本文探討呂格爾詮釋學中的想像論，以詮釋的方向為導引線索，希望釐清詮釋學循環中有一逐步擴大的方向性。此種詮釋學循環使得呂格爾得以吸納其他人文學科，與不同的理論進行對話。以想像論為核心，象徵、隱喻、敘事分別構成詮釋學循環的重要環節。然而，隱喻本身所帶入的語意轉移，已經運用了方向、運動的隱喻；在隱喻理論的檢討中，呂格爾強調語意的創新，想像力則負責聯繫差異與同一的綜合。隱喻也處於意義與指涉的辯證中，呂格爾則特別強調存有論的解讀，語意創新仍有對世界的指涉，而非斷絕。以想像力作為方法奠基，呂格爾分別在隱喻、敘事、行動三種層面解說，顯示出生產的想像力的圖式論貫串其詮釋學構想。想像力結合著意義轉移，拉張了詮釋空間，也彰示了詮釋介入世界的動態，並透過衝突、對立的辯證模式，讓詮釋者、文本、他者的循環變換持續進行。

This paper investigates the theory of imagination in Paul Ricoeur; by using the hermeneutical orientation as guideline, it will clarify the extension of hermeneutical circle. This extension allows Ricoeur to have dialogue with different theories in human sciences. For him, the imagination plays a key role in animating symbol, metaphor, and narrative to constitute the hermeneutical moments. The semantic transference imported by metaphor is itself an application of metaphor of movement and of direction. While Ricoeur examines the theories of metaphor, he focuses on the semantic innovation, in which the imagination operates the synthesis of identity and difference. Metaphor itself is engaged in the dialectics of sense and reference, in this regard, Ricoeur intensifies an ontological reading; for him, the semantic innovation has still its connection with the world instead of cutting from it. Based on the theory of imagination, Ricoeur explains how the schematism of productive imagination goes through his hermeneutics by integrating the three aspects: metaphor, narrative, and action. The imagination is combined with the transference of meaning and distends the hermeneutical space. It shows the dynamics of the interpretative engagement in the world by way of the dialectical model of conflicts and oppositions. Due to the function of imagination, there could be a continuous cyclic alteration of interpreter, text, and the other.