As Adriana Cavarero (2016) notes, narrative imagination is the basis for recognizing the other’s singularity. And as Black radical tradition teaches (from Douglass to Glissant), imagination is the weapon of the unfree: to imagine a world without slavery was already to begin its abolition.
For Ricoeur, a live metaphor does not simply replace a literal term; it creates a semantic impertinence that forces us to restructure semantic fields. “Time is a beggar” (Rilke) is not a substitution but a new predication. Imagination is the operation of grasping this new resemblance in the absence of literal similarity. poetics of imagination
These principles are not merely descriptive; they are generative for criticism. A poem, painting, or film can be analyzed by asking: What figurations does it mobilize? How does it synthesize incompossible elements? What absences does it require me to fill? What world does it disclose? The poetics of imagination is not a luxury of aesthetic theory. It is the study of how human beings escape the prison of the given. In an era of climate crisis, algorithmic prediction, and ideological closure, the capacity to imagine otherwise becomes an urgent political-ethical task. As Adriana Cavarero (2016) notes, narrative imagination is
This paper advances two core theses: (1) Imagination is , not decorative: it generates the very textures of experience. (2) Its poetic operation follows discernible logics—metaphor, narrative emplotment, and image-schema—that can be analyzed formally. “Time is a beggar” (Rilke) is not a
Reverie as a distinct imaginative mode—neither dream (unconscious) nor calculation (conscious). Reverie allows the self to become “transparent to its own imagination.” The poetics of imagination is therefore a practice of receptivity : the poet lends words to the image’s own force.