Source: http://ricoeur.pitt.edu/ojs/index.php/ricoeur/article/view/360
Timestamp: 2019-04-25 18:10:59+00:00

Document:
Vinicius Oliveira Sanfelice is a PhD student in philosophy at the Universidade Estadual de Campinas under the supervision of Prof.ª Jeanne Marie Gagnebin. He researches in the area of philosophy (funding by São Paulo Research Foundation - FAPESP/grant 2015/27009-3) with emphasis on the contemporary French philosophy, mainly the themes of imagination, metaphor, poetics, aesthetic and literature.
1. Outlines of an Aesthetic Dimension in Paul Ricœur, forthcoming in Ricœuriana (AISER), V. 1, n. º 1, 2016.
2. “Critical hermeneutics?”, forthcoming in Cognitio-Estudos (PUC-SP. Online), 2016.
3. Paul Ricœur: aesthetical elements in the poetical and figurative imagination. Peri, V. 7, 2015.
4. The truth of metaphors: two Readings of Nietzsche. Cognitio-Estudos (PUC-SP. Online), V. 10, pp. 259-267, 2013.
5. Derrida, Levinas and Ricœur: French readings on the metaphor in Nietzsche. Sapere Aude: Revista de Filosofia, V. 4, pp. 25-35, 2013.
6. Imagination in Paul Ricœur: a path with Husserl and Kant. Thaumazein (Santa Maria), V. 10, 2013.
7. The poetical-social imaginary in Paul Ricœur: mimesis and utopia. Guairacá (UNICENTRO), V. 29, pp. 109-126, 2013.
1. Five Lessons: from language to image. Palermo: Aesthetica Preprint. Joint translation (FABRI, M.) of lectures of Ricœur (Italian), 2013.
2. Metaphor and aesthetic in the thought of Paul Ricœur. Article of Jérôme Cottin (French), 2013.
3. Symbol, metaphor and narrative: the statute of the fictional in Ricœur. Jean-Luc Amalric. Joint translation (ROSSATTO, N. D.) In Pensar Ricœur: vida e narração, eds. by Roberto Wu and Cláudio Reichert do Nascimento, 131-167. Porto Alegre: Clarinete, 2016.
The objective of this article is to offer an example of a work of art identified with what Paul Ricœur named polysemy or linguistic density. Some works of art exemplify a metaphoricity in their constitution and the metaphor would be a privileged model for the analysis of figurative art and of allusive figuration. I believe that the painting A Bigger Splash by David Hockney has an image game that is also a language game: the aesthetic figuration as semantic link between the verbal and the non-verbal, between the poetic and the pictorial. I argue that figuration through metaphoricity also exemplifies an ambiguity in Ricœur’s philosophy of language, and the distinction between the field of the pre-narrative and the narrative of the artwork clarify the aesthetic aspect of his theory of metaphor. The advantage of my example is that the immanent analysis of the metaphoric constitution of the work of art is compatible with the isolation of its narrative elements. The metaphoric redescription in painting should not be automatically extended to the narrative refiguration.
Art, Metaphor, Ricœur, Aesthetic, Image.

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