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15 In his published work, Ricoeur refers to Dagognet and iconic augmentation in the following, with original years of publication in brackets: Ricoeur (1976, p. 4043); Ricoeur (1991b [1979], p. 129-33); Ricoeur (1991h [1977], p. 334-36; Ricoeur (1991d [1980], p. 150; Ricoeur, 1984 [1983], p. 80-82). As I go on to mention in the text, Ricoeur does not discuss Dagognet in The Rule of Metaphor (1977b), which was originally published in French in 1975. The absence of discussion of Dagognet there leads me to suspect that although Ricoeur’s book, Interpretation Theory (1976), began as a set of lectures originally delivered in 1973, the few pages there on Dagognet and iconic augmentation were added later upon the expansion of the text for publication in 1976.

14-15) where Ricoeur mentions Gadamer, he also refers to Dagognet. The paragraph is of additional interest as it provides a glimpse into what Ricoeur’s argument might have been had he developed, as originally contemplated, an analysis of MerleauPonty’s theory of painting instead of Dagognet’s. In anticipation of what he later planned with Merleau-Ponty, Ricoeur mentions Merleau-Ponty’s response to the paintings of Cezanne. In the present paragraph Ricoeur observes: “When I have seen, for example, a painting by Cezanne, I’m related to reality as a landscape.

This stance, which leads us to anticipate the inherent role of the cultural imagination, is confirmed by Taylor’s observation that ‘Ricoeur both begins and ends the lectures by maintaining that the correlation of ideology and utopia typifies what he calls the social and cultural imagination’ (1986, p. xxviii). Moreover, Taylor’s 2006 essay comments on Ricoeur’s separate lecture series on the imagination—also held in the fall of 1975 at the University of Chicago—and exposes Ricoeur’s thought that the ‘social and cultural imagination’ is, among the epistemological, poetic, and mythic-symbolic ones, a key ‘domain of productive imagination’ (Taylor 2006, pp.

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