According to ancient texts on poetics, the concept of representation is deeply bound to that of “mimesis;” this last was intended in two main ways: as “imitation” and as “world construction.” In Aristotle's Poetics, mimesis is theorized as the main form of “world simulation,” giving rise to the complex universe of fiction. The concept of simulation plays a pivotal role in the neurocognitive theories on the embodied mind: within this frame, embodied simulation is intended as a functional prelinguistic activation of the human sensorimotor mechanism. This happens not only with regard to intercorporeality and intersubjectivity in the real world but also in relation to the process of imagination giving rise to literary imagery and to the reader's reception of the fictional world, since human beings share a common sensorimotor apparatus. Imagination is a central concept in the recent neurocognitive studies since it plays a core role in human life and in artistic production and reception. Imagination has been considered as a complex emergent cognitive faculty deeply intertwined with perception, memory, and consciousness, shaping human life and transforming the limited horizon of our perceptual affective understanding, being, and acting. Although there is an immense bulk of literature on this topic, imagination is still an elusive concept: its definition and understanding change according to different heuristic frames—mainly the philosophical, aesthetic, poetic, and cognitive ones—giving rise to debates about its modalities and effects, particularly in relation to the construction of aesthetic and symbolic constraints. In this paper, we claim that scientific research may take advantage from the literary representation of the imaginative faculties, which occurs in specific tests characterized by dynamic images and motion. In such meta-representation of the imagination, we witness the phenomenological emergence of endogenous dynamic processes involving a cluster of cognitive faculties, activated by triggering the reader's embodied simulation. One of the main German poets, Johann Wolfgang von Goethe, in the second part of his masterwork Faust II, intuitively represents the very process of the imagination and its responding to embodied simulation with regard both to the author's creative act and to its reception by the reader. At the crossway between literary and neurocognitive, this study aims to highlight the advantage offered to future transdisciplinary inquiries by the literary representation showing features and dynamics of the still mysterious phenomenon of the imagination.

根据古代关于诗学的文献，表征的概念与“模仿论”紧密相连。最后的目的主要有两个方面：“模仿”和“世界建设”。在亚里士多德的诗论理论上，模仿是“世界模拟”的主要形式，从而产生了复杂的小说世界。模拟的概念在具体化思维的神经认知理论中起着举足轻重的作用：在这个框架内，具体化仿真旨在作为人类感觉运动机制的功能性语言激活。由于人类共享一个共同的感觉运动装置，所以这不仅发生在现实世界中的公司间和主体间，而且还涉及到引起文学意象的想象过程和读者对虚构世界的接受。想象力是最近的神经认知研究的中心概念，因为它在人类生活以及艺术创作和接受中起着核心作用。想象力被认为是一种复杂的新兴认知能力，与感知，记忆和意识紧密地交织在一起，塑造着人类的生活并改变了我们感性情感理解，存在和行动的有限视野。尽管有大量关于该主题的文献，但想象力仍然是一个难以捉摸的概念：它的定义和理解会根据不同的启发式框架（主要是哲学，美学，诗意和认知框架）而发生变化，从而引发了有关其形式和形式的争论。效果，特别是在美学和象征约束的建构方面。在本文中，我们认为科学研究可以从具有想象力的学院系的文学表现形式中受益，这种表现形式发生在以动态图像和运动为特征的特定测试中。在这种想象力的元表示中，我们目睹了内源性动态过程的现象学出现，其中涉及一系列认知能力，并通过触发读者的具体化模拟而激活。德国主要诗人之一约翰·沃尔夫冈·冯·歌德（Johann Wolfgang von Goethe）在其杰作的第二部分浮士德二世直观地代表了想象的过程，以及对作者的创造性行为和读者的接受都对具体模拟的响应。在文学和神经认知之间的交汇处，本研究旨在通过显示表现出想象力的神秘现象的特征和动态的文学表征，来强调为未来跨学科研究提供的优势。