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柏拉图、亚里士多德、斯宾诺莎把想象视为理性、真的对立面,被一再贬低;在康德那里,想象尤其是创造性想象的地位得到了提升,它在知识获得上的作用也得到了某种程度的承认;胡塞尔和萨特等现象学家从意向的范畴上看想象,注重想象的视界角色,但想象所面临的认识论和本体论的双重疑问一直没有得到解决。保罗.利科将想象看成是语言中或通过语言的意义创新,即语义创新中不可或缺的机能。利科的语义想象理论使想象理论出现新的转机。
Plato, Aristotle, and Spinoza saw their imagination as rational, real opposites, and repeatedly belittle; in Kant, the position of imagination, especially of creative imagination, was enhanced and its role in knowledge acquisition A certain degree of recognition; phenomenologists such as Husserl and Sartre look at the category of intentions and pay attention to the visual field of imagination, but the double questions of epistemology and ontology faced by imagination have never been solved. Paul Ricoeur imagines imagination as meaning innovation in language or through language, an indispensable function of semantic innovation. Ricoeur’s theory of semantic imagination makes a new turning point in imagination theory.