This paper focuses on the work to which the concept of image is put by Heidegger in his retrieval of the schematism in Kant and the Problem of Metaphysics. Whereas the schematic role of the image is never fully developed by Kant, Heidegger pays it much more attention, investing it with properties that have the potential to make the schema an active component in his own ontology. However, the motifs he uses to characterize the image depart from the conventional notion of an image as the representation of an object or scene, and are puzzling, if not to say mysterious. I show how the motifs acquire new relevance when they are considered in relation to (a) Boehm’s ‘indeterminacy’ theory of the image, and (b) the novel, ontological concept of time that Heidegger introduces. With these perspectives in mind, the motifs allow us to ‘image’ or imagine aspects of continuity that are central to Heidegger’s concept of primordial time, and therefore confirm the schema as a coherent element in his system. I also suggest how this clarified schema-image might act as a bridge between Heidegger’s philosophy before and after the turn.

中文翻译：

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海德格尔图式主义中的意象与不确定性

本文重点关注海德格尔在对康德图式和形而上学问题的检索中将图像概念置于其中的工作。尽管康德从未完全开发出图像的图式角色，但海德格尔对其给予了更多的关注，将其投入到有可能使图式成为他自己的本体论中的活跃组件的属性中。然而，他用来表征图像的主题背离了图像作为对象或场景的表示的传统概念，并且如果不说神秘的话，也是令人费解的。我展示了当考虑到（a）Boehm 的图像“不确定性”理论和（b）海德格尔引入的新颖的本体论时间概念时，这些主题如何获得新的相关性。考虑到这些观点，这些母题使我们能够“想象”或想象海德格尔原始时间概​​念的核心连续性方面，因此确认图式是他系统中的一个连贯元素。我还建议，这种澄清的图式-意象如何充当海德格尔哲学转向前后的桥梁。