ON IMAGINATION AND UNDERSTANDING. GADAMER AND CRITICISM OF KANT'S AESTHETIC IMAGINATION (original) (raw)

The Place of imagination in Philosophical Hermeneutics

International Yearbook for Hermeneutics, 2015

This essay demonstrates how the imagination enters into the act of interpretation and understanding in Hans-Georg Gadamer’s philosophical hermeneutics, despite the fact that Gadamer does not thematize the imagination as such. It is first shown, through an analysis of the imagination in Aristotle’s De Anima, how the imagination has an interpretive function in any act of apprehension. It is then shown how this interpretive function of the imagination occurs in relation to both the formation and bringing forth of meaning in an act of hermeneutic understanding. The argument is strengthened by noting a similarity between Gaston Bachelard’s poetics of the imagination and Gadamer’s hermeneutics.

Imagination in Kant

Dept of Foreign Languages and Literature, National Chi-Nan University, 2004

The task consists of two parts. Part One develops a counter-exposition of Kant’s theory of free play, an exposition from the productive side of beauty rather than the appreciation. This part offers materials from Kant’s theory of art, genius and aesthetic ideas. Part Two focuses on the notion of imagination. From the three different patterns of association of this power (constrained particular associations in cognition, universal associations in theoretical and moral reflections, and aesthetic association in aesthetic reflection) an interrelation among three forms of mental determination (particular determinations, universal determinations and aesthetic determination) that structuralize the schematic form of every instance of consciousness is developed. Furthermore, the communication of aesthetic ideas between a genius and his or her animatee is used to deduce the universality of such a structure consists of three forms of determination, and such communications as commonplace phenomena and the existence of geniuses are used to deduce the existence of the structure. At the end, more comprehensions about consciousness, subjectivity, freedom and humanity are anticipated with the critique of such a structure.

Kant and the Power of Imagination

2007

In this book Jane Kneller focusses on the role of imagination as a creative power in Kant's aesthetics and in his overall philosophical enterprise. She analyzes Kant's account of imaginative freedom and the relation between imaginative free play and human social and moral development, showing various ways in which his aesthetics of disinterested reflection explains moral interests. She situates these aspects of Kant's aesthetic theory within the context of German aesthetics of the eighteenth century, arguing that his contribution is a bridge between early theories of aesthetic moral education and the early Romanticism of the last decade of that century. In so doing, her book brings the two most important German philosophers of Enlightenment and Romanticism, Kant and Novalis, into dialog. The book will be of interest to a wide range of readers in both Kant studies and German philosophy of the eighteenth and nineteenth centuries.

Kant's Theory of the Imagination

Routledge Handbook of the Imagination, ed. Amy Kind

In this entry, I discuss Kant’s account of the imagination as a pervasive mental capacity that contributes to the cognitive, aesthetic, and moral aspects of our lives. I examine his basic definition of the imagination as a capacity for producing representations that bridge the gap between what is sensible, on the one hand, and what is non-sensible or intellectual, on the other. I then consider the different empirical and transcendental levels at which the imagination is operative, as well as the different types of productive and reproductive activities it engages in across the cognitive, aesthetic, and moral contexts.

Intuition in artworks compared to the Kant’s theories in the Critique of Pure Reason

Abstract “Intuition” is one of the most salubrious and mysterious parades of human being religious life. Recognition of essence and its spirit, value of knowledge, evaluation of pureness from spurious among critique masses of theories, brought concerns to many thinkers and intellectuals. An artwork becomes unique and everlasting when from one hand, rooted in transcendent and sensual intuition of the artist and from other hand through the understanding of its addressees. The “intuition” reveals the truth in the mind of artist and finally the truth of the artwork. The “intuition” is one of the most fundamental concepts of Immanuel Kant’s philosophy and to the extent of an infrastructure; it plays a key role in Kant’s knowledge system. Kant emphasizes on sensual intuition and put the subjectivity as the main theme of his work and this attitude has been instrumental in the formation of the great artworks and schools in the era of modernism and even postmodernism. In review of artworks, we observe the presence of intuition in triangle of artistic work, artist and addressee. In this article we intend to determine the intuition status in creation of artworks and based on Kant’s first critique (critique of pure reason) to explain and emphasize its place in artworks. This paper is based on hypothesis that artworks output of disposure and intuition, and artist has created an art by using his own unique act of mind such as precedence intuition. Based on Kant's first critique the intuition is nothing but, the direct understanding of the meaning that exists at the present and has essential role in Kant's intuition of art that along with artist's ability will communicate with audience. This paper has been emphasized and compared the descriptive analytical methods by using books and articles. Key words Kant’s first critique (critique of pure reason), Kant’s intuition, artwork, intuition in artwork.

The Hidden Art of Understanding: Heidegger and Merleau-Ponty’s Appropriation of Kant’s Theory of Imagination

New Yearbook for Phenomenology and Phenomenological Philosophy

In this paper I explore the influence of Kant's theory of imagination on a specific aspect of Heidegger and Merleau-Ponty's thought, viz., their theories of understanding. I argue that the theories of Verstehen that Heidegger presents in Being and Time (1927) and of comprendre that Merleau-Ponty presents in Phenomenology of Perception can be helpfully read as elaborations of Kant's account of imagination.

Kant: the Beautiful Alliance between Imagination and Reason

To understand the metaphorical use of language, consideration must be given, not only to living metaphors, but also to dead ones, those which no longer seem like metaphors but have become more akin to concepts, and which are present in the language, without denying that in the language there are also terms with literal meaning. As a result, we can distinguish the concept from the metaphor by its use and its meaningful function, from where we can examine the different roles or functioning that the productive imagination has on both and, finally, indicate the expressive function of metaphors or aesthetic ideas in relation to the ideas of reason.