phantasia: difference between revisions

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===Pronunciation===
===Pronunciation===
* {{a|RP}} {{IPA|en|/fænˈteɪ.zɪ.ə/|/-ˈtɑː-/|/fænˈteɪ.ʒə/|/ˌfæn.təˈziː.ə/}}
* {{IPA|en|/fænˈteɪ.zɪ.ə/|/-ˈtɑː-/|/fænˈteɪ.ʒə/|/ˌfæn.təˈziː.ə/|a=RP}}
* {{audio|en|LL-Q1860 (eng)-I learned some phrases-fantasia.wav|Audio (RP)}}
* {{audio|en|LL-Q1860 (eng)-I learned some phrases-fantasia.wav|a=RP}}
* {{a|GA}} {{IPA|en|/fænˈteɪ.zi.ə/|/fænˈteɪ.ʒə/}}
* {{IPA|en|/fænˈteɪ.zi.ə/|/fænˈteɪ.ʒə/|a=GA}}
* {{hyphenation|en|phan|ta|sia}}
* {{hyphenation|en|phan|ta|sia}}


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# {{lb|en|dated}} Something [[imaginary]]; a [[fantasy]].
# {{lb|en|dated}} Something [[imaginary]]; a [[fantasy]].
#* {{quote-journal|en|author=Carl Proegler|title=Article II. The Panaritium (Felon)—Consequences and Treatment.|editors=J. Adams Allen and Walter Hay|journal=The Chicago Medical Journal. A Monthly Record of Medicine, Surgery and the Collateral Sciences|location=Chicago, Ill.|publisher=W. B. Keen, Cooke & Co.|month=November|year=1872|volume=XXIX|issue=11|pages=656–657|pageurl=https://books.google.com/books?id=HX5GjgFUwR8C&pg=PA657|oclc=1778062|passage=But even here suppuration does not always stop, reaching often the fore-arm, and in such cases even life is endangered. Unhealthy granulations, thrombosis of veins, septicæmia and pyæmia cause death. This picture is not merely a '''phantasia''', but exists in reality, and I myself had occasion to witness two cases of this kind in the surgical wards of Berlin; [...]}}
#* {{quote-journal|en|author=Carl Proegler|title=Article II. The Panaritium (Felon)—Consequences and Treatment.|editors=J. Adams Allen; Walter Hay|journal=The Chicago Medical Journal. A Monthly Record of Medicine, Surgery and the Collateral Sciences|location=Chicago, Ill.|publisher=W. B. Keen, Cooke & Co.|month=November|year=1872|volume=XXIX|issue=11|pages=656–657|pageurl=https://books.google.com/books?id=HX5GjgFUwR8C&pg=PA657|oclc=1778062|passage=But even here suppuration does not always stop, reaching often the fore-arm, and in such cases even life is endangered. Unhealthy granulations, thrombosis of veins, septicæmia and pyæmia cause death. This picture is not merely a '''phantasia''', but exists in reality, and I myself had occasion to witness two cases of this kind in the surgical wards of Berlin; [...]}}
#* {{quote-book|en|author=John Henry Newman|authorlink=John Henry Newman|chapter=Palmer on Faith and Unity|title=Essays Critical and Historical|edition=2nd|location=London|publisher=Basil Montagu Pickering{{nb...|196 Piccadilly}}|year=1872|volume=I|page=146|pageurl=https://books.google.com/books?id=UZg_AAAAYAAJ&pg=PA146|oclc=676797886|passage=When one thing fits into another, when all the parts mutually support and are supported, when a theory is capable of accounting for all questions, and thus is, in a certain sense, self-balanced and self-sustained and entire, we have a '''''phantasia''''' of truth forced upon our minds, even against our will.}}
#* {{quote-book|en|author=w:John Henry Newman|chapter=Palmer on Faith and Unity|title=Essays Critical and Historical|edition=2nd|location=London|publisher=Basil Montagu Pickering{{nb...|196 Piccadilly}}|year=1872|volume=I|page=146|pageurl=https://books.google.com/books?id=UZg_AAAAYAAJ&pg=PA146|oclc=676797886|passage=When one thing fits into another, when all the parts mutually support and are supported, when a theory is capable of accounting for all questions, and thus is, in a certain sense, self-balanced and self-sustained and entire, we have a '''''phantasia''''' of truth forced upon our minds, even against our will.}}
#* {{quote-book|en|author=James Phelan|chapter=Life of {{w|Philip Massinger}}|title=On Philip Massinger: A Dissertation for the Acquisition of the Degree of Doctor of Philosophy from the University of Leipsic|location=Halle|publisher=E. Karras,{{nb...|printer.}}|year=1878|page=43|pageurl=https://books.google.com/books?id=2F9ctKeG63AC&pg=PA43|oclc=17201591|passage=What we consider a clear logical conclusive chain of argument is as often a '''phantasia'''.}}
#* {{quote-book|en|author=James Phelan|chapter=Life of {{w|Philip Massinger}}|title=On Philip Massinger: A Dissertation for the Acquisition of the Degree of Doctor of Philosophy from the University of Leipsic|location=Halle|publisher=E. Karras,{{nb...|printer.}}|year=1878|page=43|pageurl=https://books.google.com/books?id=2F9ctKeG63AC&pg=PA43|oclc=17201591|passage=What we consider a clear logical conclusive chain of argument is as often a '''phantasia'''.}}
# {{lb|en|philosophy}} A [[phantasm]] (an [[impression]] [[receive]]d through the [[sense#Noun|senses]]) or the [[faculty]] of receiving or [[represent]]ing these impressions.
# {{lb|en|philosophy}} A [[phantasm]] (an [[impression]] [[receive]]d through the [[sense#Noun|senses]]) or the [[faculty]] of receiving or [[represent]]ing these impressions.
#* {{quote-book|en|author=Martha Craven Nussbaum|authorlink=Martha Nussbaum|title={{w|Aristotle}}’s [[w:Movement of Animals|De Motu Animalium]]{{nb...|Text with Translation, Commentary, and Interpretive Essays}}|location=Princeton, N.J.|publisher={{w|Princeton University Press}}|year=1978|year_published=1985|page=261|pageurl=https://books.google.com/books?id=ISD05P7TcOAC&pg=PA261|isbn=978-0-691-07224-1|passage='''''Phantasia''''', then, is the animal's awareness of some object or state of affairs, which may well prove to be an object of desire. [...] I am thirsty; I have (in the absence of the object) a '''''phantasia''''' of drink. [...] '''''Phantasia''''' can also be used to account for delusion in practical cases: "Poor dog, he saw that as water (or as drink) when it was really ammonia solution."}}
#* {{quote-book|en|author=[[w:Martha Nussbaum|Martha Craven Nussbaum]]|title={{w|Aristotle}}’s [[w:Movement of Animals|De Motu Animalium]]{{nb...|Text with Translation, Commentary, and Interpretive Essays}}|location=Princeton, N.J.|publisher=w:Princeton University Press|year=1978|year_published=1985|page=261|pageurl=https://books.google.com/books?id=ISD05P7TcOAC&pg=PA261|isbn=978-0-691-07224-1|passage='''''Phantasia''''', then, is the animal's awareness of some object or state of affairs, which may well prove to be an object of desire. [...] I am thirsty; I have (in the absence of the object) a '''''phantasia''''' of drink. [...] '''''Phantasia''''' can also be used to account for delusion in practical cases: "Poor dog, he saw that as water (or as drink) when it was really ammonia solution."}}
#* {{quote-book|en|author=Derk Pereboom|authorlink=Derk Pereboom|chapter=Stoic Psychotherapy in [[w:René Descartes|Descartes]] and [[w:Baruch Spinoza|Spinoza]]|editor={{w|Genevieve Lloyd}}|title=Spinoza: Critical Assessments|location=London; New York, N.Y.|publisher={{w|Routledge}}|year=1994|year_published=2001|volume=I (Context, Sources and the Early Writings)|section=section I|page=150|pageurl=https://books.google.com/books?id=gZEgOxy_hXoC&pg=PA150|isbn=978-0-415-18619-3|passage=[T]he possibility of eating a piece of pie might be presented to you by your seeing it on the kitchen table. This stage is called '''''phantasia''''', presentation or impression. Corresponding to a '''''phantasia''''' is a ''lekton'', a proposition or sayable, for example, ''it is fitting for me to eat that piece of pie'', which the agent entertains but does not necessarily endorse when she has a '''''phantasia'''''.}}
#* {{quote-book|en|author=w:Derk Pereboom|chapter=Stoic Psychotherapy in [[w:René Descartes|Descartes]] and [[w:Baruch Spinoza|Spinoza]]|editor=w:Genevieve Lloyd|title=Spinoza: Critical Assessments|location=London; New York, N.Y.|publisher=w:Routledge|year=1994|year_published=2001|volume=I (Context, Sources and the Early Writings)|section=I|page=150|pageurl=https://books.google.com/books?id=gZEgOxy_hXoC&pg=PA150|isbn=978-0-415-18619-3|passage=[T]he possibility of eating a piece of pie might be presented to you by your seeing it on the kitchen table. This stage is called '''''phantasia''''', presentation or impression. Corresponding to a '''''phantasia''''' is a ''lekton'', a proposition or sayable, for example, ''it is fitting for me to eat that piece of pie'', which the agent entertains but does not necessarily endorse when she has a '''''phantasia'''''.}}
#* {{quote-book|en|author=Mihály Szívós|chapter=Temporality, Reification and Subjectivity: {{w|Carneades}} and the Foundations of the World of Subjectivity|editors=Pierluigi Barrotta and {{w|Marcelo Dascal}}|title=Controversies and Subjectivity|series=Controversies|seriesvolume=1|location=Amsterdam; Philadelphia, Pa.|publisher={{w|John Benjamins Publishing Company}}|year=2005|section=section 4.2 (The Temporalization of the Cognition Process I)|page=216|pageurl=https://books.google.com/books?id=UZM6AAAAQBAJ&pg=PA216|isbn=978-90-272-1881-0|issn=1574-1583|passage={{w|Chrysippus}} called 'experience' the "treasury of '''phantasias'''", [...] According to Chrysippus, the '''phantasias''' burdened with appearances can be distinguished from the true ones by the mobilization of former groups of '''phantasias''' and by the operations with them.}}
#* {{quote-book|en|author=Mihály Szívós|chapter=Temporality, Reification and Subjectivity: {{w|Carneades}} and the Foundations of the World of Subjectivity|editors=Pierluigi Barrotta; w:Marcelo Dascal|title=Controversies and Subjectivity|series=Controversies|seriesvolume=1|location=Amsterdam; Philadelphia, Pa.|publisher=w:John Benjamins Publishing Company|year=2005|section=section 4.2 (The Temporalization of the Cognition Process I)|page=216|pageurl=https://books.google.com/books?id=UZM6AAAAQBAJ&pg=PA216|isbn=978-90-272-1881-0|issn=1574-1583|passage={{w|Chrysippus}} called 'experience' the "treasury of '''phantasias'''", [...] According to Chrysippus, the '''phantasias''' burdened with appearances can be distinguished from the true ones by the mobilization of former groups of '''phantasias''' and by the operations with them.}}
#* {{quote-book|en|author=Dermot Moran|authorlink=Dermot Moran|chapter=‘The Secret Folds of Nature’: Eriugena’s Expansive Concept of Nature|editor=Alfred Kentigern Siewers|title=Re-imagining Nature: Environmental Humanities and Ecosemiotics|location=Lewisburg, Pa.|publisher={{w|Bucknell University Press}}; Lanham, Md.: {{w|Rowman & Littlefield}}|year=2014|section=part II (Medieval Natures)|page=109|pageurl=https://books.google.com/books?id=o1VzAgAAQBAJ&pg=PA109|isbn=978-1-61148-524-0|passage=Everything in the created world has to be understood not just an appearance or image—a '''''phantasia''''', in [[w:John Scotus Eriugena|[John Scotus] Eriugena]]'s vocabulary—but as at the same time a divine revelation or manifestation, [...]}}
#* {{quote-book|en|author=w:Dermot Moran|chapter=‘The Secret Folds of Nature’: Eriugena’s Expansive Concept of Nature|editor=Alfred Kentigern Siewers|title=Re-imagining Nature: Environmental Humanities and Ecosemiotics|location=Lewisburg, Pa.|publisher=w:Bucknell University Press; Lanham, Md.: {{w|Rowman & Littlefield}}|year=2014|section=part II (Medieval Natures)|page=109|pageurl=https://books.google.com/books?id=o1VzAgAAQBAJ&pg=PA109|isbn=978-1-61148-524-0|passage=Everything in the created world has to be understood not just an appearance or image—a '''''phantasia''''', in [[w:John Scotus Eriugena|[John Scotus] Eriugena]]'s vocabulary—but as at the same time a divine revelation or manifestation, [...]}}
# {{dated spelling of|en|fantasia}}
# {{dated spelling of|en|fantasia}}
#* {{quote-journal|en|author=Thomas Buchanan Read|authorlink=Thomas Buchanan Read|title=Pilgrims of the Great St. Bernard|editor=[[w:George Rex Graham|George R[ex] Graham]]|magazine=[[w:Graham's Magazine|Graham’s Magazine]]|location=Philadelphia, Pa.|publisher=[Watson & Co.{{nb...|publishers.}}?]|month=July|year=1853|volume=XLIII|issue=1|section=chapter VIII|page=105|pageurl=https://books.google.com/books?id=iqsSAAAAMAAJ&pg=PA105|oclc=1084623504|passage=The little Italian party, before alluded to, had collected around the piano. The white and plump fingers of the gay and black-eyed daughter of the Roman marchioness were tripping lightly up and down the octaves of the instrument, and her little tastefully arranged head was merrily dancing from side to side, keeping time to the half-improvised '''phantasia''', which trickled like a wayward stream from her hands.}}
#* {{quote-journal|en|author=w:Thomas Buchanan Read|title=Pilgrims of the Great St. Bernard|editor=[[w:George Rex Graham|George R[ex] Graham]]|magazine=[[w:Graham's Magazine|Graham’s Magazine]]|location=Philadelphia, Pa.|publisher=[Watson & Co.{{nb...|publishers.}}?]|month=July|year=1853|volume=XLIII|issue=1|section=chapter VIII|page=105|pageurl=https://books.google.com/books?id=iqsSAAAAMAAJ&pg=PA105|oclc=1084623504|passage=The little Italian party, before alluded to, had collected around the piano. The white and plump fingers of the gay and black-eyed daughter of the Roman marchioness were tripping lightly up and down the octaves of the instrument, and her little tastefully arranged head was merrily dancing from side to side, keeping time to the half-improvised '''phantasia''', which trickled like a wayward stream from her hands.}}
#* {{quote-book|en|author=Hugh James Rose|authorlink=Hugh James Rose|entry=AURENHAMMER,{{sic|AUERNHAMMER}} (Josepha)|title=A New General Biographical Dictionary,{{nb...|In Twelve Volumes.}}|volume=II|location=London|publisher=T. Fellowes,{{nb...|Ludgate Street; F. & J. Rivington; E. Hodgson; Richardson, Brothers; J. Bain; G. Greenland; A. Greenland; F. C. Westley; Capes & Co.; Bosworth and Harrison; H. G. Bohn; H. Washbourne; Willis & Sotheran; J. Dale; Deighton, Bell & Co. Cambridge; and J. H. Parker, Oxford.}}|year=1857|pages=368–369|pageurl=https://books.google.com/books?id=Fds8AQAAIAAJ&pg=PA369|oclc=960877771|passage=She &#91;{{w|Josepha Barbara Auernhammer}}&#93; published subsequently many works of her own, (in all 63,) which, as well as her play, especially the extempore '''phantasias''', were distinguished by much delicate feeling and a vivid imagination.}}
#* {{quote-book|en|author=w:Hugh James Rose|entry=AURENHAMMER,{{sic|AUERNHAMMER}} (Josepha)|title=A New General Biographical Dictionary,{{nb...|In Twelve Volumes.}}|volume=II|location=London|publisher=T. Fellowes,{{nb...|Ludgate Street; F. & J. Rivington; E. Hodgson; Richardson, Brothers; J. Bain; G. Greenland; A. Greenland; F. C. Westley; Capes & Co.; Bosworth and Harrison; H. G. Bohn; H. Washbourne; Willis & Sotheran; J. Dale; Deighton, Bell & Co. Cambridge; and J. H. Parker, Oxford.}}|year=1857|pages=368–369|pageurl=https://books.google.com/books?id=Fds8AQAAIAAJ&pg=PA369|oclc=960877771|passage=She &#91;{{w|Josepha Barbara Auernhammer}}&#93; published subsequently many works of her own, (in all 63,) which, as well as her play, especially the extempore '''phantasias''', were distinguished by much delicate feeling and a vivid imagination.}}
#* {{quote-journal|en|author=|authorlink=|title=The Cutting of the Nile: From The Pall Mall Gazette|magazine=Littel’s Living Age|location=Boston, Mass.|publisher=[[w:Eliakim Littell|Littel & Gay]]|date=19 October 1872|volume=XXVII (Fourth Series; volume CXV overall)|issue=1480|page=189|pageurl=https://books.google.com/books?id=jwNFAQAAMAAJ&pg=PA189|column=2|oclc=913200987|passage=It is, however, a ceremony of immense antiquity, and the chief civil festival of the year among the Arabs, who love nothing more dearly than a "'''phantasia'''" of this sort.}}
#* {{quote-journal|en|author=|title=The Cutting of the Nile: From The Pall Mall Gazette|magazine=Littel’s Living Age|location=Boston, Mass.|publisher=[[w:Eliakim Littell|Littel & Gay]]|date=19 October 1872|volume=XXVII (Fourth Series; volume CXV overall)|issue=1480|page=189|pageurl=https://books.google.com/books?id=jwNFAQAAMAAJ&pg=PA189|column=2|oclc=913200987|passage=It is, however, a ceremony of immense antiquity, and the chief civil festival of the year among the Arabs, who love nothing more dearly than a "'''phantasia'''" of this sort.}}
#* {{quote-book|en|author=Brian W[esterdale] Downs|authorlink=Brian Downs|chapter=Ibsen before 1884|title=Modern Norwegian Literature 1860–1918|location=Cambridge, Cambridgeshire|publisher=[[w:Cambridge University Press|University Press]]|year=1966|year_published=2010|page=44|pageurl=https://books.google.com/books?id=8YpG5o7cSeoC&pg=PA44|isbn=978-0-521-04854-5|passage=[''[[w:The Burial Mound|The Warrior's Barrow]]'' (''Kjæmpehøjen'')] admirably conformed to his employers' National-Romantic aims. This is equally true of the four new plays with which [[w:Henrik Ibsen|[Henrik] Ibsen]] honoured his contract: ''[[w:St. John's Eve (play)|St. John's Night]]'') (''Sancthansnatten'', 1853), a '''phantasia''' having a good deal in common with [[w:William Shakespeare|[William] Shakespeare]]'s ''[[w:A Midsummer Night's Dream|Midsummer Night's Dream]]'' [...]}}
#* {{quote-book|en|author=[[w:Brian Downs|Brian W[esterdale] Downs]]|chapter=Ibsen before 1884|title=Modern Norwegian Literature 1860–1918|location=Cambridge, Cambridgeshire|publisher=[[w:Cambridge University Press|University Press]]|year=1966|year_published=2010|page=44|pageurl=https://books.google.com/books?id=8YpG5o7cSeoC&pg=PA44|isbn=978-0-521-04854-5|passage=[''[[w:The Burial Mound|The Warrior's Barrow]]'' (''Kjæmpehøjen'')] admirably conformed to his employers' National-Romantic aims. This is equally true of the four new plays with which [[w:Henrik Ibsen|[Henrik] Ibsen]] honoured his contract: ''[[w:St. John's Eve (play)|St. John's Night]]'') (''Sancthansnatten'', 1853), a '''phantasia''' having a good deal in common with [[w:William Shakespeare|[William] Shakespeare]]'s ''[[w:A Midsummer Night's Dream|Midsummer Night's Dream]]'' [...]}}
#* {{quote-book|en|author=Nina Auerbach|authorlink=Nina Auerbach|chapter=Our Lady of the Lyceum|editors=Joan DeJean, {{w|Carroll Smith-Rosenberg}}, Peter Stallybrass, and Gary Tomlinson|title=Ellen Terry, Player in Her Time|series=New Cultural Studies|location=Philadelphia, Pa.|publisher={{w|University of Pennsylvania Press}}|year=1987|year_published=1997|page=209|pageurl=https://books.google.com/books?id=2PkzZ9KaRlwC&pg=PA209|isbn=978-0-8122-1613-4|passage=These are the years in which she &#91;{{w|Ellen Terry}}&#93; begins to sign her letters in a '''phantasia''' of different names.}}
#* {{quote-book|en|author=w:Nina Auerbach|chapter=Our Lady of the Lyceum|editors=Joan DeJean; w:Carroll Smith-Rosenberg; Peter Stallybrass; Gary Tomlinson|title=Ellen Terry, Player in Her Time|series=New Cultural Studies|location=Philadelphia, Pa.|publisher=w:University of Pennsylvania Press|year=1987|year_published=1997|page=209|pageurl=https://books.google.com/books?id=2PkzZ9KaRlwC&pg=PA209|isbn=978-0-8122-1613-4|passage=These are the years in which she &#91;{{w|Ellen Terry}}&#93; begins to sign her letters in a '''phantasia''' of different names.}}


====Derived terms====
====Derived terms====
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{{trans-top|impression that is received through the senses}}
{{trans-top|impression that is received through the senses}}
{{trans-mid}}
{{trans-bottom}}
{{trans-bottom}}


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===Anagrams===
===Anagrams===
* {{anagrams|en|a=aaahinpst|Sahaptian}}
* {{anagrams|en|a=aaahinpst|Sahaptian}}

----


==French==
==French==
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# {{inflection of|fr|phantasier||3|s|phis}}
# {{inflection of|fr|phantasier||3|s|phis}}

----


==Latin==
==Latin==
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====Descendants====
====Descendants====
{{rfc|la|not sure which romance descendents are borrowed vs inherited}}
{{rfc|la|not sure which romance descendants are borrowed vs inherited}}
{{top2}}
{{top2}}
* {{desc|ca|fantasia}}
* {{desc|ca|fantasia}}
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** {{desc|fr|fantasie}}
** {{desc|fr|fantasie}}
** {{desc|en|fantasy|bor=1}}
** {{desc|en|fantasy|bor=1}}
** {{desc|ro|fantezie|bor=1}}
* {{desc|pms|fantasìa}}
* {{desc|pms|fantasìa}}
* {{desc|pt|fantasia}}
* {{desc|pt|fantasia}}
Line 105: Line 101:
''Some words here may be borrowed via an intermediate language, rather than directly from Latin.''
''Some words here may be borrowed via an intermediate language, rather than directly from Latin.''
{{top4}}
{{top4}}
* {{desc|sq|fantazi}}
* {{desc|sq|bor=1|fantazi}}
* {{desc|ar|فانتازيا|tr=fāntāziyā|فنتازيا|tr2=fantāziyā}}
* {{desc|ar|bor=1|فانتازيا|tr=fāntāziyā|فنتازيا|tr2=fantāziyā}}
* {{desc|hy|ֆանտազիա}}
* {{desc|hy|bor=1|ֆանտազիա}}
* {{desc|be|фантазія}}
* {{desc|be|bor=1|фантазія}}
* {{desc|bg|фантазия}}
* {{desc|bg|bor=1|фантазия}}
* {{desc|cs|fantazie}}
* {{desc|cs|bor=1|fantazie}}
* {{desc|da|fantasi}}
* {{desc|da|bor=1|fantasi}}
* {{desc|en|phantasia}}
* {{desc|en|bor=1|phantasia}}
* {{desc|fi|fantasia}}
* {{desc|fi|bor=1|fantasia}}
* {{desc|ka|ფანტაზია}}
* {{desc|ka|bor=1|ფანტაზია}}
* {{desc|hu|fantázia}}
* {{desc|hu|bor=1|fantázia}}
* {{desc|ja|ファンタジー|tr=fantajī}}
* {{desc|ja|bor=1|ファンタジー|tr=fantajī}}
* {{desc|mk|фантазија}}
* {{desc|mk|bor=1|фантазија}}
* {{desctree|gmh|fantasīe}}
* {{desctree|bor=1|gmh|fantasīe}}
* {{desc|no|-}} {{l|nb|fantasi}}
* {{desc|bor=1|no|-}} {{l|nb|fantasi}}
* {{desc|fa|فانتزی|tr=fântezi}}
* {{desc|bor=1|fa|فانتزی|tr=fântezi}}
* {{desc|pl|fantazja}}
* {{desc|bor=1|pl|fantazja}}
* {{desc|ru|фантазия}}
* {{desc|bor=1|ru|фантазия}}
* {{desc|sh|fantazija}} / {{l|sh|фантазија}}
* {{desc|bor=1|sh|fantazija}} / {{l|sh|фантазија}}
* {{desc|sk|fantázia}}
* {{desc|bor=1|sk|fantázia}}
* {{desc|sl|fantazija}}
* {{desc|bor=1|sl|fantazija}}
* {{desc|sv|fantasi}}
* {{desc|bor=1|sv|fantasi}}
* {{desc|uk|фантазія}}
* {{desc|bor=1|uk|фантазія}}
* {{desc|uz|fantaziya}}
* {{desc|bor=1|uz|fantaziya}}
{{bottom}}
{{bottom}}



Latest revision as of 09:12, 2 June 2024

Englisch

[edit]

Etymology

[edit]

Borrowed from Latin phantasia (fancy, fantasy; imagination),[1] and from its etymon Ancient Greek φᾰντᾰσῐ́ᾱ (phantasíā, appearance, look; display, presentation; pageantry, pomp; impression, perception; image), from φᾰ́ντᾰσῐς (phántasis) + -ῐ́ᾱ (-íā, suffix forming feminine abstract nouns). Φᾰ́ντᾰσῐς (Phántasis) is derived from φᾰντᾰ́ζω (phantázō, to make visible, show; to become visible, appear; to imagine), from φαίνω (phaínō, to appear; to reveal; to shine), ultimately from Proto-Indo-European *bʰeh₂- (to shine). The English word is a doublet of fancy, fantasia, fantasy, and phantasy.

Pronunciation

[edit]

Nomen

[edit]

phantasia (plural phantasias)

  1. (dated) Something imaginary; a fantasy.
    • 1872 November, Carl Proegler, “Article II. The Panaritium (Felon)—Consequences and Treatment.”, in J. Adams Allen, Walter Hay, editors, The Chicago Medical Journal. A Monthly Record of Medicine, Surgery and the Collateral Sciences, volume XXIX, number 11, Chicago, Ill.: W. B. Keen, Cooke & Co., →OCLC, pages 656–657:
      But even here suppuration does not always stop, reaching often the fore-arm, and in such cases even life is endangered. Unhealthy granulations, thrombosis of veins, septicæmia and pyæmia cause death. This picture is not merely a phantasia, but exists in reality, and I myself had occasion to witness two cases of this kind in the surgical wards of Berlin; [...]
    • 1872, John Henry Newman, “Palmer on Faith and Unity”, in Essays Critical and Historical, 2nd edition, volume I, London: Basil Montagu Pickering [], →OCLC, page 146:
      When one thing fits into another, when all the parts mutually support and are supported, when a theory is capable of accounting for all questions, and thus is, in a certain sense, self-balanced and self-sustained and entire, we have a phantasia of truth forced upon our minds, even against our will.
    • 1878, James Phelan, “Life of Philip Massinger”, in On Philip Massinger: A Dissertation for the Acquisition of the Degree of Doctor of Philosophy from the University of Leipsic, Halle: E. Karras, [], →OCLC, page 43:
      What we consider a clear logical conclusive chain of argument is as often a phantasia.
  2. (philosophy) A phantasm (an impression received through the senses) or the faculty of receiving or representing these impressions.
    • 1978, Martha Craven Nussbaum, Aristotle’s De Motu Animalium [], Princeton, N.J.: Princeton University Press, published 1985, →ISBN, page 261:
      Phantasia, then, is the animal's awareness of some object or state of affairs, which may well prove to be an object of desire. [...] I am thirsty; I have (in the absence of the object) a phantasia of drink. [...] Phantasia can also be used to account for delusion in practical cases: "Poor dog, he saw that as water (or as drink) when it was really ammonia solution."
    • 1994, Derk Pereboom, “Stoic Psychotherapy in Descartes and Spinoza”, in Genevieve Lloyd, editor, Spinoza: Critical Assessments, volumes I (Context, Sources and the Early Writings), London, New York, N.Y.: Routledge, published 2001, →ISBN, section I, page 150:
      [T]he possibility of eating a piece of pie might be presented to you by your seeing it on the kitchen table. This stage is called phantasia, presentation or impression. Corresponding to a phantasia is a lekton, a proposition or sayable, for example, it is fitting for me to eat that piece of pie, which the agent entertains but does not necessarily endorse when she has a phantasia.
    • 2005, Mihály Szívós, “Temporality, Reification and Subjectivity: Carneades and the Foundations of the World of Subjectivity”, in Pierluigi Barrotta, Marcelo Dascal, editors, Controversies and Subjectivity (Controversies; 1), Amsterdam, Philadelphia, Pa.: John Benjamins Publishing Company, →ISBN, →ISSN, section 4.2 (The Temporalization of the Cognition Process I), page 216:
      Chrysippus called 'experience' the "treasury of phantasias", [...] According to Chrysippus, the phantasias burdened with appearances can be distinguished from the true ones by the mobilization of former groups of phantasias and by the operations with them.
    • 2014, Dermot Moran, “‘The Secret Folds of Nature’: Eriugena’s Expansive Concept of Nature”, in Alfred Kentigern Siewers, editor, Re-imagining Nature: Environmental Humanities and Ecosemiotics, Lewisburg, Pa.: Bucknell University Press; Lanham, Md.: Rowman & Littlefield, →ISBN, part II (Medieval Natures), page 109:
      Everything in the created world has to be understood not just an appearance or image—a phantasia, in [John Scotus] Eriugena's vocabulary—but as at the same time a divine revelation or manifestation, [...]
  3. Dated spelling of fantasia.
    • 1853 July, Thomas Buchanan Read, “Pilgrims of the Great St. Bernard”, in George R[ex] Graham, editor, Graham’s Magazine, volume XLIII, number 1, Philadelphia, Pa.: [Watson & Co. []?], →OCLC, chapter VIII, page 105:
      The little Italian party, before alluded to, had collected around the piano. The white and plump fingers of the gay and black-eyed daughter of the Roman marchioness were tripping lightly up and down the octaves of the instrument, and her little tastefully arranged head was merrily dancing from side to side, keeping time to the half-improvised phantasia, which trickled like a wayward stream from her hands.
    • 1857, Hugh James Rose, “AURENHAMMER,[sic – meaning AUERNHAMMER] (Josepha)”, in A New General Biographical Dictionary, [], volume II, London: T. Fellowes, [], →OCLC, pages 368–369:
      She [Josepha Barbara Auernhammer] published subsequently many works of her own, (in all 63,) which, as well as her play, especially the extempore phantasias, were distinguished by much delicate feeling and a vivid imagination.
    • 1872 October 19, “The Cutting of the Nile: From The Pall Mall Gazette”, in Littel’s Living Age, volume XXVII (Fourth Series; volume CXV overall), number 1480, Boston, Mass.: Littel & Gay, →OCLC, page 189, column 2:
      It is, however, a ceremony of immense antiquity, and the chief civil festival of the year among the Arabs, who love nothing more dearly than a "phantasia" of this sort.
    • 1966, Brian W[esterdale] Downs, “Ibsen before 1884”, in Modern Norwegian Literature 1860–1918, Cambridge, Cambridgeshire: University Press, published 2010, →ISBN, page 44:
      [The Warrior's Barrow (Kjæmpehøjen)] admirably conformed to his employers' National-Romantic aims. This is equally true of the four new plays with which [Henrik] Ibsen honoured his contract: St. John's Night) (Sancthansnatten, 1853), a phantasia having a good deal in common with [William] Shakespeare's Midsummer Night's Dream [...]
    • 1987, Nina Auerbach, “Our Lady of the Lyceum”, in Joan DeJean, Carroll Smith-Rosenberg, Peter Stallybrass, Gary Tomlinson, editors, Ellen Terry, Player in Her Time (New Cultural Studies), Philadelphia, Pa.: University of Pennsylvania Press, published 1997, →ISBN, page 209:
      These are the years in which she [Ellen Terry] begins to sign her letters in a phantasia of different names.

Derived terms

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Translations

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References

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  1. ^ Compare "fantasia, n.”, in OED Online Paid subscription required, Oxford, Oxfordshire: Oxford University Press, 1895; fantasia, n.”, in Lexico, Dictionary.com; Oxford University Press, 2019–2022.

Anagrams

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French

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Pronunciation

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Verb

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phantasia

  1. third-person singular past historic of phantasier

Latin

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Alternative forms

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Etymology

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From Ancient Greek φαντασία (phantasía).

Pronunciation

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Nomen

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phantasia f (genitive phantasiae); first declension

  1. fancy, idea, notion; fantasy
  2. phantom, apparition
  3. imagination
  4. phase (of the moon)

Declension

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First-declension noun.

Case Singular Plural
Nominative phantasia phantasiae
Genitive phantasiae phantasiārum
Dative phantasiae phantasiīs
Accusative phantasiam phantasiās
Ablative phantasiā phantasiīs
Vocative phantasia phantasiae

Descendants

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Borrowings

Some words here may be borrowed via an intermediate language, rather than directly from Latin.

References

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  • phantasia”, in Charlton T. Lewis and Charles Short (1879) A Latin Dictionary, Oxford: Clarendon Press
  • phantasia in Charles du Fresne du Cange’s Glossarium Mediæ et Infimæ Latinitatis (augmented edition with additions by D. P. Carpenterius, Adelungius and others, edited by Léopold Favre, 1883–1887)
  • phantasia in Gaffiot, Félix (1934) Dictionnaire illustré latin-français, Hachette.
  • phantasia in Ramminger, Johann (2016 July 16 (last accessed)) Neulateinische Wortliste: Ein Wörterbuch des Lateinischen von Petrarca bis 1700[1], pre-publication website, 2005-2016
  • phantasia”, in William Smith, editor (1848), A Dictionary of Greek and Roman Biography and Mythology, London: John Murray