scholarly journals Aesthetic Experience, Mimesis and Testimony

2012 ◽  
Vol 3 (1) ◽  
pp. 172-193 ◽  
Author(s):  
Roger W. H. Savage
Keyword(s):  
Aesthetic Experience ◽  
Paul Ricoeur ◽  
Work Of Art ◽  
The Real ◽  
Paul Ricœur ◽  
Music Literature ◽  
Definition Of ◽  
The Way

In this article, I relate the demand that Paul Ricoeur suggests mimesis places on the way we think about truth to the idea that the work of art is a model for thinking about testimony. By attributing a work’s epoché of reality to the work of imagination, I resolve the impasse that arises from attributing music, literature, and art’s distance from the real to their social emancipation. Examining the conjunction, in aesthetic experience, of the communicability and the exemplarity of a work reveals how Ricoeur’s definition of mimesis as refiguration relates to the “rule” that the work summons. This “rule” constitutes the solution to a problem or question for which the work is the answer. In conclusion, as a model for thinking about testimony, the claims that works make have a counterpart in the injunctions that issue from exemplary moral and political acts. 

scholarly journals The Aporetics of Temporality and the Poetics of the Will

2021 ◽  
Vol 11 (2) ◽  
pp. 12-27
Author(s):  
Roger W. H. Savage
Keyword(s):  
Philosophical Anthropology ◽  
Paul Ricoeur ◽  
The Real ◽  
The Past ◽  
Starting Point ◽  
Paul Ricœur ◽  
The Future ◽  
Intended Object ◽  
The Will ◽  
The Way

The aporias of time that Paul Ricœur identifies in the conclusion to his three-volume Time and Narrative offer a fecund starting-point from which to consider how the poetics of narrativity figures in a philosophy of the will. By setting the poetics of narrativity against the aporetics of temporality, Ricoeur highlights the narrative art’s operative power in drawing together incidents and events in answer to time’s dispersion across the present, the past, and the future. In turn, the confession of the limits of narrative opens the way to a broader consideration of the idea of the unity of history in the absence of a meta-historical plot. This idea calls for a reflection on the ethical and political imperative of making freedom a reality for all. By taking the theory of freedom’s actualization as a touchstone, I argue that the vision of a reconciled humanity that for Ricœur is the intended object of the poetics of the will acquires the force of a directive idea. The capacity to refashion the real from within thus proves to be decisive for drawing out the connection between the aporetics of temporality, the poetics of narrativity, and Ricœur’s philosophical anthropology.

Los criterios de textualidad en la hermenéutica de Paul Ricoeur. Un análisis crítico

2008 ◽  
Vol 14 ◽  
Author(s):  
Adrián Bertorello
Keyword(s):  
Structural Analysis ◽  
Reading Strategies ◽  
Paul Ricoeur ◽  
Material Base ◽  
The World ◽  
Paul Ricœur ◽  
Text Writing ◽  
The Way

RESUMENEl trabajo examina críticamente la afirmación central de la hermenéutica de Paul Ricoeur, a saber, que el soporte material de la escritura es el rasgo determinante para que una secuencia discursiva sea considerada como un texto. La escritura cancela las condiciones fácticas de la enunciación y crea, de este modo, un ámbito de sentido estable en el que se puede validar una concepción de la subjetividad que está implicada en las dos estrategias de lecturas (el análisis estructural y la apropiación), esto es, un sujeto pasivo que se constituye por la idealidad del significado. Asimismo, el trabajo intentará precisar una serie de ambigüedades en el uso que Ricoeur hace del «ser en el mundo» para sostener la referencialidad del discurso.PALABRAS CLAVETEXTO, ESCRITURA, REFERENCIA, SUBJETIVIDAD, MUNDOABSTRACTThis paper critically examines the main assertion of Paul Ricoeur´s hermeneutics, i.e., that the material base of writing is the determining feature to consider a discursive sequence as a text. Writing cancels the factual conditions of enunciation and creates, in this way, a background of stable meaning where it is possible to validate a conception of subjectivity implicated in the two reading strategies (the structural analysis and the appropriation), i.e., a passive subject constituted by the ideality of meaning. Likewise, this paper aims to clarify some ambiguities in the way Ricoeur uses the «beings in the world» to support the discourse referentiality.KEY WORDSTEXT, WRITING, REFERENCE, SUBJECTIVITY, WORLD

Time

2021 ◽  
pp. 163-179
Author(s):  
Jesse Matz
Keyword(s):  
Mikhail Bakhtin ◽  
Paul Ricoeur ◽  
Reciprocal Relationship ◽  
Henri Bergson ◽  
Subjective Time ◽  
Phenomenological Hermeneutics ◽  
Paul Ricœur ◽  
The Mind ◽  
The Way

Orlando and other texts express Woolf’s interest in subjective ‘time in the mind’, an interest she shared with other modernists who challenged chronological norms, but Woolf explored other forms of time as well. Some align her work with the theories of Henri Bergson, Mikhail Bakhtin, and Mary Sturt, and this variety—the way Woolf developed forms of time across her career as a writer—tracks with the phenomenological hermeneutics of Paul Ricoeur. His Time and Narrative explains the dialectical pattern according to which Woolf perpetually found new ways for time and narrative to shape each other, culminating in novels that thematize this reciprocal relationship between the art of narrative and possibilities for temporal engagement. Woolf’s early fiction breaks with linear chronology, starting a series of virtuoso performances of temporal poiesis.

scholarly journals Social imagination, abused memory, and the political place of history in Memory, History, Forgetting

2014 ◽  
Vol 5 (2) ◽  
pp. 35-47 ◽  
Author(s):  
Esteban Lythgoe
Keyword(s):  
Paul Ricoeur ◽  
The Political ◽  
Social Imagination ◽  
Cognitive Dimension ◽  
Paul Ricœur ◽  
Artificial Memory ◽  
The Way

AbstractIn this paper we intend to show that in Memory, History, Forgetting, Paul Ricœur articulates memory and history through imagination. This philosopher distinguishes two main functions of imagination: a poetical one, associated with interpretation and discourse, and a practical and projective one that clarifies and guides our actions. In Memory, History, Forgetting, both functions of imagination are present, but are associated with different aspects of memory. The first one is present especially in the phenomenology of the cognitive dimension of memory; the second one is developed in the analysis of the abuses of artificial memory, while their convergence is described in the section on the abuses of natural memory. Besides the similarities in the way these functions of imagination operate in Oneself as Another and in Memory, History, Forgetting, we will show some important differences between these two works and we will propose reasons for these differences.Keywords: Poetical Imagination, Practical Imagination, Abused Memory, Ideology, Utopy.RésuméDans cet article nous souhaiterions montrer que, dans La mémoire, l’histoire, l’oubli, l’imagination productrice est ce qui permet d’articuler la mémoire et l´histoire. Ricœur distingue deux principales fonctions de l’imagination: l’une, poétique, associée à l’interprétation et au discours ; l’autre pratique et projective, qui éclaire et oriente nos actions. Dans La mémoire, l’histoire, l’oubli, ces deux fonctions de l’imagination sont présentes mais elles sont associées à des aspects différents de la mémoire. La première est surtout présente dans la phénoménologie de la dimension cognitive de la mémoire, la seconde apparaît dans l’analyse des abus de la mémoire artificielle, et l’articulation entre ces deux fonctions se trouve enfin décrite dans la section concernant l’abus de la mémoire naturelle. Outre les similitudes dans la façon dont ces fonctions de l’imagination opèrent dans Soi-même comme un autre et dans La mémoire, l’histoire, l’oubli, nous essaierons de montrer qu’il existe cependant certaines différences importantes entre ces deux œuvres en tentant d’en expliciter les raisons.Mots-clés: Imagination poétique, imagination pratique, mémoire abusée, idéologie, utopie.

scholarly journals Criação artística e metáforas bíblicas: uma relação de experiência | Artistic creation and biblical metaphors: a relationship of experience

2021 ◽  
Vol 3 (2) ◽  
pp. 292-312
Author(s):  
Jéferson Luís Azeredo ◽  
Edivan Waterkemper Silveira
Keyword(s):  
Friedrich Nietzsche ◽  
Religious Experience ◽  
Aesthetic Experience ◽  
Paul Ricoeur ◽  
Artistic Creation ◽  
The World ◽  
Paul Ricœur ◽  
Relationship Of

Neste artigo, evidenciamos que, para que possamos pensar as metáforas como um campo de experiências para a criação artística e, com isso, possamos usá-las como possibilidade aberta de repensar o mundo em que vivemos, é necessário destacá-las como lugar de experiência; para que isso aconteça, nosso objetivo aqui é indicá-las como uma disposição da compreensão. Procuramos, com isso, convocar o potencial da disposição para que nunca deixemos de empreender uma intensa e inesperada experiência nova, pois, quando as palavras se abrem para novas possibilidades, ao acessá-las pela via da compreensão e experiência, podemos ressignificar o mundo em que vivemos e, sobretudo, a nós mesmos. Alijamos essa compreensão a partir de alguns autores, especialmente Paul Ricoeur, Aristóteles e Friedrich Nietzsche, pois a partir deles,somos capazes de realizar o diálogo com as metáforas bíblicas, como um tipo mais específico de experiência, aproximando a experiência religiosa e o pensamento, no que se refere à criação artística.Palavras-chave: Metáforas bíblicas. Experiência estética. Diálogo. Lugar. AbstractIn this article, we show that, so that we can think of metaphors as a field of experiences for artistic creation and, therefore, also as an open possibility of rethinking the world we live in, it is necessary to highlight them as a place of experience, and for this happen, our aim here is to indicate them as a disposition of understanding. With this, we seek to summon the potential of disposition so that we never stop undertaking an intense and unexpected new experience, because, when words open up to more possibilities, by accessing them through understanding and experience, we can reframe the world in which we live and, above all, ourselves. We jettisoned this understanding from some authors, especially Paul Ricoeur, Aristotle and Friedrich Nietzsche, because from them, we are able to carry out a dialogue with biblical metaphors, as a more specific type of experience, bringing together religious experience and thought in the which refers to artistic creation.Keywords: Biblical metaphors. Aesthetic experience. Dialogue. Place. ORCIDhttp://orcid.org/0000-0002-1770-6021 

scholarly journals The Totalitarian Creation in its Claim of Genius

2019 ◽  
Vol 12 (2) ◽  
pp. 131-139
Author(s):  
Zinaida Bolea
Keyword(s):  
New World ◽  
Human History ◽  
Creation Process ◽  
The Real ◽  
The Creation ◽  
Definition Of ◽  
The Relationship ◽  
The Way

Abstract Creation is a fundamental definition of genius, and we are wondering if those minds that created totalitarian systems, could remain in human history through destructive impact on millions of people’s minds, and could they possibly be included in genius category. Certainly, we could support the idea of the participation of these people in the creation process – in the creation of ideology of a new world, of a new Human etc. At the same time, the Real Human is perceived only as an object that can be manipulated, overwhelmed, dominated, controlled, destroyed etc., “love” and “investment” of the evil genius being dedicated to a non-existent Ideal Human. We are trying to understand what are the pillars of the relationship with the Others, and the dictators’ great seduction capacity. In the condition of the incapacity and inability of these personalities to appreciate humanity, most of them were able to provoke admiration. In the context of these paradoxical relations, becomes noticeable the responsibility of understanding the way perverse mind speaks with our minds in a way that we became available consciously or unconsciously to join in this destructive creation.

scholarly journals CERPEN “REMBULAN DI DASAR KOLAM” KARYA DANARTO DALAM HERMENEUTIK PAUL RICOEUR

2010 ◽  
Vol 9 (2) ◽  
pp. 378
Author(s):  
Yulia Nasrul Latifi
Keyword(s):  
Gender Role ◽  
Social Status ◽  
Paul Ricoeur ◽  
The Other ◽  
The Moon ◽  
Paul Ricœur ◽  
The Way

Danarto’s Rembulan di Dasar Kolam (The Moon Beneath the Pond) tells about a wife’s sacrifice in an unfortunate situation. The wife, is an unfortunate woman whose husband cheats and treats her disrespectfully. Yet, her spirituality endures her in such situation. Paul Ricoeur’s hermeneutics theory proposes the hypothesis that the analysis of symbol is a guide to the analysis of text, and the other way around. Both must be submitted to a process of metamorphosis or dialectical phenomena. The result of this analysis is the emergence of symbolical meaning in various terms. Rabi’ah becomes a symbol of a wife’s strength. Her wisdom and personality give the way out to her household problems. Her social status as well as gender role is the symbol that religiosity belongs to anyone despite one’s social status. From this character, it can be seen that the knowledge of spiritualism is aimed not only vertically (to God) but also horizontally (to humanity). The title Rembulan or the Moon symbolizes the wife, because, despite her condition- symbolized as the pond-she endures and still gives her shine, like the moon.

scholarly journals Paul Ricœur’s Hermeneutics of the Beauty of Unpredictability

1970 ◽  
Vol 22 (2) ◽  
pp. 119-126
Author(s):  
Andrzej Wiercinski
Keyword(s):  
Paul Ricoeur ◽  
Great Pleasure ◽  
Life Project ◽  
Paul Ricœur ◽  
Psychotherapy And Religion ◽  
The Way

Thinking with Paul Ricœur is a great pleasure and an even greater challenge. The more we seem to understand his life project, the more perplexed we are when facing the inescapability of the incompleteness, incomprehensibility, and impenetrability of what calls for thinking. Ricœur remains a faithful companion on the way to understanding oneself and reaching the inaccessible, despite the unprecedented progress of psychology, psychoanalysis, psychotherapy, and religion.

scholarly journals INTERPRETAÇÃO E SUBJETIVIDADE EM PAUL RICOEUR

2010 ◽  
Vol 31 (101) ◽  
pp. 375
Author(s):  
Stefan Bulawski
Keyword(s):  
Paul Ricoeur ◽  
Paul Ricœur ◽  
Definition Of

O homem é um ser (ente) cujo ser consiste em interpretar. Sobre esta relação, presente na definição do homem em Paul Ricoeur, gostaria de falar neste artigo.Abstract: Humans are beings whose being consists in interpreting. This article aims at discussing this relationship which appears in Paul Ricoeur’s definition of man.

scholarly journals L'unité de la “vaste sphère poétique”

2017 ◽  
Vol 7 (2) ◽  
pp. 111-123
Author(s):  
Yvon Inizan
Keyword(s):  
Lyric Poetry ◽  
Paul Ricoeur ◽  
General Idea ◽  
Work Of Art ◽  
Nelson Goodman ◽  
Paul Ricœur ◽  
Common Thread ◽  
Northrop Frye ◽  
Made In

Is there, in the work of Paul Ricœur, as has been said, a form of dissymmetry between the field of metaphor and that of narrative ? From The Rule of Metaphor, the reference to Northrop Frye and to Nelson Goodman will make it possible to fully grasp the unity of the poetic sphere. The Rule of Metaphor and Time and Narrative are then presented as two twin works. Paul Ricœur explains in particular that lyric poetry itself has the power to produce a plot, and that in this sense “the feeling articulated by the poem is no less heuristic than the tragic tale.” (The Rule of Metaphor (London: Routledge and Kegan Paul, 1986 [1978]), 245.) Following certain references made in these two twin books – where the dialectic between “discovering and creating,” “finding and projecting” (The Rule of Metaphor, 306) can be read –, it is then possible to make a common thread appear in the analyses where a general idea of the creative act presents itself as a viewpoint. The work of art becomes experience, proof of a “tensional” conception of truth, a dialectic between “the experience of belonging” and “the power of distanciation.”

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