Thomas Wylton's Quaestio de anima intellectiva is one of the most significant medieval treatments of the intellectual soul. This edition of the Latin text is accompanied by an en face English translation by Gail Trimble. The detailed introduction guides the reader through the intricacies of the transmission of the text as well as its philosophical contents.
Wylton's Quaestio presents a strong and controversial defence of Averroes' interpretation of Aristotelian psychology. In his comparison of Averroes' view with the Catholic doctrine of the human soul, as defined by the Council of Vienne, Wylton highlights the rationality of the Arabic philosopher's stance and raises strong arguments against the commonly accepted opinion of Catholic thinkers, such as Thomas Aquinas and his followers. Wylton's Quaestio had a strong influence on his contemporaries and in particular on the most eminent exponent of Latin Averroism, John of Jandun, who included long passages from Wylton's treatise in his commentary on Aristotle's On the Soul.
Wylton also addresses fundamental philosophical issues: the ontological status of a subsisting form, the existence of universal things as components of individuals, and the possibility of intellectual knowledge of universals as well as singulars. This combination of polemics and engaging philosophical reflection is one of the distinguishing features of Wylton's text and makes his work of significance to historians, philosophers, and theologians.

'Metalepsis' is a term from classical rhetoric, but in the twentieth century, it was re-framed more broadly as a crossing of the boundaries that separate distinct narrative worlds. This modern notion of metalepsis, introduced by Gerard Genette, has so far largely been theorized on the basis of examples from post-modern novels and films. Yet metalepsis has a much greater potential to address all sorts of transgressions between 'worlds' or 'levels', not only in post-modern but also pre-modern literature. This volume explores metalepsis in classical antiquity, considering questions such as: if metalepsis consists fundamentally in the breaking down of barriers, what sort of barriers and what sort of transgressions can the concept be fruitfully applied to? Can it be used within approaches other than narratology? Does metalepsis require recognisable levels of reality and fictionality, and if so, what role might be played by other planes, such as the past, the mythical or the divine? What form does metalepsis take in less obviously 'narrative' genres, such as lyric poetry? And how should it be understood in visual media? Reflecting on these questions sheds new light on important dynamics in ancient texts, and advances literary theory by probing how explorations of ancient metalepsis might change, refine, or extend our understanding of the concept itself.