Ishiguro's reflection can and should be applied to storytelling; nostalgia, then, is not understood by Kazuo Ishiguro as the presence of negative phantasmal
presences, but as a means to recover positive emotions of fairness and safeness (Shaffer and Wong 2008: 166-67) and to fight to actualize them.
Rather, it is the common destiny of Western modernity, a dispositif which is displaced, transformed and yet continuously reaffirmed;  a self-referential apparatus that (thanks to a phantasmal
duplication) depends on the empirical for its condition of possibility and truth: "For the threshold of our modernity is situated not by the attempt to apply objective methods to the study of man, but rather by the constitution of an empirical-transcendental doublet which was called man" (Foucault 1970, 319).
Uniting phantasm, word, and desire, the stanza is a chamber or site in which "the beatitude of love is celebrated" (Agamben 1993, 128) through a kind of Borromean knot that heals the fracture between desire and a phantasmal
or unattainable object.
A father cares for a daughter who has four months left to live in the phantasmal
city of New York.
But as with the phantasmal
jihadist that enters the film only in evocative flashes, the terrorizing specter of the black prison-inmate haunts Lee's text only in attenuated implication.
Given the provenance of connotative evidence (as we strain "to see" into the dark house), I would point out that the ladies who watch and "whisper," over the comings and goings, do so (twice) from behind "jalousies." The sound of "jalousie," (a "slatted blind"), prompts "jealousy," particularly given that the verb "jalouse," (from the French "jalouser," "to regard with jealousy") enters English (albeit in an archaic form), as meaning, "to suspect that a thing is so; to surmise; to guess." To accord with Argiro's arguments would be to translate the Grierson home into a phantasmal
locus of sustainedly promiscuous possibility, apt sight for the jealous surmises of those who (like the narrator) study the case.
As we will see below, due to the existence of phantasmal
ethers (qi) mysterious winds (feng), elemental alignments (wuxing) and disharmonious perceptions, correct sense perception was regarded as an even more urgent priority in China than it was in the West.
In just one sentence, the bishop refereed to insecurity in general, "common crime, armed groups [a reference to the phantasmal
and for most people nonexistent guerrilla group Ejercito del Pueblo Paraguayo (EPP)], kidnappings, and land invasions by some campesinos NotiSur, May 14, 2010 ." After condemning abortion and same-sex marriage and complaining that the number of children born outside of marriage has increased, Gimenez again directed his remarks at the president.
What Eco is really getting at is the fact that translation is an indeterminate and imprecise art, requiring constant negotiation between a phantasmal
author, an invasive source text and an even vaguer image of a potential reader, not to mention an editor ("...con il fantasma di un autore sovente scomparso, con la presenza invadente del testo fonte, con l'immagine ancora indeterminata del lettore per cui si sta traducendo ...
The phrase "the word known to all men" appears first in the thoughts of Stephen Dedalus in "Proteus," then in Hans Walter Gabler's much-debated "restoration" of Stephen's words in "Scylla and Charybdis," and once more in the "Circe" episode when, in confronting the phantasmal
presence of his mother, Stephen asks her to tell him the word known to all men and she refuses.
Abraham takes us from nineteenth-century representations of a phantasmal
lesbianism to a present day "romance of the gay community," which she explores in her final chapter, "City of Feeling." Analyzing key developments in twentieth-century gay culture--camp, migration, gay liberation--in terms of nineteenth- and early twentieth-century representations of the city (capital, vice, legibility, attachment, public/private relations, theater, and community), Abraham shows that these concepts are still relevant, even though their meanings have changed.
Inception asks many of the same big, challenging, and often unsettling questions that spiritual sages of the past have about how we distinguish between the phantasmal
and the authentic.