of research on practices in the context of class affiliation. The theoretical framework is based on the concept of classist phantasm and middle-class hegemony. The study shows the critical importance of working-class backgrounds in shaping and controlling the body throughout the lifespan. The piggy bank ethos is one of the key categories emerging from the analysis, and research participants remain trapped in negotiating class identity reflected in bodily practices. In negotiating their class affiliation, men experience conflict with the values of the family of origin from their early teenage years. As they study and strive for advancement, they pay a hidden emotional cost, as they must authenticate themselves as deserving of their place in the middle class. Even if they are upgrading to the middle class (as working adults), they remain in the power of the piggy bank ethos. The study’s main conclusion is that social advancement is only partly achievable. Climbing up the social ladder, the study par- ticipants still balance middle-class practices and working-class values, which become apparent in what they do about the body.

The topic of the article is the status of translation and homophony in philosophy, psychoanalysis and philology. The article focuses on the question of how translation is carried out using the basic principle of equivalence of meaning by homophony and what effects this can produce. The analysis of two case studies by Freud and Lacan shows that homophonic transfer from one language to another can be extremely productive for the subjective traversal of a phantasm. It is then shown that this is not, however, of purely subjective interest. Werner Hamacher has sketched the future of philology starting from such homophonic translations; Lacan has tried to advance to another theory of language through homophonic formations.

This article examines how music in the film Pan’s Labyrinth [El laberinto del fauno] conceptually generates opposing phantasms. Reflecting the trauma of early Francoism, specifically the Spanish Civil War, the soundtrack oscillates between the disquieting chronological reality and the fascinating yet terrifying fairytale world. A special space is devoted to the musical redistribution of the sensible, mirroring the strong affective, aesthetic, emancipatory, and phantasmatic potential of Foley sounds. Such musical resistance undermines phallic authority, fostering a phantasmatic conflict that blurs the boundaries between imaginable and unimaginable reality.

Different kinds of fakery and imposture can be differentiated by means of the imaginary regimes within which a performative simulation unfolds. Engaging with Sartre’s analysis of the imaginary, we will identify three such regimes, calling them the objective, the reflective, and the phantasmatic. Each of these regimes involves its own kind of image and accordingly a specific type of simulation. It is proper to the objective image to attain dissimulation of the self by replacing the real with fiction. In the reflective regime, the real is not substituted by the imaginary, but rather contaminated by it. Finally, whereas the objective and the reflective regimes operate within the sphere of intentional (dis)simulation, the phantasmatic image carries us beyond Sartre’s findings, as it shapes the very structure of pre-reflective disclosedness which provides the background for our projects.

Melanie Klein's writing style was distinctive. Many would concur that her theoretical and clinical writings are characterized by the absence of the fully developed poetic in the sense that literary theory understands this term. Although the visual poetic, as such, cannot be attributed to Melanie Klein's style, her discours has power to evoke image. Through iconicity of her images, Melanie Klein creates then effect of visualizing the inner world of the paranoid-schizoid and depressive position, which is marked by lack of successiveness and temporality characteristic of the symbolic order. Narrative of a Child Analysis reveals that the speech of Melanie Klein becomes idiosyncratic when she attempts to introduce preverbal contents in the verbal realm. At those points of the analysis her language becomes concrete, nonmetaphoric, ridiculous and misshaped. Grotesque. In an attempt to describe the characteristics of internalized part objects and their mutual relations in Richard's inner world, Melanie Klein constructs formulas-agglomerations which produce comic effects, such as greedy-octopus-Daddy, salmon-genital, Richard's bomb-faeces. Thus the image of Richard's inner world becomes isomorphic with Rabelais' laughter-provoking, comic-grotesque images of hell. Melanie Klein (Bakhtin would say) carnivalizes Richard's inner world so it does not seem scary but more like a \"cheerful carnivalesque scarecrow.\"

This paper investigates how the secular priest Gabriele Biondo employed the symbol of Lucifer in his writings to express the conflict between reason and faith. Biondo distinguishes between two forms of truth. In the first sense, truth can be understood as the uncovering of the actual reality presented before the senses. In this sense truth coincides with faith. In the second sense, truth pertains exclusively to the intellectual capabilities of created beings and, therefore, is closely associated with fantasy and imagination. According to Biondo, even though God revealed himself to Lucifer through the Son, Lucifer understood the Person of the Son as a combination of unresolvable contradictions. These dilemmas originated when Lucifer was confronted with the mystery of the dual nature of Christ. The impossibility of reconciling his rational arguments and presuppositions about divinity with the evidence of the facts led Lucifer to abandon his faith in a Trinitarian God and to replace the Christian God with a rational and logical notion of God. This logical God can be equated to self-love. Three main consequences depend on this choice: desperation, isolation, and annihilation.

Abstract Medieval Aristotelians assumed that we cannot assimilate forms unless our soul abstracts them from sensory images. But what about the disembodied soul that has no senses and hence no sensory images? How can it assimilate forms? This article discusses this problem, focusing on two thirteenth-century models. It first looks at Thomas Aquinas' model, which invokes divine intervention: the separated soul receives forms directly from God. The article examines the problems this explanatory model poses and then turns to a second model, defended by Matthew of Aquasparta: the separated soul actively apprehends forms that are present to it. It will be argued that this model explains assimilation in terms of appropriation, rather than reception, of forms and thereby radically changes the traditional account of cognition. Finally, the article draws some methodological conclusions, arguing that the focus on the 'limit case' of separated souls made theoretical change possible.