康德以圖式論說明具普遍性意義的知性概念如何藉想像力與時間被應用在感性經驗對象上，呂格爾以圖式論說明敘事的情節如何藉想像力與時間將多樣與分散的事件統合為一個完整的故事，這也可說是將具普遍性意義的敘事情節應用在個別的事件上。整個來說，圖式是連結一般性與個別對象的中介，而想像力與時間性為落實此方法的重要因素。在呂格爾之前的鄂蘭已視敘事為建立公共空間的重要方式，她卻寧願以範例來說明故事人物的個別事蹟代表著普遍意義，因她藉範例而強調具體的圖像式語言之作用與力量。呂格爾對於鄂蘭的敘事理論做了進一步的發揮，他是否延續著鄂蘭之範例以及所據的圖像式語言而發揮了圖式在敘事方面的作用與力量？本文欲從呂格爾對於敘事圖式論的開展，來探討敘事作用在二者的發展關係。

Kant explains with schematism how the concepts of understanding that entail an universal meaning can be applied to the sensual and empirical objects in terms of imagination and temporality. Ricoeur explains with schematism how a narrative plot can compose multiple and dispersed events into a whole story in terms of imagination and temporality. This can also be said that a narrative plot impregnated with an universal meaning is applied to the separated events. In whole, a schema mediates the general and particular by imagination and temporality. Before Ricoeur, Arendt has taken narrative for an important way to establish the public space. However, she explains that an individual deed of a story character can, rather with an example than with a schema, represent the general meaning. For she distinguishes the function and strength of the image language in form of example. Ricoeur develops Arendt’s theory of narrative. Did he exert also the function and strength of narrative schema in terms of Arendt’s example model and image language form? This article aims to investigate the relationship of Arendt to Ricoeur regarding the issue of narrative, and in terms of Ricoeur’s discussion of the schematism of narrative function.