Ricoeur on Imagination

Paul Ricoeur’s essay on imagination in From Text to Action invites us “to see in it an aspect of semantic innovation characteristic of the metaphorical use of language” (p. 171). The term “image”, he says, has acquired a bad reputation from its misuse in the empiricist theory of knowledge. It “corresponds to two extreme theories, illustrated by Hume and Sartre, respectively” (p. 170). Hume sought to derive images entirely from sense perception, while Sartre related them starkly to the absence of a real object. According to Ricoeur, “To say that our images are spoken before they are seen is to give up an initial false self-evidence, which holds the image to be first and foremost a ‘scene’ unfolding in some mental ‘theater’ before the gaze of an internal ‘spectator’. But it also means giving up at the same time a second false self-evidence, holding that this mental entity is the cloth out of which we tailor our abstract idea, our concepts, the basic ingredient of some sort of mental alchemy” (p. 171).

He suggests that we take the poetic image as paradigmatic. The poetic image is unfolded through what Eugène Minkowski and Gaston Bachelard called a kind of “reverberation” of things said. Metaphor for Ricoeur operates not just as substitution for nouns, but rather in a refiguration of whole sentences. Use of what would otherwise be “bizarre predicates” produces a kind of shock that leads us to “produce a new predicative pertinence that is the metaphor…. [A]t the moment when a new meaning emerges out of the ruins of literal predication[,] imagination offers its specific mediation” (p. 172). “[S]emantic shock… ignites the spark of meaning of the metaphor…. Before being a fading perception, the image is an emerging meaning” (p. 173). (See also Beauty, Deautomatization.) He says that in a Kantian sense, imagination schematizes emerging meaning, giving it concreteness.

The reverberation of meaning is not a secondary phenomenon, but rather essential to the constitution of meaning as such. Ricoeur suggests that “the power unfurled by poetic language” (p. 174) affects not only meaning, but reference too. Poetic discourse abolishes “our first-order interest in manipulation and control” (p. 175), but brings to the foreground a second-order reference to “our profound belonging to the life-world” and the “tie of our being to other beings” (ibid). This second-order reference “in reality is the primordial reference” (ibid). (See Rule of Metaphor.) Such a perspective goes along with the idea that reference is constituted by meaning, rather than vice versa. In Fregean terms, sense is prior to reference.

“The paradox of fiction is that setting perception aside is the condition for augmenting our vision of things” (ibid). According to Ricoeur, work in model theory suggests that not only in poetry but also in science, fiction plays a necessary heuristic role in articulating new meanings (see also Searching for a Middle Term). Further, “the first way human beings attempt to understand and to master the ‘manifold’ of the practical field is to give themselves a fictive representation of it” (p. 176).

Referring to Aristotle’s Poetics, he says “poetry goes right to the essence of action precisely because it ties together mythos and mimesis, that is, in our vocabulary, fiction and redescription” (ibid). In a Kantian vein, Ricoeur adds that “Its referential force consists in the fact that the narrative act, winding through the narrative structures, applies the grid of an ordered fiction to the ‘manifold’ of human action” (pp. 176-177; see also Narrated Time.)

Beyond its mimetic function, imagination also has a projective aspect. “Without imagination, there is no action…. And it is indeed through the anticipatory imagination of acting that I ‘try out’ different possible courses of action and that I ‘play’, in the precise sense of the word, with possible practices…. It is imagination that provides the milieu, the luminous clearing, in which we can compare and evaluate motives as diverse as desires and ethical obligations, themselves as disparate as professional rules, social customs, or intensely personal values” (p. 177). “Finally, it is in the realm of the imaginary that I try out my power to act, that I measure the scope of ‘I can'” (p. 178). (See also Free Play; Practical Judgment.)

Imagination is also involved in our recognition of others as like us. “[I]ndividuals as well as collective entities… are always already related to social reality in a mode other than that of immediate participation, following the figures of noncoincidence, which are, precisely, those of the social imaginary” (p. 182).

“[T]he analogical tie that makes every man my brother is accessible to us only through a number of imaginative practices, among them ideology and utopia” (p. 181). Ideology “seems to be tied to the necessity for any group to give itself an image of itself, to ‘play itself’, in the theatrical sense of the word, to put itself at issue and on stage…. [S]ymbolism is not an effect of society, society is an effect of symbolism” (ibid). Ideology covers over the real gaps in all systems of legitimacy. Utopia exposes these gaps, but also tends to subordinate reality to dreams, and to be fixated on perfectionist designs. Ideology and utopia are mutually antagonistic, and both tend toward a kind of pathology that renders their positive function unrecognizable. “[T]he productive imagination… can be restored to itself only through a critique of the antagonistic and semipathological figure of the social imaginary” (p. 181).

Imagination

“Imagination” is said in at least three major ways. Aristotle minimalistically characterized phantasia as a production of images that both plays a role in our experience of sense perception and can operate independent of it, as in dreaming. Spinoza treated imagination as kind of a passive belief. For him, this was strongly associated with common illusions and wishful thinking – especially with regard to our status as agents — in ordinary life. The Romantics identified imagination with creativity.

Beatrice Longuenesse in her marvelous Kant and the Capacity to Judge has developed in detail Kant’s argument that the same basic “categories” used in reflective thought are already implicit in our pre-reflective apprehensions of things in what Kant called a synthesis of imagination. I think this means not that the Kantian categories have some pre-given or metaphysical status, but rather that for the kind of beings we are, even “pre-reflective” apprehensions have some dependency on previous reflective apprehensions. We are never either entirely active or entirely passive. (See also Passive Synthesis, Active Sense; Voluntary Action; Middle Part of the Soul.)

Richard Kearney in On Paul Ricoeur: The Owl of Minerva nicely develops Ricoeur’s view that imagination is not so much a special way of seeing as “the capacity for letting new worlds shape our understanding of ourselves…. This power would not be conveyed by images, but by the emergent meanings in our language” (quoted in Kearney, p. 35). According to Kearney, Ricoeur associated imagination first and foremost with “semantic innovation”. What Aristotle in a different context called “searching for a middle term” is an aspect of this creativity with respect to meaning.

The Greek root for “poetry” (poiesis) fundamentally means making or doing in a much more general sense. The Romantics added a stress on innovation, which they saw as coming from the inner depths of the soul. Ricoeur’s treatment of imagination as fundamentally involving the emergence of new meaning nicely takes up the Romantic stress on imagination as innovation, without depending on the Romantics’ dubious metaphysical psychology of interiority. (See also Personhood; Reason, Nature.)

The Future and the Past

Practical interpretation is simultaneously forward- and backward-looking, as Ricoeur, Brandom, and Pippin have emphasized. Not only is the future not predetermined; for practical purposes, neither is the meaning of the past. The present is not a point, but a zone in which an incompletely determined past and an incompletely determined future overlap and fuse. (See Narrated Time; Hegel’s Ethical Innovation; Hegel on Willing.)

What We Really Want

Aristotle distinguished willing from unwilling actions, noting that there are mixed cases in which we do something we ordinarily would not do, in order to avoid a greater evil or to further a greater good. Hegel suggested that what we actually do is the best guide to understanding what we really want. Does this make Aristotle’s distinction meaningless? I want to say no.

It may be that Hegel would reject Aristotle’s secondary distinction between unwilling actions and mixed cases. Hegel might even say that all of Aristotle’s “willing” and “unwilling” actions are better thought of as mixed. Paul Ricoeur has somewhat similarly argued that agency always involves a combination of active and passive aspects.

Aristotle said that we should either judge mixed cases by the particulars of the relevant tradeoffs, or simply consider them as occasions calling for forgiveness. I think this is compatible with Hegel’s perspective. What we actually did in some situation is not necessarily the key to what we really wanted, full stop, but rather the key to what we really wanted under the applicable conditions. (See also Context; Rethinking Responsibility; Brandomian Forgiveness.)

Intro to Hermeneutics

“Hermeneutics” is derived from the Greek word for interpretation. It has a complex history, with roots in Greek literary interpretation, scriptural interpretation, and Renaissance humanism. In an 1808 work, the German philologist Friedrich Ast formulated a first version of the hermeneutic circle, emphasizing that we encounter a sort of chicken-and-egg relationship between the meaning of the parts and the meaning of the whole in a text. Wilhelm Dilthey (1833 – 1911) promoted a discipline of hermeneutics as the grounding for a distinctive kind of scientific method for the human sciences. In contrast to Dilthey, Martin Heidegger (1889 – 1976) emphasized that we do not begin from the outside with a theoretical methodology, but rather find ourselves in the world along with the things we seek to understand.

The name most strongly associated with 20th century hermeneutics is Hans-Georg Gadamer (1900 – 2002). Combining neo-Kantian and Heideggerian influences with a strong interest in Platonic and Aristotelian ethics, Gadamer emphasized that all understanding has the character of a dialogue, and dwelt extensively on Aristotelian phronesis, or practical wisdom regarding concrete situations and what to do.

Another major figure is Paul Ricoeur (1913 – 2005), who dwelt on the nature of human beings as responsible ethical agents, while rejecting claims that the self is immediately transparent to itself, or fully master of itself. He sought to understand subjectivity without falling prey to subjectivism or presupposing a sovereign Subject. Both he and Gadamer also emphasized the irreducible role of language in understanding.

At least on these points, there is an interesting convergence with themes I have been pursuing here. I see philosophy as fundamentally hermeneutic, rather than seeking to formulate a “system of the world”. The kind of semantics I have attributed to Aristotle, along with his use of dialectic, seems to me to be the earliest developed philosophical hermeneutics, with roots in Socratic questioning. Brandom’s mix of semantics with what he calls normative pragmatics, in conjunction with his work on Hegel, can be considered as a very original form of hermeneutics within analytic philosophy.