Here we examine qualities of what would be thought of as inanimate beings that lend evidence to the position that J.R.R. Tolkien’s fictional universe is animistic. Arda is full of life, and natural things in it, such as mountains and rivers, are often alive or conscious. A close look at the qualities of the stars in particular yields further evidence in favor of animism as a foundational ontology of Arda.

The way that nonhuman animals and other nonhuman sentient beings are portrayed in the Christian-based Harry Potter series, C. S. Lewis's Narnia series, and Tolkien's Middle Earth stories is discussed from a Christian animal liberationist perspective.Middle Earth comes closest to a liberationist ideal, in that vegetarianism is connected with themes of power, healing, and spirituality. Narnia could be described as a more enlightened welfarist society where extremes of animal cruelty are frowned upon, but use of animals for food is (...) acceptable. In contrast, the more recent Harry Potter series portrays a less enlightened attitude toward human and nonhuman animals. Animals are treated merely as ends, vegetarianism is unheard of, and the view that even iconic species have intrinsic worth is ridiculed. (shrink)

Consider the opening sentence of Tolkien’s The Hobbit: In a hole in the ground there lived a hobbit. By writing this sentence, Tolkien is making a fictional statement. There are two influential views of the nature of such statements. On the pretense view, fictional discourse amounts to pretend assertions. Since the author is not really asserting, but merely pretending, a statement such as Tolkien’s is devoid of illocutionary force altogether. By contrast, on the alternative make-believe view, fictional (...) discourse prescribes that the reader make-believe the content of the statement. In this paper, we argue that neither of these views is satisfactory. They both fail to distinguish the linguistic act of creating the fiction, for instance Tolkien writing the sentence above, from the linguistic act of reciting it, such as reading The Hobbit out loud for your children. As an alternative to these views, we propose that the essential feature of the author’s speech act is its productive character, that it makes some state of affairs obtain in the fiction. Tolkien’s statement, we argue, has the illocutionary force of a declaration. (shrink)

J. R. R. Tolkien’s four functions of fantasy stories, as developed in his Andrew Lang lecture “On Fairy Stories” (1939), have become a key conceptual tool for discussing human beings’ attraction to fantasy stories, particularly when attempting to push the analysis beyond the literary into the aesthetic, and beyond the aesthetic into the existential. Applying this interpretive key to an analysis of the expanding genre of post-apocalyptic fiction reveals that post-apocalyptic stories, despite superficial differences, are surprisingly close to fairy (...) stories in their aesthetic core and orientation, and that post-apocalyptic stories are well-suited to fulfill—albeit with their own distinctive aesthetic feel—the functions of Enchantment, Recovery, Escape and Consolation. Furthermore, in exploring the function of Consolation, a number of motifs come to surface that suggest the presence of a religious dimension common to many of the most celebrated exponents of the genre. (shrink)

The main aim of this dissertation is to model the different ways in which we use language when we engage with fiction. This main aim subdivides itself into a number of puzzles. We all know that dragons do not exist. Yet, when I read the Harry Potter novels, I do accept the existence of dragons. How do we keep such fictional truths separate from ‘ordinary’ non-fictional truths? What is the difference between Tolkien writing down all sorts of falsities, and (...) a liar who also says all sorts of untrue things? How can it be true that Frodo was born in the Shire while it is also true that he was invented by Tolkien? Given that a fiction such as Pride and Prejudice is not about the actual world, how can I learn things about 19th century etiquette in England by reading this novel? -/- I develop a coherent semantic analysis of these different puzzles: the ‘workspace account’. This theory is an extension of Stalnaker’s famous pragmatic ‘common ground’ framework. In this framework, assertions are modelled as proposals to update the ‘common ground’ (the set of shared assumptions) between conversational interlocutors. (shrink)

If you’re familiar with Tolkien’s The Hobbit I don’t need to tell you that Mirkwood is a dangerous place. As bad as we might feel for Thorin and company as they try to navigate the forest and fall prey to its traps, we should feel worse for ourselves. Our world is also dangerous and difficult, but in a different way. Although it’s some comfort that the spiders of our world are smaller, it is easier to travel through Mirkwood than (...) it is to know what to believe. At least when it comes to navigating Mirkwood the directions are clear. (shrink)

According to the theological worldview of J. R. R. Tolkien, the principal work of a Christian is to know, love, and serve God. Why, then, did he devote so much time to creating an entire family of imaginary languages for imaginary peoples in an imaginary world? This paper argues that the stories of these peoples, with their ‘eucatastrophes,’ have consoling value amid the incomplete stories of our own lives. But more fundamentally, secondary creation is proper to the adopted children (...) of God and can be a way of drawing closer to God. Such work also witnesses to the freedom of the children of God, not only to receive salvation from God, but to contribute to the enrichment of creation and eternal life. (shrink)

marginal notes on Jung, Sartre, Valéry, Tolkien, Borges, and more; with woven-in autobiography.

In The Hobbit, J. R. R. Tolkien constructs middle-aged Bilbo Baggins as a sheltered and emotionally immature ‘child’ during the opening chapters before tracing his development into an autonomous, self-aware adult as the tale progresses. This article examines Tolkien’s novel qua bildungsroman through both a literary lens—considering setting, dialogue, and symbolism, among other techniques—and via a psychological framework, emphasizing an Eriksonian conception of development. Additionally, Peter Jackson’s three-part film adaptation of The Hobbit is discussed throughout with ways that (...) Jackson succeeds and fails at portraying Bilbo’s childlike attributes noted. I argue that Tolkien presents a sophisticated account of Bilbo’s childish persona growing into a mature adult worldview, and that Jackson appropriately reflects much, though not all, of this development in his films. (shrink)

In this paper, I explore the cognitive value of fantasy literature. Using Immanuel Kant's and Jean-Paul Sartre's discussions of the imagination, and J.R.R. Tolkien's "On Fairy Stories,” I argue that fantasy literature is cognitively valuable when it confers phenomenal knowledge. I move on to demonstrate what a work of fantasy literature requires to confer this phenomenal knowledge. Fantasy literature has the potential to reveal true insights into this world when it brings the reader into a state of “secondary belief” (...) and confers phenomenal knowledge through the union of world and story. (shrink)

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 sub-created fictional world and defend the existence of fairy stories in (...) visual media from Tolkien’s own criticism of such a possibility. (shrink)

There is a lesson from the woods--Bollywood, Kollywood, Mollywood, and Tollywood--of make-believe, which speaks to the core concern of science: the practice of science. Puspha, an Indian movie that brought the movie industry to its senses, with its global popularity has this to say: Be thyself; keep it real. Situated in a remote region aeons apart from the vast concrete and intimate plastic world we are familiar with, the happenings in the distant and alien universe of discourse--a hamlet adjacent to (...) tribals, forest, and nature--is surprisingly universally relatable. Here I show how the unity of being and the attendant naturality of becoming or, in the words of Tolkien, "the inner consistency of reality" of Pushpa is what made people all over the world relate to each and every character/scene in Pushpa. In doing so, I bring out its (arts and/or humanities) relevance to the practice of science in general and science policy in particular, with emphasis on changing human behaviour, especially in the context of COVID. (shrink)