By David Hume, Eric Steinberg, J. B. Schneewind
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Extra resources for An Enquiry Concerning the Principles of Morals
It attempts to discover new features of referentiality which are not descriptive, features of communicability which are not utilitarian, and features of reflexivity which are not narcissistic, as these are engendered by the literary work. In a word, hermeneutics is placed at the point of intersection of the (internal) configuration of the work and the (external) refiguration of life. In my opinion, all that was stated above concerning the dynamics of configuration proper to literary creation is but a long preparation for understanding the true problem, that of the dynamics of transfiguration proper to the work.
In the first section of this paper I discuss Ricoeur’s approach to Kant’s problem of the ‘productive’ or creative imagination. In the second section I focus on Ricoeur’s appropriation of Heidegger’s notion of the temporality of human being. I wish to argue that Ricoeur’s narrative theory is an attempt to think these two problems, imagination and time, together. The final section considers Ricoeur’s recent work in light of his larger philosophical project, the Philosophy of the Will, and his attempt to answer the question: What is Man?
Is this not where narrative comes in? Ricoeur’s response to these questions, briefly, is that he hopes to have answered David Carr’s question about the relation between art and life by his account of three levels of Mimesis. At the first level, life prefigures narrative. Ricoeur argues for a relation of dynamic circularity between life and narrative, and claims that in the widest sense, literature does feed into the world of narratives into which we are born, and that art, poiesis, reveals and transforms life.