Within the philosophy of language, contextualists typically hold (and semantic minimalists deny) that pragmatic elements of an utterance can affect its semantic content. This paper concretizes this debate by analogizing both positions to different kinds of time-travel stories: contextualism is akin to Ludovician narratives that deny the possibility of temporal editing (or “the changing of past events”) while semantic minimalism is aligned with stories that allow the past to be literally altered. By focusing particularly on Denis Villeneuve’s 2016 film Arrival, which portrays a Ludovician model of temporality that firmly denies the possibility of temporal editing, this paper defends the strength of the contextualist position.

According to Thomas Aquinas, what distinguishes the theological from the cardinal virtues is the nature of their object: the latter aim at the natural excellence of humans, while the former direct us beyond ourselves to focus on the Divine. This paper considers the cinematic work of Drew Goddard — in particular, his 2018 film Bad Times at the El Royale — as a post-religious response to Aquinas, insofar as it retains and represents Faith, Hope, and Love as valuable elements of the human experience itself, even in the absence of a supernatural vector of their application. After the fashion of Caputo’s Derrida, I offer a religionless interpretation of each of the three theological virtues and show how Bad Times itself deconstructs the roles of ‘god’ and ‘human,’ interchanging them in a way that manifests a “religionless religion” wherein the theological virtues can remain vibrant, even without the theological structure that might be expected to undergird them. In short: Bad Times at the El Royale demonstrates how even if God is dead, Faith, Hope, and Love are not.

Although Disney films are sometimes denigrated as popular or “low” artforms, this paper argues that they often engage deeply with, and thereby communicate, significant moral truths. The capitalistic enterprise of contemporary modern cinema demands that cinematic moral pedagogy be sublimated into non-partisan forms, often by substituting secular proxies for otherwise divine or spiritual components. By adapting Kierkegaard’s tripartite existential anthropology of the self, I analyze the subjective experiences of the protagonists in three recent animated fairy tales — Disney’s Frozen, Moana, and Tangled — to demonstrate how these princess movies bridge the imaginative gap between the mundane and the divine.

The concept of service found in Christian theism and related religious perspectives offers robust support for a political defense of nonhuman animal rights, both in the eschaton and in the present state. By adapting the political theory defended by Donaldson and Kymlicka to contemporary theological models of the afterlife and of human agency, I defend a picture of heaven as a harmoniously structured society where humans are the functional leaders of a multifaceted, interspecies citizenry. Consequently, orthodox religious believers (concerned with promoting God’s will “on Earth as it is in Heaven”) have a duty to promote and protect the interests of nonhuman creatures in the present, premortem state.

I argue that a comprehensive ontological assessment of the beatific vision suggests that an individual’s experience of God’s face is not merely dependent on a revelation of the divine energies, but that it requires a particular mode of reception on the part of the blessed individual grounded in the reality of their faith; lacking faith, what would otherwise be experienced as the blessed vision of God is instead received as a torturous punishment. Therefore, I contend that the beatific vision is one of two possible phenomena resultant from seeing God’s face; the other is more commonly labeled “hellfire.” Consequently, the often–assumed bifurcated landscape of the Afterlife (into a Heaven suffused with God’s presence and a Hell deprived of it) must be reassessed.

By considering the movies in the Marvel Cinematic Universe as a case study, I bring Tolkien’s explication of mythopoesis in “On Fairy Stories” to bear on the current popularity of superhero films to argue that such works qualify as cinematic examples of Tolkienesque fantasy tales. After summarizing Tolkien’s criteria for the genre in Nietzschean aesthetic terms, I both demonstrate how the builders of the MCU have crafted a subcreated fictional world and defend the existence of fairy stories in visual media from Tolkien’s own criticism of such a possibility.

In 1906, Henry Stephens Salt published a short collection of essays that presented several rhetorically powerful, if formally deficient arguments for the vegetarian position. By interpreting Salt as a moral sentimentalist with ties to Aristotelian virtue ethics, I propose that his aesthetic argument deserves contemporary consideration. First, I connect ethics and aesthetics with the Greek concepts of kalon and kalokagathia that depend equally on beauty and morality before presenting Salt’s assertion: slaughterhouses are disgusting, therefore they should not be promoted. I suggest three areas of development since Salt’s death that could be fruitfully plumbed to rebuild this assertion into a contemporary argument: (1) an updated analysis of factory farm conditions, (2) insights from moral psychologists on the adaptive socio-biological benefits of disgust as a source of cognitive information, and (3) hermeneutical considerations about the role of the audience that allow blameworthiness for slaughterhouse atrocities to be laid upon the meat-eater.

Abstract