Sartre attacks the "illusion" that mental images are "immanent" in consciousness. After comparing sartre with husserl, I develop his view that mental images are non-Perceptual phenomena involving a relationship with something non-Present. From the impoverished, Unworldly view that results, I suggest that sartre's own view is still too attached to the perceptual analogy and conclude with the richer, Alternative view of ricoeur that imaginal fiction has a constructive role in shaping reality.

Paul Ricoeur postula que una teoría de la imaginación se inicia en la literatura y al mismo tiempo es productiva en la vida de la praxis. En la estructura simbólica de la realidad social y política, la imaginación funda el imaginario social, constituye la ideología en su función integradora y suscita la utopía en su función transformadora. En este artículo estudiamos este enfoque, proponiendo el poder de la imaginación como medio de cohesión social y ensayo para la transformación de la (...) realidad, siempre perfectible.Paul Ricoeur postulates that a theory of the imagination begins in literature and at the same time it is productive in the life of praxis. In the symbolic structure of the social and political reality, the imagination founds the social imaginary, it constitutes the ideology in its integrative function and provokes the Utopia in its charging role. In this article, we study this approach, proposing the power of the imagination as a way of social cohesion and as a test for transformation of reality, always perfectible. (shrink)

Ricoeur’s theory of productive imagination in previously unpublished lectures. The eminent philosopher Paul Ricoeur was devoted to the imagination. These previously unpublished lectures offer Ricoeur’s most significant and sustained reflections on creativity as he builds a new theory of imagination through close examination, moving from Aristotle, Pascal, Spinoza, Hume, and Kant to Ryle, Price, Wittgenstein, Husserl, and Sartre. These thinkers, he contends, underestimate humanity’s creative capacity. While the Western tradition generally views imagination as derived from the reproductive example of the (...) image, Ricoeur develops a theory about the mind’s power to produce new realities. Modeled most clearly in fiction, this productive imagination, Ricoeur argues, is available across conceptual domains. His theory provocatively suggests that we are not constrained by existing political, social, and scientific structures. Rather, our imaginations have the power to break through our conceptual horizons and remake the world. (shrink)

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Despite Jean-Paul Sartre and Cornelius Castoriadis placing the imagination centre stage in their respective conceptual theories, little work has been done to bring them into conversation on this issue or, indeed, any other. This is perhaps not surprising given Sartre’s early work on this topic has tended to be downplayed in favour of his affirmation of freedom, while Castoriadis not only denigrates Sartre’s thinking generally and his account of the imagination specifically but also posits their relationship as one of opposition. (...) In contrast, this article brings them into conversation on the question of the imagination to call into question Castoriadis assessment of their relation. To do so, I outline Sartre’s position in The Imaginary, showing that Castoriadis assessment of Sartre’s notion is based on a problematic, if common, misunderstanding of Sartre’s notion of nothingness and its relationship to creativity. Having overcome the opposition that Castoriadis affirms between their respective positions, I argue that, while there certainly are differences between their positions, there are also important points of agreement and overlap between them, especially regarding the constitutive role that the imagination plays for consciousness, and the relationships between the imagination and freedom and the imagination and creativity, that point to a shared and original approach. (shrink)

This essay examines Ricœur’s mimetic and transfigurative perspective on non-objective art and adopts it as an idiom for examining Mark Rothko’s artistic intention in the multiform canvases of his “classical” period from 1949 until his death in 1970. Rothko unequivocally denied being an abstractionist, a colorist, or a formalist, insisting, on the contrary, that he desired to communicate discrete dimensions of experience and emotions to his viewers, specifically, experiences of the sacred and the spiritual. His large canvases, with their blurred (...) edges, force the spectator into an intimacy of experience that opens the potentiality of heterogeneous interpretations. In other words, one might consider his paintings to be metaphors of dense meanings that imitate reality, not through facile representation, but through a Kierkegaardian repetition of worlds that track Ricœur’s own ideas of prefiguration, configuration, and re-figuration. I contend in this essay that Rothko’s “abstract expressionism” adequately illustrates Ricœur’s contention that non-figurative art succeeds far better than representational art in refiguring new worlds of meaning. (shrink)

Reading Kevin Hart’s creative hermeneutic of the ‘basileic’ reduction in his latest book, Kingdoms of God, naturally leads me to consider another eminent linguistic phenomenologist who continually occupies my thoughts. Although I have been reading Hart now for about 25 years, I have been reading Paul Ricoeur for a decade longer than that, and it is his theory of poetic discourse that my mind keeps tenaciously associating with Hart’s perspectives on parable. Granted, Hart never mentions Ricoeur in Kingdoms of God—unless (...) my careful reading is not so careful and I missed it! In Trespass of the Sign, however, he does note Ricoeur’s significance as a hermeneutical philosopher, specifically his emphasis on the distinction between the hermeneutics of faith and the hermeneutics of suspicion. Also, in an article on John Caputo’s postsecular philosophy of ‘religion without religion,’ Hart makes a brief comment on Ricoeur’s apparent Hegelianism with reference to a general theory of revelation as nonreligious and nontheistic. Still, nowhere that I know of does he extensively address Ricoeur’s fascinating discourse theory regarding metaphor, mimesis, narrative, and parable. If great minds think alike, then Hart and Ricoeur are, indeed, great minds, for, truly, Ricoeur’s reflections on parables and the Kingdom offer an intriguing gloss on Hart’s parabolic ‘basileiology.’ Translating Hart into Ricoeur, therefore, is, in my mind, an easy and profitable exercise that may well enhance the provocative character of Hart’s basileic reduction. Such a translation is the central purpose of this essay. (shrink)

In The question concerning technology, Heidegger explores actuality in terms of danger. In chapter 3.6 ‘Who has forgotten Being?’ of his We have never been modern, Latour typically ridicules Heidegger and rejects no less than his whole thinking path. I contend that this criticism stems from an inadequate interpretation of Heidegger. By reading the latter in a modern register, Latour turns Heidegger into a modern thinker. Leaving aside the matter of modern elements in Heidegger’s thoughts, these are certainly not the (...) elements that Latour brings forth. Indeed, to understand the danger that hides in actuality, if any, we should turn to Heidegger and read Latour from there. (shrink)

Commenting on Jean-Paul Sartre's theory of imagination, Paul Ricoeur argues that Sartre fails to address the productive nature of imaginative acts. According to Ricoeur, Sartre's examples show that he thinks of imagination in mimetic terms, neglecting its innovative and creative dimensions. Imagination, Ricoeur continues, manifests itself most clearly in fiction, wherein new meaning is created. By using fiction as the paradigm of imaginative activity, Ricoeur is able to argue against Sartre that the essence of imagination lies not in its ability (...) to reproduce absent objects, but rather in the ability to transform reality through creative acts. Motivated by the intuition that Sartre the writer could not have forgotten to address such crucial dimensions of imagination, I examine Sartre's philosophical and literary work, showing that not only does he develop a notion of productive imagination, he also puts this notion to work by articulating the relationship between imagination, narrative, and identity formation, well before Ricoeur advanced his narrative-identity theory. I argue that Sartre, like Ricoeur and MacIntyre, another representative of narrative-theory whose criticism of Sartre I address in this essay, views imagination and narrativity as necessary conditions for the formation of a coherent and meaningful sense of self. (shrink)

In this paper I respond to Samantha Vice’s prescriptions for living morally as a white person in South Africa today. I allow that her ‘How do I live in this strange place?’ (2010) is convincing when read – probably against intent – as a descriptive account. It fails, though, in its attempt to provide an attractive set of moral prescriptions. I set out an argument against both shame and silence, focussing primarily on shame as I contend that the need to (...) withdraw or keep silent follows from feeling ashamed. I argue that shame is experienced as a diminution of the self, whereas guilt is experienced as a burdening of the self by wrongful behaviour; the diminution of the self in shame experiences is intrinsically harmful, and instead of enabling the self to be moral, actually inhibits the moral instincts of a person by cutting the self off from other selves. In a group context this type of severance has unhealthy moral features, as well as negative consequences for inter-group relations. (shrink)

The cognitive revolution has left its mark on institutional theory in sociology and political science. Cognitive structures – schemas, typifications, frames and ideas – are recognized as a crucial variable of social behavior, institutional development and collective action. However, while the assertion that “ideas matter” is widely shared, institutional theorists are still struggling with the question of _how_ ideas matter, especially in motivational terms. The role of ideas not just as switchmen, in Weber’s terms, but as genuine drivers of collective (...) action still lacks theoretical underpinning. This article aims at closing this gap. It elaborates a theoretical model to explain how ideas shift the structure of motivation from the individual to the collective level. Borrowing from motivational psychology and social philosophy, especially from the work of John Searle, two crucial mechanisms are explicated. The first one is imagination, a specific mental state that allows collectivizing the intentional structure of beliefs and affords a sense of self-efficacy in collective contexts. The second one is plural self-awareness, a mechanism that shifts intentions-in-action to the collective level. (shrink)

I argue that imagination has an inherently paradoxical structure: it enables one to flee one’s socio-cultural reality and to constitute one’s socio-cultural world. I maintain that most philosophical accounts of the imagination leave this paradox unexplored. I further contend that Paul Ricoeur is the only thinker to have addressed this paradox explicitly. According to Ricoeur, to resolve this paradox, one needs to recognize language as the origin of productive imagination. This paper explores Ricoeur’s solution by offering a detailed study of (...) reproductive and productive imagination in the framework of poetic imagination. My analysis subjects Ricoeur’s distinction between reproductive and productive imagination to a critique that relies upon the principles of classical phenomenology. According to my central thesis, the imaginative powers of language are themselves rooted in perception. This thesis broadens the scope and significance of Ricoeur’s solution by enabling one to resolve the paradox of imagination not only at the level of language-based imagination, but also at the level of dreams and daydreaming as well as at the level of non-language based art. No less significantly, this thesis enables one to open a fresh dialogue between phenomenology and hermeneutics. (shrink)

Wolterstorff defends the claim not only that ‘God speaks’ through the Bible but also that the reader gains ever new insights upon subsequent readings of it. I qualify this project with the philosophical hermeneutics he rejects—namely that of Gadamer and Ricoeur. Wolterstorff thinks what he calls ‘authorial discourse interpretation’ provides warrant for religious communities believing that ‘God speaks’ to them through a text. In developing this hermeneutic, he dismisses the viability of Gadamer and Ricoeur's approach because, Wolterstorff asserts, their form (...) of interpretation is merely an operation performed on an artifact. While a cursory study of Gadamer and Ricoeur might support such dismissal, particularly Ricoeur's emphasis on writing's obliteration of dialogue, a closer study guided by the hermeneutic priority of questioning complicates Wolterstorff's caricature. If writing obliterates dialogue, what happens to questions and responses? My thesis is that dialogue with another is preserved through the hermeneutical arc. I demonstrate this through specifying distinct logics of question and answer that occur in the reading process, and I delimit these logics by way of appeal to contemporary literacy pedagogy and its taxonomies of questions. A voice does speak with and listen to a reader in the event of reading, in this case a God who is not behind but before the text. Isolating this other who speaks and listens provides reinforcement for constructive theological work aligned with Gadamer and Ricoeur's hermeneutics, and answers for the experience of hearing ‘God speak’ differently through sacred texts. (shrink)

The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical (...) implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time. (shrink)

Although most scholars trace the Liar Paradox to Plato’s contemporary, Eubulides, the paper argues that Plato builds something very like the Liar Paradox into the very structure of his dialogues with significant consequences for understanding his views. After a preliminary exposition of the liar paradox it is argued that Plato builds this paradox into the formulation of many of his central doctrines, including the “Divided Line” and the “Allegory of the Cave” and the “Ladder of Love”. Thus, Plato may have (...) been the first to formulate the view that Graham Priest calls dialetheism, roughly, the view that some contradictions are, in an illuminating way, inescapable and true. The paper argues that Plato builds this Liar paradox into the formulation of his signature views because he holds that the attempt by finite human beings to theorize about transcendent realities results in the simultaneous necessity, and impossibility, of transgressing the limits of language—leading to the paradoxes. Finally, it is argued that the existence of these paradoxes in these Platonic doctrines is the direct result of an intrinsic hermeneutical circle in Plato’s aforementioned signature views. (shrink)

In this article I consider the idea that Glasersfeld’s “radical constructivism” offers an ideal framework for putting in place such a reality of the best fit for us. Along with this, I examine also the fundamental biological and epistemological limitations that we are faced with when trying to fathom objective reality and, secondly, the inescapable gap between language – which we use as a primary cognitive tool in our attempt to comprehend the world. The paper then show that literature – (...) especially fiction – best meets the criteria for addressing these gaps and constructing such a model of reality in line with what radical constructivism proposes. (shrink)

In cognitive psychology, a false memory refers to a fabricated or distorted recollection of an event that did not actually happen. Both ‘memory-distortion’ and ‘false memory creation’ refer to the processes of recollection in which the recollected events are not actually happened. This paper has three aims: to examine Ricoeur’s analysis of memory and imagination; to explain and reinforce the constructive role of memory; to show in what manner the first two aims lead to the conclusion that the phenomena of (...) ‘distorted or false memory creation’ are reproductive because the nature of recollection is constructive in the sense of representation of past. In this regard, Ricoeur’s trajectory not only displaces the essential structure of memory and imagination behind the curtain of their distinction and connection, but also contributes to the debates in cognitive psychology. (shrink)

It is often assumed that science provides the most accurate knowledge about nature. This view not only collapses distinctions between different forms of knowing but also results in a paradox whereby understanding what it means to exist in the world is dictated by practioners of science. In this essay I argue for the relevance of an existential conception of nature via the philosophy of Martin Heidegger, and how his notions of thrownness and phusis enable us to recognize a certain ethical (...) bond to nature. I conclude with a critical analysis of liability insurance and actuarial science to demonstrate my points. (shrink)