By David Wood
On Paul Ricoeur examines the later paintings of Paul Ricoeur, relatively his significant paintings Time and Narrative, via extending and constructing the talk this paintings has encouraged. Time and Narrative is the best instance of up to date philosophical hermeneutics and is without doubt one of the most vital works of philosophy released within the overdue 20th century. Paul Ricoeur's research of the intertwining of time and narrative proposes and examines the chance that narrative may therapy a deadly deficiency in any merely phenomenological method. He analyzes either literary and historic writing, from Proust to Braudel, in addition to key figures within the historical past of philosophy.
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Extra resources for On Paul Ricoeur: Narrative and Interpretation
Reality is contained neither in the dictionary nor in grammar. It is precisely this extrapolation from linguistics to poetics that appears to me to invite criticism: the methodological decision, proper to structural analysis, of treating literature in linguistic categories which impose the distinction between inside and outside. From a hermeneutical point of view, that is to say from the point of view of the interpretation of literary experience, a text has an entirely different meaning than the one recognized by structural analysis in its 26 LI FE I N QU E ST OF NARRATIVE borrowings from linguistics.
If narrative suggests, further, that experiences have a beginning, middle and end, is that really contentious? It seems to be true both of actions and sets of actions? ’ If it is argued that narrative selects whereas life is messy, this is true, but selection does not begin in narrative, but in life itself, with attention and planned activity. Here too there are analogies with 16 I NTRODUCTION: INTE RPRETI NG NARRATIVE narrative voice. Carr concludes that the distortion view of narrative itself fails to grasp the inherent tendencies—albeit incomplete—towards coherence in life itself.
Kant opposes genius to the ‘spirit of imitation’ (viz. the reproductive imagination). Far from copying a pre-existing rule or pattern, genius as defined by Kant is ‘the talent which gives the rule to art’ (CJ, p. 150). Art gives pleasure according to Kant because it manifests a rule governedness. However, the creative imagination does not begin with but rather contributes the rule to a work of art in the very process of creating it. Kant’s suggestion that artistic genius includes a rulegiving aspect is thus congruent with Ricoeur’s wish to render texts susceptible to explanation.