Ruth Ronen

“There is no longer any world,” wrote the late philosopher Jean-Luc Nancy in 1993, and in this paper, the sense of this loss of world is analysed in terms of the modal notions of necessity, impossibility, and possibility. Modal differentiation can illuminate what constitutes the sense of actuality in a world, and hence, what it is that has been lost regarding this actuality of being in a world. Modal thinking does not rely on knowledge of the true state of affairs, nor on having a constant grasp on necessity: modal thinking enables us to discern the actual by way of the relations between necessity, possibility, and impossibility. It is on the basis of these relations that a mode of rethinking actuality is suggested. In order to pursue this line of thought, I rely on Jacques Lacan’s understanding of modalities as writing operations, concentrating mostly on certain sections from his Seminar XXI, wherein he refers to Aristotelian modal logic and mentions the analytic philosopher Jaakko Hintikka. This ternary relation between Aristotle, Hintikka, and Lacan suggests a different outlook on the actual being-such of a world. The being-such of a world, its actuality, is understood as a contingency, a possibility emerging from the relation between what is declared necessary and what is impossible. The paper shows the implications of such a modal understanding of actuality, as demonstrated in Lacan’s view of human sexuality and sexual difference.

RÉSUMÉLe goût, en tant que faculté d'appréciation esthétique, implique un individu, et pourtant suppose une communauté. Dans cet article, nous constatons qu'une disposition singulière à l’égard des objets de goût est conditionnée par le consentement d'autrui et par l’être-avec autrui. De cette façon, une communauté esthétique est établie. Cette idée de communauté esthétique remonte au sensus communis de Kant et à la notion de préservation de Heidegger : dans les deux cas, c'est la présence d'une communauté qui conditionne l'expérience esthétique.

Ever since Plato expelled the poets from his ideal state, the ethics of art has had to confront philosophy's denial of art's morality. In Art before the Law, Ruth Ronen proposes a new outlook on the ethics of art by arguing that art insists on this tradition of denial, affirming its singular ethics through negativity. Ronen treats the mechanism of negation as the basis for the relationship between art and ethics. She shows how, through moves of denial, resistance, and denouncement, art exploits its negative relation to morality. While deception, fiction, and transgression allegedly locate art outside morality and ethics, Ronen argues they enable art to reveal the significance of the moral law, its origins, and the idea of the good. By employing the thought of Freud and Lacan, Ronen reconsiders the aesthetic tradition from Plato through Kant and later philosophers of art in order to establish an ethics of art. An interdisciplinary study, Art before the Law is sure to be of interest both to academic philosophers and to those interested in psychoanalytic theory and practice.

By closely reading Lacan’s references to the way philosophers (primarily Kant and Aristotle) use the notion of the “soul,” this paper suggests that the soul represents whatever in the body is unattainable to thought. The paper aims to reveal the philosophical moment in which a soul distinguishes itself from both mind and body and to show that this moment, in which a soul is summoned by philosophers, is needed in order to overcome the fundamental alienation of the body with regard to thought. Lacan’s way of addressing the soul along these lines suggests why having a soul carries ethical implications.

Wittgenstein’s pre-occupation with the notion of limit (of thought, sense, and language), was described by Alain Badiou as an aesthetic one. The limit is aesthetic because it is not an object to be theorized nor a concept, but rather, what has to be demonstrated, made to be seen, clearly displayed. In this paper, the conjunction between limits, as highlighted in Wittgenstein’s Tractatus, and the act of aesthetic demonstration is explored, both in the aesthetic tradition and in contemporary thought about art, in order to explain why the limit which is aesthetically set, cannot be crossed.

This study offers a new perspective on the object represented by art, specifically by art that succeeds to create in its receiver a sense of "the real", a sense of approximating the true nature of the represented object that lies outside the artwork. The object that cannot be accessed through a concept, a meaning or a sign, the thing-in-itself, is generally rejected by philosophy as being outside the realm of its concerns. This rejection is surveyed in a number of philosophical discussions, from Kant to Hilary Putnam. Turning to the psychoanalytic object, an object inexhaustible in terms of its external existence, or in terms of its conceptual status or meaning (the object is always suppressed, partly known, inaccessible), another notion of the object. The Real is suggested as what can neither be contained in language nor reduced to a linguistic referent. This solution does not lead away from philosophical interests but rather exposes this dilemma about the object of representation as fundamentally philosophical. Cases of artistic realism discussed range from perspective painting to abstract art, from tragedies to the literary representation of minds.