In this paper, I explore the poetic virtue of filmmaking. In the first part, I look at the virtue of art more generally, drawing on Catholic philosopher Jacques Maritain’s Aquinas-inspired conception of poetic virtue. In the rest of the paper, I then map Maritain’s poetic virtue onto the artform of the moving image, its processes of production and reception. Here, I show how poetic intuition is conceived by filmmakers such as David Lynch and translated into the realities of filmmaking in the Sci-Fi mystery thriller, The Silent Messenger, in which I was involved in as producer and performer. Enlisting the help of film philosopher Alain Badiou and film phenomenologist Vivian Sobchack, I claim that for the poetic virtue of film to come into full presence, both filmmaker and viewer need to take responsibility for their moral capacity for gaze. It is only when the viewer loses themselves (their self) in the shared sight of the filmmaker, and the artist respects the audience’s own intellectual creativity, that film can teach us that seeing is always a relational enterprise, one that brings our human relationships – in all its tragedy and beauty – into shared vision.

This article examines the poetry of Raïssa Maritain as a distinctive form of theodicy shaped by prayer, suffering, and the catastrophic violence of the twentieth century. Situating Maritain’s poetic work within the context of debates on suffering, this article places her in dialogue with Johann Baptist Metz’s concept of Leiden an Gott (‘suffering unto God’), as well as with the challenges to theodicy articulated by Elie Wiesel and Emmanuel Levinas. While Wiesel’s refusal of theology after Auschwitz and Levinas’s ethical critique of teleological accounts of suffering underscore the crisis of theodicy, Metz offers a theological response that centres on prayer as anguished address to God rather than rational explanation. I argue that Maritain’s poetry anticipates, embodies and extends this insight by functioning as a form of poetic prayer that confronts evil without aestheticising or prematurely redeeming suffering. Through close engagement with poems written before and during the Second World War, I show how Maritain’s poetic language gives voice to accusation, lament, and solidarity with the suffering other, while nonetheless holding open the possibility of redemption. In doing so, her work offers a humane poetic theodicy that both complements and critically deepens Metz’s political theology.

Flannery O’ Connor’s mom criticized her for not writing what people would want to read. While O’Connor’s novels are full of freaks and distortions, this article offers some philosophical clues as to why this is so. We explore Jacques Maritain’s influence upon her as she saw herself as ‘cutting her aesthetic teeth upon his Art and Scholasticism’. Key to understanding the grotesque world of O’Connor’s stories is the understanding of Maritain’s notion of artistic imitation and its reliance upon his notion of distortion. It is the latter notion that gives us the central insight into why she distorted her characters and plot. True storytelling for O’Connor plunges the reader deeply into reality, especially into the reality of human persons. Not wanting to stay at the physical surfaces of things, distortion plunges the reader into the depth of human character and their existential aspirations, motivations, decisions, and especially, their responses to the gift of supernatural grace.

De la vie d'oraison is an early and neglected work by Jacques Maritain. Exploring its major themes and biographical context reveals a tension in Maritain between his commitment to orthodox Catholic mystical theology and his belief in his godfather Léon Bloy's unique, tripartite vocation of lay mystic, prophet, and artist. This tension, I argue, has been overlooked due to Maritain's public image as an esteemed Thomist philosopher, but becomes clear when we study Maritain's defense of Bloy, especially in his dialogues with his Dominican peers and church authorities. I suggest that this tension reveals two deep-seated convictions at work in Maritain's life and writings. The first is that the reasons for the necessity of lay Catholic mysticism, and the diverse forms it may take, need to be spelled out more clearly. The second is that for Maritain, his godfather is an exemplar of such lay Catholic mysticism. Understanding Maritain's reasons for these convictions can open up a pathway for Catholic mystical theology to better accommodate and conceptualize alternative forms of mystical life among laypeople whose mystical and artistic experiences spill over traditional theological categories.

This paper clarifies the full extent of the differences between Jacques Maritain and Dorothy Day on pacifism and anarchism in the light of their solidarity. I argue that their differences were primarily due to the particular challenges they faced in their specific vocation arising from the World War II context, and secondarily due to their different understandings of the relationship between nature and grace. While Day became drawn to a concrete heroic life of the supernatural virtues under the guidance of her spiritual director John Hugo, Maritain aimed to philosophically elucidate all the possible means available to modern Christians which may contribute to a historical realization of the Christian ideal. Their theological difference on nature and grace did not constitute a fundamental rift if taking into account the role of conscience as the essential element of a person's dignity, where the spiritual life takes shape and discernments are made. The pure means of the philosopher and the supernatural means of the saint are united in the Christian who is willing to give all for the object of their love.

I examine Jacques Maritain's assertion that his godfather, the Catholic writer Léon Bloy, was both an artist and a mystic, capable of reaching the heights of mystical contemplation of God. First examining this assertion in light of Maritain's mystical theology and philosophy of creativity, I show that a conventional reading of their operative principles renders mystical experience and artistic experience essentially different in their respective modes and objects of knowledge. Drawing on Maritain's personal reflections on Bloy and recent developments in Maritain scholarship, however, I then make the case that by virtue of relatively unexplored elements in Maritain's testimony and theoretical principles, the Christian artist can also have the experience of the Christian mystic when they direct their work to the mysteries of the Christian faith. I call this convergence ‘Infused-Poetic Contemplation’.

I examine Jacques Maritain's views on the relationship between art and ethics or what is today called the ‘ethical criticism of art’, and examine what Maritain's thought can contribute to debates in contemporary aesthetics and wider society. In part I of the article, I approach Maritain's attempted reconciliation of artistic freedom and the demands of morality in three steps, first recalling Maritain's definition of art, second looking at Maritain's analysis of the extra‐artistic concerns of the artist, and third offering a critique of Maritain's views on why art is valued by the community and what justifiable moral claims of the community upon the artist might be—particularly regarding the method of production of artworks. Comparing Maritain's theories to those of contemporary writers in part II, I argue that Maritain's ethics of art can be used to complement Jacques Rancière's notions of the ‘distribution of the sensible’ and ‘artistic regimes’, and that, in the terminology of the ethical criticism of art, Maritain affirms a position which is a composite of ‘moderate moralism’ and ‘ethicism’—a position which is both explanatorily powerful in ascertaining how and why we recognise and value art, and flexible in accommodating changing artistic forms and practices.

I examine Jacques Maritain's definition of art and what it contributes to debates on definitions of art in contemporary aesthetics. Of particular concern are the so-called ‘fine arts’. I make three claims; first, that Maritain's definition of art is superior to other traditional and contemporary theories in avoiding their pitfalls and accommodating key data to be met by definitions of art, such as the existence of avant-garde art. Second, I claim that in accommodating avant-garde art, in particular ‘conceptual art’, Maritain's definition of art refutes the Wittgensteinian argument that art is an ‘open concept’ which cannot be defined. My final, resulting claim is that Maritain's definition deserves to be the pre-eminent definition of art today. This article consists of four sections. Section one provides some context of definitions of art and the data and conditions that have to be met by a viable definition. Section two provides the foundation and first pillar of Maritain's definition of art, what I identify as a cumulative ‘descriptive’ definition. Section three provides the second pillar of Maritain's definition of art, applicable specifically to the fine arts. Section four applies Maritain's full descriptive definition to the problem of conceptual art.

In the second half of the twentieth century Josef Fuchs put forward a major re-visioning of the natural law, but this re-visioning did not include a robust social ethic. In this paper the author first undertakes an explication of the development, context, and major features of Fuchs’ theory. Next, in order to locate it within other twentieth century developments in natural law theory, Fuchs’ theory is related to Jacques Maritain's re-visioning of natural law, with its clear social-ethical implications. Finally, the author draws out some of the potential implications and applications of Fuchs’ revised natural law for social ethics.