If women weren't to devote their creative energies to purifying destructive elements (as in "Power") or to attempting to refashion men's isolate quests for rarified heights ("Phantasia
for Elvira Shatayev"), what would be the key attributes and structure of the endeavor?
(65) Aristotle further distinguishes two types of phantasy: phantasia
aisthetike refers to the imagination that works only with perception, whereas the superior type of imagination, phantasia
bouleutike or logistike, participates in reasoning and deliberating, and in rational animals, it controls the phantasia
Refini argues that phantasia
was one of the most attractive terms to Renaissance scholars such as Vettori, Patrizi, and Lorenzo Giacomini, and shaped contemporary conceptions of the poetic imagination: "Longinus and Poetic Imagination," 33-55.
(23) Thus these two real-life travelers interact like Marlowe's Aeneas with the landscape they encounter; like Marlowe's Aeneas too, the results of their phantasia
were easily diagnosed as symptoms of temporary madness, mental possession, or befuddlement, which is why, like travel writers as a whole, Coryat and Lithgow were suspected of mendacity.
To contextualize Vondel's thought on the imagination of both the artist and the onlooker, we can look at how, from the late sixteenth century onward, humanists increasingly relied on the Longinian use of phantasia
. Before that, the dominant use was Aristotle's, which can be located within epistemological thought.
, a Wunderman affiliate since 2012, will be renamed Wunderman Phantasia
, and currently employs over 200 people, with clients that include Telefonica, Backus/SABMiller, Grupo Credito, Samsung and Coca-Cola.
(74) Watson 1988, 40: 'For Epicurus the phantasia
is always alethes, which means it corresponds to the eidola which form it.'
Haywood stresses that, as narrative and the creation of alternative realities became ever more important, style in caricature tended to matter as much as subject: "somewhere near the heart of caricature's proliferating layers of intertextual and intervisual meaning is the self-reflexive 'signature' of the caricaturist, a visual imprint of the point at which history passes over into fantasy and phantasia
through the transforming agency of the satirical imagination" (5).