Image-picture vs Image-fiction: Is Sartre Ignorant of Productive Imagination?
Chapter in an edited book (author)


摘要This article defends the young Sartre's implicit contribution to the theory of productive imagination against Ricoeur's criticism of Sartre as succeeding merely in formulating a theory of reproductive imagination, while the author of "Being and Nothingness" is unable to establish a doctrine of productive imagination.This article tries to show from the very rich Conclusion chapter of Sartre’s 1940 book "The Imaginary" and argues that, as a young philosopher writing on imagination, Sartre was, in the late 1930s, at the same time an emerging novelist and playwright in the French literary scene. The young Sartre is simply the incarnation of an original philosopher and a creative novelist and playwright. With the knowledge of this double creative life lead by the same writer Sartre, we are driven straight to the following questions: how could the young Sartre’s idea of image be limited to image-picture, as pretended to be so by Ricoeur? How could Sartre the writer of fiction be unaware of the existence of image-fiction? Is it possible for Sartre the author of literary creation to limit himself to reproductive imagination and neglect completely productive imagination as presented by Ricoeur and his followers? It is with these questions in mind that this article defends Sartre against Ricoeur’s criticism.
著者Kwok-ying Lau
編輯Saulius Geniusas
書名Stretching the Limits of Productive Imagination: Studies in Kantianism, Phenomenology and Hermeneutics
出版社Rowman and Littlefield International Ltd
出版地London / New York
頁次147 - 161
關鍵詞Sartre, image-fiction, image-picture, productive imagination, phenomenology

上次更新時間 2019-17-01 於 15:36