This book explores Iris Murdoch as a philosopher who, through her distinctive methodology, exploits the advantages of having a mind on the borders of literature and politics in her early career writings (pre-The Sovereignty of Good). By focusing on a single decade of Murdoch’s early career, Jamieson tracks connections between her views on the state of literature and politics in postwar Britain and her approach to the philosophy of mind and moral philosophy. Furthermore, this close study reveals that, (...) far from a stylistic quirk, Murdoch’s use of metaphors, analogies, and other literary devices is internal to her methodology. Finally, rather than asking what Murdoch’s views are, this work will ask “what is Murdoch trying to achieve with her writings and public lectures, and how does she go about this?” By answering the latter question, we will have a new strategy for interpreting her writings more generally. The book contributes to the growing body of scholarship focusing on Iris Murdoch’s philosophical writings, and on women in the history of analytic philosophy. (shrink)

Iris Murdoch was a notable philosopher before she was a notable novelist and her work was brave, brilliant, and independent. She made her name first for her challenges to Gilbert Ryle and behaviourism, and later for her book on Sartre, but she had the greatest impact with her work in moral philosophy—and especially her book The Sovereignty of Good. She turned expectantly from British linguistic philosophy to continental existentialism, but was dissatisfied there too; she devised a philosophy and a (...) style of philosophy that were distinctively her own. Murdoch aimed to draw out the implications, for metaphysics and the conception of the world, of rejecting the standard dichotomy of language into the 'descriptive' and the 'emotive'. She aimed, in Wittgensteinian spirit, to describe the phenomena of moral thinking more accurately than the 'linguistic behaviourists' like R. M. Hare. This 'empiricist' task could be acheived, Murdoch thought, only with help from the idealist tradition of Kant, Hegel, and Bradley. And she combined with this a moral psychology, or theory of motivation, that went back to Plato, but was influenced by Freud and Simone Weil. Murdoch's impact can be seen in the moral philosophy of John McDowell and, in different ways, in Richard Rorty and Charles Taylor, as well as in the recent movements under the headings of moral realism, particularism, moral perception, and virtue theory. This volume brings together essays by critics and admirers of Murdoch's work, and includes a longer Introduction on Murdoch's career, reception, and achievement. It also contains a previously unpublished chapter from the book on Heidegger that Murdoch had been working on shortly before her death, and a Memoir by her husband John Bayley. It gives not only an introduction to Murdoch's important philosophical life and work, but also a picture of British philosophy in one of its heydays and at an important moment of transition.Readership: Students and scholars of philosophy and literature. (shrink)

Murdoch makes some ambitious claims about love’s epistemic significance which can initially seem puzzling in the light of its heterogeneous and messy everyday manifestations. I provide an interpretation of Murdochian love such that Murdoch’s claims about its epistemic significance can be understood. I argue that Murdoch conceives of love as a virtue, and as belonging at the pinnacle of the hierarchy of the virtues, and that this makes sense of the epistemic role Murdochian love fulfills. Moreover, I (...) suggest that there is good reason to think that Murdochian love is not as far from everyday conceptions of love as it can initially appear. (shrink)

In the essays which make up The Sovereignty of Good, Iris Murdoch gives us a picture of moral life in which ‘the metaphor of vision [is] almost irresistibly suggested’. This chapter aims to clarify the role played by the metaphor of vision in Murdoch’s philosophical thinking. I’ll examine two different things which might be meant by the term ‘moral vision’: vision of moral things or vision which is itself moral. The suggestion will be that whilst both capture something (...) important about Murdoch’s work, each may mislead about what is distinctive in her views. For Murdoch, I shall suggest, there is no distinctively moral vision. There is only vision: a loving gaze directed upon the reality of others. (shrink)

Despite the fact that Iris Murdoch's influence on contemporary virtue ethics is often neglected, both her general criticism of the dominant currents of early 20th century ethical theory and some of its more particular threads, like scepticism towards principle-based accounts and the fact-value distinction or the emphasis on moral psychology, show her affinity with philosophers like Anscombe, Williams, and MacIntyre. On the other hand, some particular details of her perspective seem absent from, if not alien to, the standard neo-Aristotelian (...) virtue ethical stance. It especially applies to Murdoch's high esteem for Plato, which is reflected in the central place she gives to love and the apparently non-natural concept of Good and which, at some points, is developed in religious, or even mystical, directions. (shrink)

Iris Murdoch's concept of Good is a central feature of her moral theory; in Murdoch's thought, attention to the Good is the primary means of improving our moral conduct. Her view has been criticised on the grounds that the Good is irrelevant to life in this world (Don Cupitt), that the notion of a transcendent, single object of attention is incoherent (Stewart Sutherland), and that we can only understand what goodness is if we see it as an attribute (...) of a theistic, trinitarian God (Christoph Schwöbel). The paper argues that, with some clarification and development of Murdoch's view, these objections are by no means fatal to her position. (shrink)

Iris Murdoch was one of the best-known philosophers and novelists of the post-war period. In this book, Sabina Lovibond explores the tangled issue of Murdoch's stance towards gender and feminism, drawing upon the evidence of her fiction, philosophy, and other public statements. As well as analysing Murdoch's own attitudes, Iris Murdoch, Gender and Philosophy is also a critical enquiry into the way we picture intellectual, and especially philosophical, activity. Appealing to the idea of a 'social imaginary' (...) within which Murdoch's work is located, Lovibond examines the sense of incongruity or dissonance that may still affect our image of a woman philosopher, even where egalitarian views officially hold sway. The first thorough exploration of Murdoch and gender, Iris Murdoch, Gender and Philosophy is a fresh contribution to debates in feminist philosophy and gender studies, and essential reading for anyone interested in Murdoch's literary and philosophical writing. (shrink)

Can the experience of great art play a role in our coming to understand the ethical framework of another person? In this article I draw out three themes from Iris Murdoch’s ‘The Sovereignty of Good’ in order to show the role that communal attention to works of art can play in our ethical lives. I situate this role in the context of Murdoch’s wider philosophical views.

The article discusses Iris Murdoch’s philosophical relationship to Buddhism. First, we argue that Murdoch was not, and did not identify herself as, a Buddhist. Then we suggest caution regarding Murdoch’s interpretations of Buddhism. On the one hand, she applies the limited viewpoint of her era. On the other hand, her approach is motivated by insights tracing affinities between Buddhism and Husserl’s and Sartre’s analyses of consciousness, as well as Platonic ideas of unselfing and self-purification. Murdoch’s reflections (...) on Buddhism serve primarily a complex argument about the role of religion in our moral lives, as these reflect the rapidly changing Western cultural environment. She envisages the possibility for Christianity to learn from Buddhism and move closer towards demythologisation and a radical, loving commitment to the others here and now. While Murdoch’s observations may not be accurate as a ‘diagnosis of our times’, they serve as a valuable opening for reflecting on our lives in the suggested terms. They are also inspiring in their optimism that there is the possibility to learn from others (other cultures, other religions) for the better. The ‘muddled’ nature of our reality does not thwart this possibility of learning; it only makes its particular steps unpredictable. (shrink)

Recent discussions of moral testimony have focused on the acceptability of forming beliefs on the basis of moral testimony, but there has been little acknowledgement of the limits to testimony's capacity to convey moral knowledge. In this paper I outline one such limit, drawing on Iris Murdoch's conception of private moral concepts. Such concepts, I suggest, plausibly play an important role in moral thought, and yet moral knowledge expressed in them cannot be testimonially acquired.

In The Sovereignty of Good Iris Murdoch suggests that the central task of the moral agent involves a true and loving perception of an- other individual, who is seen as a particular reality external to the agent. Writing in the 1960s she claimed that this dimension of morality had been "theorized away" in contemporary ethics. I will argue today that 20 years later, this charge still holds true of much contemporary ethical theory.

Philosophy is one of the least inclusive disciplines in the humanities and this situation is changing only very slowly. In this article I consider how one of the women of the Wartime Quartet, Iris Murdoch, can help to challenge this situation. Taking my cue from feminist and philosophical practices, I focus on Murdoch's experience of being a woman and a philosopher and on the role experience plays in her philosophical writing. I argue that her thinking is best characterised (...) with the notion of common sense orsensus communis. This term recognises her understanding of philosophy as based in experience and as a shared effort ‘to make sense of our life’, as Mary Midgley puts it. (shrink)

Art plays a significant role in Iris Murdoch’s moral philosophy, a major part of which may be interpreted as a proposal for the revision of religious belief. In this paper, I identify within Murdoch’s philosophical writings five distinct but related ways in which great art can assist moral/religious belief and practice: art can reveal to us “the world as we were never able so clearly to see it before”; this revelatory capacity provides us with evidence for the existence (...) of the Good, a metaphor for a transcendent reality of which God was also a symbol; art is a “hall of reflection” in which “everything under the sun can be examined and considered”; art provides us with an analogue for the way in which we should try to perceive our world; and art enables us to transcend our selfish concerns. I consider three possible objections: that Murdoch’s theory is not applicable to all forms of art; that the meaning of works of art is often ambiguous; and that there is disagreement about what constitutes a great work of art. I argue that none of these objections are decisive, and that all forms of art have at least the potential to furnish us with important tools for developing the insight required to live a moral/religious life. (shrink)

If in our use of imagery we are all of us the unacknowledged legislators of the world, it would follow that one can ‘serve the cause of sexual equality in education’ by challenging the way our images of the academic are gendered.1 This is the excellent stated purpose of Sabina Lovibond's short new book, Iris Murdoch, Gender and Philosophy.2.

This volume also includes "Metaphysics and Ethics," a classic essay by Iris Murdoch.

If Annette Baier is right that ‘some degree of trust is … the very basis of morality” (Baier 2004, 180) , it is surprising that a philosopher so interested in moral psychology and interpersonal relationships such as Iris Murdoch does not explicitly discuss trust in her work. However, on closer inspection, Murdoch’s proposal of an ethics focused on realism, unselfing and attention crucially depends upon the possibility of trust – trust in reality, and in one’s own capacity for (...) moral vision. Connecting Murdoch's project with feminist philosophy and especially feminist epistemology, and drawing on the philosophy of trust developed by C. Thi Nguyen and Karen Jones, this chapter argues for a vision of 'trust in the world' implicit in Murdoch's work, where trust emerges not in the domain of personal relationships, but in our attitude towards reality, including moral reality, that is not perceived by us as merely something inert. (shrink)

In Why Iris Murdoch Matters Gary Browning draws on as yet unpublished archival material to present an unrivalled overview of Murdoch's work and thought. Browning argues for Murdoch's position amongst the key theorists of modern life, and discusses in detail her engagement with the notion of late modernity. Her multiple perspectives on art, philosophy, religion, politics and the self all relate to how she understands the nature of late modernity. Browning lucidly illustrates that through both her thought (...) and fiction we can grasp the significance of issues that remain of paramount importance today: the possibilities of a moral life without foundations, the meaning of philosophy in a post-metaphysical age, the prospects of politics without ideological certainties and the significance of art after realism. A totally original work arguing persuasively that Iris Murdoch not only matters but is absolutely central to how we think through the contemporary age."--Page 4 of cover. (shrink)

Many students who sign up for undergraduate‐level philosophy arrive with the expectation that moral philosophy is concerned with how one should act in the concrete and familiar situations of everyday life. Yet moral philosophers are often motivated by an ideal of neutrality, and adopt a detached perspective to achieve a scientific view of the competing moral theories. To concretise the points of disagreement they present highly specific examples that are abstracted from daily reality. There is something odd about the image (...) of morality that comes into view. What kind of guidance about how to act in concrete and familiar situations can this form of theorising bring about? This paper examines Iris Murdoch’s account of moral perception as an alternative starting point. Murdoch offers a perspective that is conceptually prior to the separation of thought from action, one that addresses the agent on the level of perception. While accounts of moral perception are often criticized for proposing a complacent moral theory that is inherently conservative, I argue that Murdoch’s account offers a radical – or tragic – form of perfectionism. While moral philosophy cannot provide sufficient reasons to act, Murdoch shows that it can, like art, make us practical, capable of acting. (shrink)

Scholars who have attempted to explain Iris Murdoch’s moral realism have done so in widely divergent ways, some characterizing her as a classical moral realist, others as a pragmatic moral realist, and still others as a “reflexive realist.”See, e.g., respectively, Fergus Kerr, “Back to Plato with Iris Murdoch,” in Immortal Longings: Versions of Transcending Humanity (London: Society for Promoting Christian Knowledge, 1997), 68–88; Sami Pihlstrom, Pragmatic Moral Realism: A Transcendental Defence (Amsterdam: Rodopi, 2005); and Maria Antonaccio, Picturing the (...) Human: The Moral Thought of Iris Murdoch (Oxford: Oxford University Press, 2000). For the purpose of this article, I follow Maria Antonaccio’s characterization of these realisms. See pages 3–4. None of these attempts, however, capture adequately Murdoch’s distinctive position. In an effort to improve upon these accounts, this article argues that a proper characterization of Murdoch’s view must regard her as developing a version of m. (shrink)

Iris Murdoch develops a version of the Ontological Argument as a moral argument for the existence of a transcendent and perfect Platonic Good. I argue that her version of the argument over-emphasises moral goodness as a distant and intangible ideal to which we are inevitably attracted, and towards which we may progress, but which, apart from occasional revelations in saintly lives and great art, is normally only available in glimpses and intimations, and which remains mysterious. The argument is better (...) construed as concerning the moral reality of human beings as sacred or inviolable, and the moral demands this makes upon us—a reality that is proximate, palpable, inescapable and highly familiar. (shrink)

Covers Murdoch’s moral philosophy; trajectory and reception; critique of implicit view of self in Hare and Sartre; her Platonic moral realism; moral reality as other persons; essentiality of metaphysics; morality and the self/other framework; inescapability of metaphor; moral agency as inner activity; the fabric of the agent’s moral being; seeing replacing doing; influence of Simone Weil; attention (connected to care ethics, feminism, particularism); obstacles to loving attention; Freudian moral psychology; failure to recognize social sources of negative moral formation;virtue; “duties” (...) and “axioms” in Metaphysics as a Guide to Morals. (shrink)

Anil Gomes considers Murdoch's view that morality is real and that, with the right conceptual resources, we can perceive it.

The writing of Iris Murdoch has long been of interest to both literature enthusiasts and students of philosophy. The years Murdoch spent studying philosophy at Oxford and Cambridge left an indelible imprint on her work. The essays in this book address both Murdoch’s philosophy and writing in the context of Continental philosophy and postmodern fiction. Many of the twelve essays resist the prevailing critical orthodoxies, introducing instead new theories with which to approach one of Britain’s most revered (...) authors. (shrink)

Iris Murdoch, Philosopher Meets Novelist aims to gather some of the worlds present experts on Iris Murdoch, in an effort to promote dialogue between philosophy and literature. This is due not only to the nature of Iris Murdochs work itself, but also to our belief that within Humanistic Studies there is a constant need for breaking down disciplinarian barriers and reaching a deeper, fuller awareness of human thinking. Thus, the book brings together scholars from a variety of fields (...) and placesBrazil, England, Iran, Ireland, Italy, Portugal, Spain, Turkey, Taiwan, and the United Statesand testifies to the interest that the work of Murdoch continues to inspire. The book is divided into two major sections: Part A, Reading Philosophies in Literature, includes articles focusing on Iris Murdochs philosophical concerns and their general influence in her work; Part B, Reading Literature through Philosophy, is intended as a sort of application ground, a series of case-studies wherein authors depart from novels to retrieve the underlying philosophical thinking. (shrink)

: Richard Moran argues that Iris Murdoch is an Existentialist who pretends not to be. His support for this view will be shown to depend on his attempt to assimilate Iris Murdoch's discussion of moral ‘vision’ in the parable of the Mother in Law to Sartre's thought on ‘choice’ and ‘orientation’. Discussing both Moran's Murdoch exegesis and Sartre's Being and Nothingness, I develop the Sartrean view to which Moran hopes to assimilate Murdoch, before pointing out how (...) Moran's assimilation fails. Murdoch's thought that when M is just and loving she sees D ‘as she really is’ cannot be accommodated on Sartre's picture. I develop this point of disagreement between Murdoch and Sartre, and argue that Murdoch has not as Moran claims made a misattribution to Sartre of an unsituated will, but has instead offered a penetrating critique of the central theme of Sartre's epistemology. (shrink)

This essay provides a broad overview of Dame Iris Murdoch's work in moral philosophy. Although Murdoch is best known as a novelist, the focus here will be on her philosophic work. Throughout her life, Murdoch (1919–99) characterized herself as a Platonic realist and attacked other approaches to moral philosophy for obscuring our understanding of what she calls “the moral life” – roughly, our attempts to understand, evaluate, and improve ourselves and our lives together. While most philosophers are (...) skeptical about her positive views, many also believe we can enrich our moral theories by engaging with her work and attending to the aspects of ordinary moral life it highlights. (shrink)

This paper provides a brief overview of Iris Murdoch's central notion of love as just attention, introduces the reader to a few contemporary debates around her account, and shows that for Murdoch, love is not opposed to morality, but at its heart.

Iris Murdoch was a philosopher and novelist who wrote extensively on the themes of love, goodness, religion, and morality. In this article, we explore her notion of ‘moral vision’; the idea that morality is not just about how we act and make choices, but how we see the world in a much broader sense.

Iris Murdoch was one of the best-known philosophers and novelists of the post-war period. In this book, Sabina Lovibond explores the tangled issue of Murdoch's stance towards gender and feminism, drawing upon the evidence of her fiction, philosophy, and other public statements. As well as analysing Murdoch's own attitudes, _Iris Murdoch, Gender and Philosophy_ is also a critical enquiry into the way we picture intellectual, and especially philosophical, activity. Appealing to the idea of a 'social imaginary' (...) within which Murdoch's work is located, Lovibond examines the sense of incongruity or dissonance that may still affect our image of a woman philosopher, even where egalitarian views officially hold sway. The first thorough exploration of Murdoch and gender, _Iris Murdoch, Gender and Philosophy _is a fresh contribution to debates in feminist philosophy and gender studies, and essential reading for anyone interested in Murdoch's literary and philosophical writing. (shrink)

Among the possible ways of gaining moral knowledge, moral perception figures as a controversial yet fruitful option. If moral perception is possible, moral disagreement is addressed not by appealing to principles but to the process and the objects of perception, and moral progress occurs not through deliberation but by refining one’s perceptual faculties. The possibility of “seeing clearly and justly” is at the heart of Iris Murdoch’s thought, but Murdoch herself does not put forth a systematic argument for (...) this view. In this paper I propose an argument for moral perception based on Murdoch’s philosophy, while engaging with contemporary debates in moral perception. The key idea I take from Murdoch is that perception is conceptually laden, where concepts are understood as ways of grasping the world according to human concerns. Murdoch’s position enables us to solve a difficult tension: explaining the motivating force of perception while maintaining objectivity in ethics. This view of moral perception also constitutes a radical position in the debate, where even the most optimistic defenses appeal to the supervenience of values on facts. If Murdoch is right, however, we perceive complex properties, including values, directly, so that appeal to supervenience becomes unnecessary and some of the grounds for the very distinction between fact and value are put into question. (shrink)

Iris murdoch claims that the ethical significance of truth links the goodness of good literature with moral goodness. Her philosophical formulations of this claim evoke the pervasive model of truth as correspondence between mental representations and a mind-Independent reality. This paper criticises these formulations and attempts to revise them in the light of murdoch's literary explorations of the moral force of truth, Especially in "the sacred and profane love machine".

Según la psicología moral de Iris Murdoch no hay ninguna diferencia esencial entre el arte (el buen arte) y la moral. Ambas actividades exigen del individuo una disciplina que está encaminada a desembarazarse de las distorsiones que nuestra imaginación produce en la realidad. La imaginación, puesta al servicio del egoísmo y la autoconsolación, impide todo progreso hacia la objetividad y el bien tanto en el arte como en la moral. Un obstáculo en este progreso, además del egoísmo, es la (...) opacidad de los seres humanos. Según Murdoch, el arte y, sobre todo, la literatura tienen la función primordial de retratar la situaciones humanas de una manera que haga de la lectura una actividad no sólo estética, sino también cognoscitiva. (shrink)

This is a welcome volume. The many footnotes of praise for Iris Murdoch’s philosophical work were for many years not matched by actual discussion of it. This collection, long incubated and containing essays by many well-known figures with a continuing interest in Murdoch’s work, is one of several recent signs of this imbalance’s being righted. Anyone interested in Murdoch’s philosophical thinking—spilling over into ways it informs her novels—will find plenty to engage him here. A ninety-two page introduction (...) by Justin Broackes gives us a carefully plotted historical context for appreciating Murdoch’s work, detailed summaries of her main philosophical writings, and also fertile, wide-ranging, and .. (shrink)

Articulating the good of liberal education—what we should teach and why we should teach it—is necessary to resist the subversion of liberal education to economic or political ends and the mania for measurable skills. I argue that Iris Murdoch's philosophical writings enrich the work of contemporary Aristotelians, such as Joseph Dunne and Alasdair MacIntyre, on these issues. For Murdoch, studies in the arts and intellectual subjects, by connecting students to the inescapable contingency and finitude of human existence, contribute (...) to the cultivation of intellectual and moral virtues and thus to human flourishing. (shrink)

Iris Murdoch on philosophy and literature: morality and the limits of text The paper discusses Murdoch’s view on philosophy and literature. It poses two questions. The first question is how Murdoch distinguishes between these two disciplines. Murdoch defends a separation of the two, whereas in fact she crosses borders. Moreover, Murdoch holds that both philosophy and literature are seeking truth. Therefore, I argue, for Murdoch, philosophy and literature are similar from a moral philosophical standpoint. (...) The second question is whether literary and philosophical reflections reach their limits when it comes to describing ultimate moral matters? Here, Murdoch’s concept of textuality is central. I explain Murdoch’s philosophical concept of text by analysing her thoughts on the ban on writing as shown in the novel The Message to the Planet and in philosophical essays, in particular The Fire and the Sun: Why Plato Banished the Artists. Next, referring to Murdoch’s objections to Derrida’s theory of text, I argue that Murdoch’s concept of text is not strong enough to protect her view from moralism. I suggest that perhaps the moralism can be overcome if further analysis of Murdoch’s work would disclose the role of an alternative, expressionist concept of text. (shrink)

This book puts together the diverse concerns of Murdoch's career: the literary, the philosophical, the ethical and the religious exploring. Iris Murdoch as a thinker concerned with conceptions of human good in contemporary Western cultures.

Why Iris Murdoch Matters celebrates the highly regarded novelist as one of the most significant thinkers of our time. It responds to the renewed interest in her philosophical work, in particular, b...

The novel begins as follows:"Dora Greenfield left her husband because she was afraid of him. She decided six months later to return to him for the same reason. The absent Paul, haunting her with letters and telephone bells and imagined footsteps on the stairs had begun to be the greater torment. Dora suffered from guilt, and with guilt came fear. She decided at last that the persecution of his presence was to be preferred to the persecution of his absence.& (...) class='Hi'>quot;Murdoch's novel The Bell is about Imber Court. It is a small Anglican religious community of lay people whose lives were transformed, not just by the arrival of a couple of dissimilar visitors, not just by the arrival of a new bell to be installed at Imber Abbey located beyond the lake, but more significantly by the discovery of a centuries-old bell the story of which is engulfed in a terrible legend. (shrink)

Iris Murdoch was one of the most interesting and wide-ranging philosophers in recent British history. In addition to her five works on moral philosophy and existentalism, including Metaphysics as a Guide to Morals, she was the author of twenty-five works of fiction, including The Sea, the Sea, winner of the Booker Prize, and The Black Prince, winner of the James Tait Black Memorial Prize. This collection reassesses her literary and philosophical output, focusing on her key literary works and the (...) influence she had among contemporary philosophers. (shrink)

Iris Murdoch's famous case of M and D illustrates the moral importance of learning to see others in a more favourable light through renewed attention. Yet if we do not read this case in the wider context of Murdoch's work, we are liable to overlook the attitudes and transformations involved in coming to change one's mind as M does. Stanley Cavell offers one such reading and denies that the case represents a change in M's sense of herself or (...) the possibilities for her world of the kind exemplified by Nora in Ibsen's A Doll's House. In this essay, I challenge Cavell's reading, suggesting that the case, while it may not be an exemplar of the perfectionist outlook as described by Cavell, can and should be interpreted in perfectionist terms. To see this, I reflect on Murdoch's views on the endless perfectibility of language, the importance of humility, and the role of love and attention in moral learning. I conclude that Murdoch's work uniquely sheds light on how we might cultivate a perfectionist outlook in ourselves and others, and describes the distinctive role that some novels can play in moral education. (shrink)

The author juxtaposes two views of morality and the views of man they imply: one represented by behaviourist and existentialist approaches in theories of morality and the other proposed by Iris Murdoch, who stresses the ability to see and recognise morally significant characteristics. In Murdoch’s opinion, a person’s moral development consists in a change in the quality of consciousness as a result of the activity of attention in exploring moral reality. After contrasting these two views, the author confronts (...) Murdoch’s approach with the conception of moral development understood along these lines as exemplified in a character of her novel The Good Apprentice. She also puts the problem of attention into the context of Murdoch’s conception of the transcendence of persons. (shrink)

Murdoch’s moral philosophy stresses the didactic theme of active self-improvement. To this end, she argues, we can work to amend the quality of our states of consciousness, and hence of our conduct. But while such work undoubtedly involves cognitive effort, Murdoch has much to say about the hazards of a specious or misguided intellectualism. By way of commentary on these views, the present paper suggests that Murdoch’s early apprenticeship in Marxist politics—and her subsequent rejection of Marxism—may have (...) left a trace both in the idea that ‘our states of consciousness differ in quality’ ; and in the specific, distinctively ‘idealist’ course proposed by her mature philosophy for the project of moral self-criticism. (shrink)

Mary Midgley, Iris Murdoch, Gertrude Anscombe and Philippa Foot studied together in Oxford during the war, at a time when most of the men had left the university, leaving it to them for themselves. These unique circumstances where decisive for the fact that they all went on to become successful philosophers and were able to develop their own original philosophical theories, opposing the philosophical dogmas of their time, Midgley later wrote. This claim is the point of departure for this (...) article. It has three purposes: First I try to say something about the circumstances that made it possible to develop such alternatives, and second, I try to say something about what they consist in. Finally, I ask what this story can teach us about inclusion of women in philosophy today. (shrink)

This volume is the third volume in Palgrave' Macmillan's new Iris Murdoch Today scholarly series. Iris Murdoch and the Literary Imagination is the first major collection of literary essays since her centenary in 2019. It brings together leading Murdoch scholars from across the world who expand the boundaries of recent criticism offering work not only on the novels, but on her unpublished poetry and archival materials. This collection discusses her interest in, and use of, Japanese literature; her (...) relationship with, and reader-response to her, in Australia; Murdoch in the post #metoo era; her lifelong interest in the supernatural, same-sex relationships and friendships; as well as the use and abuse of biographical material. The collection widens the field of Murdoch studies and marks a new waypoint in the development of her critical reception. (shrink)