This article presents Gadamer’s interest in temporality as his strategy for advancing hermeneutics as philosophy of experience, a strategy becoming significantly more salient with the appearance of his 1992 essay, ‘Wort und Bild’. I demonstrate how temporal categories readily demarcate the problem of ontological imbalance so central in Gadamer’s philosophical project, a demarcation that removes any illusion of compatibility between Gadamer and the hermeneutics of Paul Ricoeur. The article also considers some common misunderstandings of Gadamer resulting from a failure to take full account of his interest in temporality, misunderstandings that prohibit recognizing the radical potential of Gadamer’s hermeneutical philosophy for our understanding of human finitude. A full account of this orientation must begin with a grasp of the exemplariness of art in his philosophy, and in this connection, the article raises the question of Gadamer’s late interest in the distinct exemplariness, not of lyric poetry, but of narrative art.
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