Introducing the Theory and Methodology of the Imagination Syntax in Jean Burgos’s View

Imagination theory (imagination syntax) tries to display a method by which readers can find the structure and the syntax of a work of art; they can as well have a scientific reading of that work. It is, however, possible that these theories and readings, which practically enjoy structuralist methods, to be regarded as paradoxical. But the writer believes that imagination likewise follows the imagination rules and also the rules dominating various imagination creations. Believing in these rules does not lead to the denial of the individual freedom, but it is solely an examination of the circumstances in which imagination is taken into play in order to have a better understanding of its main features and inherent meanings. The numerous studiies in those fields have obviously prevented any claim to a critical consensus. The writer of this article has limited himself to the methodology proposed and practiced by Jean Burgos. This methodology elucidates a constant process which starts from collective imagination and ends up with subjective imagination. In other words, if we draw a line and put Jung’s and Lacan’s theories, which are about subjective imagination, at the two ends, Burgos stands somewhere in the middle. Hence we put our questions forward and search for the answers. Why does this or that image occur to the mind? What does it signify? And what other images does it include as a texture? Which imagination syntax does it display? And how can we learn the grammars underlying the imagination creations?