二十世紀法國哲學中對於想像力、想像物的論述，以巴修拉與沙特為重要的代表性人物，兩者雖然都與現象學有密切關係，但理論主張有相當大的歧異。本文主要從交互指涉的文本出發，從明顯與隱然批評的脈絡嘗試指出實際的分歧論點。透過對於「物質意象」的討論，勾勒出巴修拉與沙特在實際意象的使用與想像力的理論基礎上的明顯分歧。在分論的兩節中，分別勾勒兩者的想像論。沙特的主張立足於意向性原則，建立想像中的意象與對象的關係，但肯定想像的特徵來自一種虛無化的設定意識，這使得想像與實在世界產生距離。巴修拉的主張則是著重於想像不同於知覺的創造功能，想像的「非實在」插入實在中進行一種超越；詩意象作為一種典型的想像產物，則顯現出想像賦予新的語意的創造性。本文指出，巴修拉與沙特以現象學為基礎，但都分別回溯到一種形上學或存有學的基礎，並也將想像的功能延伸到倫理學的領域。然而，兩者也有巨大的分歧，沙特著重的是意識自由做為社會實踐的可能，而巴修拉則以想像作為人與自然的聯繫。

Gaston Bachelard and Jean-Paul Sartre are representative philosophers of the imagination during the twentieth century, while both tightly related to phenomenology, there remains some divergences in their theories. This paper tries to indicate the differences through the mutual references in their works, especially in their different usages of material image. In the two following sections, this paper sketches in a concise way their theories of imagination. Sartre's idea consists in the principle of intentionality in order to establish an intentional relation between imagination and image, but he emphasizes the annihilation in the positing consciousness which institutes a distance between imagination and reality. Bachelard's focus is on the productive imagination which inserts the unreal into the real to promote a transcendence. The poetical image as a typical product of imagination reveals a semantic novelty due to the creative imagination. Even Bachelard and Sartre refer constantly to phenomenology, they also try to confirm a metaphysical or ontological foundation of the imagination and to prolong the function of the imagination to the domain of ethics. Still their divergence remains in that Sartre intends the freedom of the consciousness as the possibility of social engagement, and Bachelard sees in the imagination the connection the humanity and the nature by affirming the cosmic engagement of the image.