羅曼．英格頓，當代歐洲美學家與文學批評家，將時間分類為1.代表性時間，2. 中間主觀時間，3. 主觀時間；將空間分類為 1. 代表性空間，2. 想像空間。〞代表〞的時 空與藝術有直接關聯。因為每一文學作品在本質上是〞代表〞的。一首詩中的〞代表世界〞 與一部戲劇或小說中的一樣。它是自給自足的藝術成品，無涉於作者生活圈或讀者的現實世 現。 英格頓的代表時空理論是法國小說家， 馬索．普魯斯特（ 1871-1922 ）（ Le Temps Retrouve 之作者）〞純粹時間〞的回響。 為了經歷時間之路，普魯斯特藉由〞純粹時間〞 的片刻，同時抓握過去與現在。但〞純粹時間〞明顯地並非時間，它是時間的片刻概念，不 可避免地必須經由空間表達。為了表達此一〞純粹時間〞，普魯斯特將他對小說中人物的純 粹觀點提供給讀者，亦即〞在片刻現象中的靜態觀點，〞採自人物的生活寫照的不同時期， 並允許讀者以其敏銳思維，融匯這些觀點為一。 就時間邏輯而言，批評家約瑟夫．法蘭克將他的空間邏輯証諸反身語言。他斷言既然一首詩 的字組的主要目的是指涉詩中的某事，那麼意義的關係只有藉由字組在空間的同時認知來完 成。當它以音調順序發音時，意義彼此之間並無可理解的關聯，而整個內在指涉的模式又被 視為一體。於是一群字組的同時並列，自然地導引向空間的塑成。結果是，數行之後，聯貫 性的前後次序消失，其隨之而生的時間次序亦然。 以上就三家對於代表性時間的界定予以解說，並將此一時空的相互替換証諸英美現代詩。尤 其是在意象詩中，時空－空間代替時間的特質，是本篇論文的著墨重心之所在。

　　　　　Roman Ingarden, the present-day European esthete and literary critic, categorizes time as 1) the represented time, 2) the inter-subjective time, 3) the subjective time; and space as 1) the represented space, 2) the imaginational space. It is the "represented" time and space that have direct relationship with art. For any literary work is by nature "representational." The "represented world" in a poem is just the same as that in a drama or novel. It is itself an autonomous artifact, different from and possibly irrelevant to the author's living milieu, and to the reader's real world. Ingarden's theory of the representational time and space, reverberates the French novelist, Marcel Proust's (1871-1922) "pure time" notion. To experience the passage of time, Proust grasps both past and present simultaneously in a moment of what he calls "pure time." But "pure time" obviously is not time at all. It is perception in a moment of time, and should be inevitably expressed through space. To express this "pure time" Proust gives us what might be called pure views of his characters-"views of them motionless in a moment of vision" in various phases of their lives - and allows the sensibility of the reader to fuse these views into a unity. For the aesthetics of time logic, the critic, Joseph Frank, bases his space logic on the reflexive language. He asserts that since the primary reference of any word-group is to something inside the poem itself, the meaning relationship is completed only by the simultaneous perception in space of word-groups which, when read consequitively in tone, have no comprehensible relation to each other, and the entire pattern of internal references is apprehended as a unity. The simultaneous juxtaposition of clusters of word-groups thus induces itself toward the shaping of spatial form, which results in the disappearance of coherent sequence after a few lines, and consequently the sequence of time order. After a clarification of the definitions of the "representational" time and space in literature based on Roman Ingarden, Marcel Proust, and Joseph Frank, I further discover the complication of both the representational time and space - the exchange of these two elements obvious and functional in modern poetry, particularly in the Imagist school poetry, a section of discussion about this aspect thus ensues.