Abstract

Paul Ricoeur sharply distinguishes his hermeneutics from Heidegger’s ‘ontological’ hermeneutics. An ontological hermeneutics, Ricoeur claims, is bound to be insufficiently critical. Yet this cannot be the whole story, since Ricoeur himself engages in ontological hermeneutics. What really distinguishes Heidegger’s hermeneutics from Ricoeur’s? I seek an answer to this question in the two thinkers’ appropriations of Kant. More specifically, I examine their appropriations of Kant’s view of the productive imagination, as conveyed in the Transcendental Schematism. Heidegger sees the productive imagination as a ‘third basic faculty’ prior to sensibility and understanding. Conceived in this way, the imagination is so primordial that it must be characterized in a highly abstract way. Ricoeur sees this move as dangerous, and tries to avoid it by reinterpreting the imagination as a faculty that requires the mediation of concrete symbols. In doing so, he hopes to preserve Kant’s insights while leaving room for critique