Iris Murdoch

At Oxford University, in the context of WW2, when men were largely obliged to abandon the university benches to take part in the war effort, four women philosophers, Iris Murdoch (1919-1999), Mary Midgley (1919-2018), Elizabeth Anscombe (1919-2001) and Philippa Foot (1920-2010), formed a group of philosophical reflections that would become a competitor, after the war, to John L. Austin’s famous ‘Saturday Mornings’. At the heart of the concerns of this ‘wartime quartet’: putting the importance of being human back at the (...) centre of ethics. They opposed “modern moral philosophy” and its many presuppositions, including the claim that ethical questions are independent of the facts of human life or concern a purely rational subject abstracted from everyday issues and from its belonging to the human species. By putting the importance of being human back at the heart of their ethical reflections, these philosophers came to reflect on issues that directly concern human life, far from the philosophical abstractions that interested their men homologues. In this paper, I explore the extent to which this re-inscription of philosophy into everyday life and into ordinary human concerns, opens the way to a feminist philosophy and ethics. (shrink)

Elizabeth Anscombe, Iris Murdoch, Mary Midgley, Simone Weil, Hannah Arendt and Simone de Beauvoir have long been relied upon to bring some token of gender balan.

A famous section of 1 Corinthians and some influential passages in the work of Iris Murdoch seem to suppose a significant connection between the higher human love of agape and moral knowledge: that, perhaps, the former may provide access to the latter. Following some sceptical attention to this possibility, this paper turns to a more modest suggestion of Plato's Symposium that the ‘lower’ human love of eros might be a transitional stage to higher moral love or knowledge of the good. (...) Still, while conceding that this may be so, the present paper argues that any moral transformations of such loves would need to be informed by moral wisdom or knowledge rather than vice versa. However, the paper concludes that there are ultimately deep and perhaps irreconcilable tensions between the epistemic and agapeic dimensions of moral life. (shrink)

This paper presents an account of Iris Murdoch's engagement with the work of Martin Heidegger. It covers her early discussions and evaluations of him in The Sovereignty of Good, through to her late Heidegger manuscript, covering both his early and late work. It details the significant changes that occur in her evaluation of him, as well as the key sympathies identified and criticisms developed in the late manuscript. The focus is on her insistence that only 'the Good', and not Heidegger's (...) 'Being', can fill the space left by the traditional Western God, and of the related failure in Heidegger to account properly for value. (shrink)

In this paper, I challenge standard views of the moral badness of sentimentality defended by art critics and philosophers. Accounts based on untruthfulness and self-indulgence lack the resources to both explain the badness of bad sentimentality and to allow that there are benign instances. We are sometimes permitted to be sentimental even though it is self-serving. A non-moralistic account should allow for this. To provide such an account, I first outline a substantive view of the ideal of unsentimentality by turning (...) to Rainer Maria Rilke’s Letters on Cézanne. Rilke celebrates the artist for his unsentimental love of his subjects and “untiring objective wakefulness” to them. I then turn to Iris Murdoch’s ethics of attention (itself influenced by Rilke) to explain why this ideal is so difficult to live up to in practice, the various ways that we fall short, and what our failures mean. What Murdoch contributes is both a sense that the lovingly attentive attitude that Rilke describes is morally—and not just artistically—important and a compassionate account of the human egocentrism that inhibits it. By thinking of sentimentality as a failure of moral attention, we can appreciate how particular instances differ from one another. Sentimentality can console us in difficult times or can gratify our egos; it can be a form of escapism or can rigidly enclose reality; and it can be harmlessly self-serving or a selfish failure to morally attend to the other when it counts. I conclude by outlining some ways that being seen with Cézanne-like moral attention can matter to us. (shrink)

Iris Murdoch claims that “clear vision is a result of moral imagination and moral effort.” Our experience of the world can be blurred by egoism, inattentiveness, and other failings. I ask how we distinguish clear vision from distorted vision. Murdoch’s texts appeal to four factors: (A) attention; (B) unselfing; (C) a form of conceptual articulacy; and (D) love. I ask three questions about these standards: - Are these standards directed at the same goal? (For example, are they all geared toward (...) securing purely epistemic goals?) - Are these standards criterial for improvements in vision? (That is, does the presence of some combination of (A)-(D) constitute or guarantee better vision?) - Does Murdoch think that there’s a single best form of vision? (Such as the one attained by the person who manifests (A)-(D)?) In the secondary literature, the typical answers to these questions are: yes, yes, yes. But I give different answers: no, no, no. (shrink)

Benjamin J.B. Lipscomb, The Women Are up to Something. How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics, Oxford University Press, New York, 2022, 326pp., ISBN 978–0–19–754107–4.

It is often remarked that Iris Murdoch’s thought deeply influenced the landscape of twentieth-century moral philosophy. It is certainly true that she inspired a generation of Anglo-American philosophers who sought to critique the moral philosophy of their day. However, these philosophers drew almost exclusively from her early philosophical thought, most notably The Sovereignty of Good. When it came to Murdoch’s second book, Metaphysics as a Guide to Morals (MGM), moral philosophers and scholars alike found it hard to place within contemporary (...) moral philosophy.Our aim in this paper is to offer a reading of MGM that is resolute in its commitment to do justice to the book’s resistance against domestication within standard moral philosophy, while taking Murdoch at her word when she writes that her “whole argument can be read as moral philosophy” (MGM, 740). This commitment allows us to read MGM as an integrated unity. More importantly, it allows us to reassess Murdoch’s place in twentieth-century philosophy and to propose MGM as one of the works seeking to transform it. Our hope is that our reading will interest any philosopher who feels that something essential is missing in current typical practices in the discipline. (shrink)

It is often remarked that Iris Murdoch’s thought deeply influenced the landscape of twentieth-century moral philosophy. It is certainly true that she inspired a generation of Anglo-American philosophers who sought to critique the moral philosophy of their day. However, these philosophers drew almost exclusively from her early philosophical thought, most notably The Sovereignty of Good. When it came to Murdoch’s second book, Metaphysics as a Guide to Morals (MGM), moral philosophers and scholars alike found it hard to place within contemporary (...) moral philosophy.Our aim in this paper is to offer a reading of MGM that is resolute in its commitment to do justice to the book’s resistance against domestication within standard moral philosophy, while taking Murdoch at her word when she writes that her “whole argument can be read as moral philosophy” (MGM, 740). This commitment allows us to read MGM as an integrated unity. More importantly, it allows us to reassess Murdoch’s place in twentieth-century philosophy and to propose MGM as one of the works seeking to transform it. Our hope is that our reading will interest any philosopher who feels that something essential is missing in current typical practices in the discipline. (shrink)

Moral perception is typically understood as moral properties perception, i.e., the perceptual registration of moral properties such as wrongness or dignity. In this article, I defend a view of moral perception as a process that involves imaginative apprehension of reality. It is meant as an adjustment to the dominant view of moral perception as moral properties perception and as an addition to existing Murdochian approaches to moral perception. The view I present here builds on Iris Murdoch’s moral psychology and holds (...) that moral perception is an imaginative exploration of the particularity of concrete objects of moral reality (e.g., persons, situations, and events), rather than a registration of moral properties. I argue that such imaginative apprehension includes direct and reflective uses of imagination and that this process grounds experiential moral knowledge that serves the ultimate role of moral perception: getting a better grip on concrete objects of moral reality. (shrink)

Iris Murdoch offers a distinctive conception of moral psychology. She suggests that to develop a moral psychology is to develop what she calls a soul-picture; different philosophical moral psychologies are, as she puts it, “rival soul-pictures.” In this paper I clarify Murdoch’s generic notion of “soul-picture,” the genus of which, for example, Aristotle’s, Kant’s, Nietzsche’s, and Murdoch’s constitute rival species. Are all philosophical moral psychologies soul-pictures? If not, what are the criteria that a moral psychology must meet in order to (...) qualify as a soul-picture? I propose five key dimensions. A soul-picture provides a picture of the soul or self that is 1) holistic, 2) value-rich and psychologically realistic (for Murdoch these are intertwined), 3) reflexive, 4) therapeutic and 5) the articulation of which makes use of imaginative language. (shrink)

Iris Murdoch offers a distinctive conception of moral psychology. She suggests that to develop a moral psychology is to develop what she calls a soul-picture; different philosophical moral psychologies are, as she puts it, ‘rival soul-pictures’. In this paper, I clarify Murdoch's generic notion of ‘soul-picture’, the genus of which, for example, Aristotle's, Kant's, Nietzsche's, and Murdoch's constitute rival species. Are all philosophical moral psychologies soul-pictures? If not, what are the criteria that a moral psychology must meet in order to (...) qualify as a soul-picture? I propose five key dimensions. A soul-picture provides a picture of the soul or self, that is (1) holistic, (2) value-rich and psychologically realistic (for Murdoch these are intertwined), (3) reflexive, (4) therapeutic, and (5) the articulation of which makes use of imaginative language. (shrink)

This paper examines an overlooked aspect of interpersonal love: Like morality, love demands a certain kind of impartial or disinterested vision from us. We cannot love another person well, I argue, without being capable of such impartiality. Unfortunately, our self-interested nature makes meeting love's demand for impartiality extremely difficult if not impossible. This paper unpacks and offers a solution to this difficulty. Drawing on Iris Murdoch's work on love, I suggest that we can come to appreciate our beloveds as we (...) should through unselfing, a state of self-forgetful, disinterested appreciation of an object outside the self. When we unself, we are so deeply moved by an external object's value—e.g. a stunning sunset—that all our subjective cares and concerns disappear from view. In concluding, I suggest that the capacity for impartiality we must develop to love someone well is relevant to understanding what our moral relations demand of us. (shrink)

Iris Murdoch is well-known for her moral philosophy, especially for the light it sheds on the inner life. This Element focuses on the political significance and contours of Murdoch's ethics. Its chief aim is to illuminate the affinities between Murdoch's concept of the individual and the Enlightenment ideal of a society in which people live together as free equals. There are five sections in this Element. Section 1 provides context for the discussion. Section 2 compares what Murdoch calls the liberal (...) and naturalistic outlooks and argues that she develops a modified version of the naturalistic outlook to better support an Enlightenment sensibility. Sections 3 and 4 examine the three main features of Murdoch's 'naturalized' individual. Section 3 considers the individual's uniqueness and transcendence. Section 4 considers the individual's knowability through love. Section 5 offers some concluding remarks. (shrink)

Midwifery philosophy views childbearing as primarily normal, indicative of a woman's overall health. Midwifery practice focuses on supporting the human‐to‐human relationship between the midwife and the woman holding primacy. Despite the traditional focus on wellness, maternity care in today's risk averse world is increasingly complex. Technology has been increasingly implemented into maternity care to detect complications early and reduce harm. The Maternity Early Warning Tool is a technological innovation in this regard. Actor‐network theory (ANT) offers a framework for analysing the (...) connections between human actors (women, fetuses, and midwives) and nonhuman actors (machines, tools, and policies) within healthcare. This paper through drawing on the tenets of ANT, particularly in understanding the adoption of Maternity Early Warning Tools in midwifery practice, examines and explores the implications of integrating these tools in relation to midwifery practice. ANT also guides thoughtful considerations regarding the potential trajectory of Artificial Intelligence in midwifery, specifically regarding how these technological advancements alter midwifery practice by creating new hybrid assemblages and fluid identities. This discussion of subversive elements enhances understanding of the implications of Maternity Early Warning Tools on contemporary midwifery practice. (shrink)

Simone Weil's ideas proved fundamental for Iris Murdoch, opening up a difficult path of thought for one rooted in the British philosophical tradition in the 1950s (Sim 1985, Bok 2005, Lovibond 2011a, Panizza 2022a, Mac Cumhaill and Wiseman 2022). Grasping the Weilian-inspired moral theory of attention sketched by Iris Murdoch is a prerequisite for comprehending the development of her moral ideas (Panizza 2015, Broackes 2012) and the form they may take in her literary writings (Griffin 1993, Morgan 2006). This paper (...) argues that we can read an expression of Simone Weil in Iris Murdoch's novels which articulate her notions of grace and gravity, but also convey the Weilian insights that shape Murdoch's moral perfectionism. It investigates three of Murdoch's well-known male protagonists, i.e., Bradley Pearson, Charles Arrowby and Hilary Burde, so as to comprehend how their moral failures relate to a defective implementation of the concepts of love and attention as theorised by Simone Weil as leading to goodness. Hence, it offers a new examination of the way in which the Murdochian literary staging of inattention as a cause of moral deficiency reveals its Weilian-based ethics of attention. (shrink)

Iris Murdoch is a celebrated philosopher and novelist. Was she a political theorist? It has been argued that she concentrated upon the personal and the moral at the expense of the social and the political. However, this book urges the contrary. Murdoch had lifelong interests in politics, literature, and philosophy. More than that, Murdoch sees experience, historical experience, as the foundation upon which literature, philosophy, and political theory are based. Hence, in reading Murdoch we get a clear insight into the (...) nature of the political world in the twentieth century. From an early political radicalism to a later scepticism over political possibilities, Murdoch reacted to and thought about the great political events of the twentieth century, notably the Holocaust, the rise and fall of ideologies, the possibilities of utopianism, and the realities of political tyranny and totalitarianism. Her political philosophy conceptualized relations between moral and political spheres. Her novels deal imaginatively with questions of migration, refugees, sexuality, and freedom. Her letters and journals provide moment to moment reactions to political events. (shrink)

This book explores the historical development of new moral concepts, an activity the author labels "moral articulation." Starting from examples of new moral language developed in the twentieth century, like 'sexual harassment', 'genocide', 'racism', and 'hate speech', this book asks: are we simply naming moral realities that already existed, fully formed and intact, prior to their expression in language? Or do changes in our concepts and language sometimes reshape the objects they bring to light? Moral Articulation outlines an ethical framework (...) that allows us to embrace a version of the latter, transformative view without sacrificing notions of moral truth, objectivity, and knowledge. The result is a variation of moral realism that is sensitive to deep historical changes in morality. The book presents a view of moral value as extending beyond what we are presently able to put into words, urging that new developments in moral language often begin in dissonant experiences of conceptual and discursive breakdown. Resisting a tendency in contemporary ethics to start with situations and dilemmas whose descriptions are already given, this book argues that the struggle to piece together a discursively articulate picture of a situation in the first place is an ethical task in its own right. The result is a thoroughly historical yet objective picture of ethics that emphasizes the role of language in prompting moral change in our life-form. It draws inspiration from Aristotelian, Hegelian, Wittgensteinian, and liberatory praxis-inspired philosophy, as well as from Charles Taylor and Iris Murdoch. (shrink)

This book is a systematic treatment-perhaps the first-of “attitudes of the heart”-remorse (versus guilt), love, trust, gratitude, personal anger (versus righteous anger), jealousy, and others-and their role in mediating personal relationship, attachment, and connection. This is obviously interesting in its own right, but it also shows how heartfelt attitudes mirror more extensively studied “reactive attitudes” of guilt, resentment, and blame (“attitudes of the will”). Whereas the latter mediate moral relations of mutual respect and accountability, attitudes of the heart are the (...) currency of heartfelt connection and personal relationship. (shrink)

Abstract: According to Iris Murdoch, one of our central moral capacities is to direct our attention in a way that is just and loving. In Metaphysics as a Guide to Morals, Murdoch explores the prospects for strengthening this capacity through engaging in Zen Buddhist practices, particularly zazen meditation as Katsuki Sekida describes it in Zen Training: Methods and Philosophy. Murdoch has a mixed view of whether zazen could really contribute to our moral development, expressing both some optimism and some reservations. (...) I argue that a stronger version of Murdoch's project, by her own lights, would have looked to the Theravāda Buddhist philosopher Buddhaghosa's instructions for taking up loving-kindness, compassion, gladness, and equanimity as meditation subjects. (shrink)

We are self-conscious creatures thrown into a world which is not of our making. What is the connection between being self-conscious and being related to an objective world? Descartes and Kant, in different ways and with different emphases, argued that self-conscious subjects must be related to an objective world. But many have worried about their starting points. ‘One should say it is thinking, just as one says, it is lightning’, the eighteenth-century philosopher, physicist, and aphorist Georg Christoph Lichtenberg writes. ‘To (...) say cogito is already too much as soon as one translates it as I am thinking. To assume the I, to postulate it, is a practical requirement.’ Lichtenberg raises a question here about our entitlement to think of ourselves as the agent of our thinking. Sometimes thoughts strike us like lightning. When this happens, we are their patient. It is central to our self-conscious lives that this is the exception: we are first and foremost the agents of our thinking. What right do we have to think of ourselves as such? The Practical Self argues that self-consciousness requires faith in ourselves as the agents of our thinking. But faith can be undermined and it can be sustained. And this provides us with a connection to the world since our faith in ourselves as the agents of our thinking is sustained by practices which relate us to other thinkers. Self-conscious subjects must have faith in themselves as thinking agents and it is our relations to the others which sustain this faith. Self-consciousness connects us to a world of others. (shrink)

Defenders of two Rationality Views of love—the Qualities View and the Personhood View—have drawn on Iris Murdoch's philosophical writings to highlight a connection between love and a “realistic” perspective on the beloved. Murdoch does not inform the basic structure of these views—she is rather introduced as a supplement who shows that in love, we pay accurate, nuanced, unguarded, and unflinching attention to the other. In this paper, I contend that these authors have failed to see that Murdoch offers a distinct (...) view of love and is inappropriate to enlist as an ally. This is in large part because they have missed the full sense of what Murdoch means by connecting love and realism. I contend that for Murdoch, to love someone means seeing them in light of a realistic vision of what it means to be human; this includes an appreciation of the limits of freedom, the formative influence of personal history, and the nature and extent of our differences from one another. This helps us to see why Murdoch variously describes loving attention as realistic, compassionate, tolerant, and extremely difficult. It also sheds light on some important and familiar ways that we criticize one another's grounds for love. (shrink)

What’s so good about John Ames? The narrator of Marilynne Robinson’s Gilead has been much admired, but it’s far from obvious why. His life is quiet and unassuming, and has for the most part been uneventful in the extreme. In this chapter I draw on Iris Murdoch’s moral philosophy to explain the moral arc of the novel, and suggest that the novel in turn can shed light on Murdoch’s key ethical ideas. What is so notable about John Ames, I suggest, (...) is his commitment to seeing the world justly and lovingly—a commitment which for Murdoch is at the heart of virtuous agency. (shrink)

The aim of this paper is to show that, for the purposes of addressing the epistemic aspects of systemic injustice, we need a notion of emancipatory attention. When the epistemic and ethical elements of an injustice are intertwined, it is a misleading idealisation to think of these epistemological elements as calling for the promotion of knowledge through a rational dialectic. Taking them to instead call for a campaign of consciousness-raising runs into difficulties of its own, when negotiating the twin risks (...) of being presumptuous about one’s own ignorance, and patronising in attributing ignorance to others. To arrive at a better response, we should follow Marilyn Frye’s suggestion that the epistemic aspects of injustice are, at root, problems of attention. But we fail to give an adequate account of this if we adhere to the most influential tradition of thinking about attention’s ethics, which takes its lead from Iris Murdoch’s reading of Simone Weil. That tradition addresses attention’s significance in individual contexts, rather than social ones. To get a better conception of the role that is played by attention in projects of social emancipation, we should take some ideas from recent work on the metaphysics of attention, together with ideas from an older tradition – represented here by R.G. Collingwood’s The Principles of Art – concerning the forms of attention that are occasioned by the creation and appreciation of art. (shrink)

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)

How do we see the world aright? This question is central to Iris Murdoch’s philosophy as well as to that of her great source of inspiration, Simone Weil. For both of them, not only our action, but the very quality of our being depends on the ability to see things as they are, where vision is both a metaphor for immediate understanding and a literal expression of the requirement to train our perception so as to get rid of illusions. For (...) both, too, the method to achieve this goal is attention. For both, finally, attention requires a dethronement of the self, considered as the source of illusion. In this paper I investigate what moral perception means for each of these philosophers and how it operates through attention and its relationship with the self. I will show that, despite many striking similarities, Murdoch’s project does not equal ‘Weil minus God’, but offers a different concept of the self, a different understanding of its removal, and therefore a different picture of attention and moral perception. In evaluating both views, I will gesture towards a third way represented by Zen Buddhism, which both philosophers variously consider but do not embrace. (shrink)

This article argues that Iris Murdoch, who was supervised by John Wisdom during her 1947–48 fellowship at Newnham College Cambridge, went on to practice philosophy in a recognizably Wisdomian manner in her earliest paper, “Thinking and Language” (1951). To do so, I first describe how Wisdom understood philosophical perplexity and paradox. One task that linguistic philosophers should take up is to investigate the concrete cases that give paradoxical philosophical statements their sense and to sift the truth they contain from the (...) distortion. I then show how this vision informed his critical reception of Gilbert Ryle's The Concept of Mind as well as his own investigation of the Hidden Stream Paradox. Finally, I trace a similar approach to Murdoch's discussions of a paradox I call the Coarse Net Paradox. Recognizing Murdoch's intellectual inheritance from Wisdom enables us to see a thus‐far overlooked connection between Murdoch and the tradition of linguistic philosophy. (shrink)

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)

What are the limits of language? How can philosophy be brought closer to everyday life? What is a good human being? These were among the questions that philosophers wrestled with in mid-twentieth-century Britain, a period shadowed by war and the rise of fascism. In response to these events, thinkers such as Philippa Foot (originator of the famous trolley problem), Isaiah Berlin, Iris Murdoch, Elizabeth Anscombe, Gilbert Ryle, and J. L. Austin aspired to a new level of watchfulness and self-awareness about (...) language as a way of keeping philosophy true to everyday experience. A Terribly Serious Adventure traces the friendships and the rivalries, the shared preoccupations and the passionate disagreements of some of Oxford's most innovative thinkers. Far from being stuck in their ivory towers, the Oxford philosophers lived. They were codebreakers, diplomats, and soldiers in both World Wars, and they often drew on their real-world experience in creating their greatest works, masterpieces of British modernism original in both thought and style. (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)

It can be tempting to read Iris Murdoch as subscribing to the same position as standard contemporary moral realists. Her language is often similar to theirs and they share some key commitments, most importantly the rejection of the fact-value dichotomy. However, it is a mistake to assume that her realism amounts to the same thing theirs does. In this paper I offer a sketch of her alternative conception of realism, which centres on the idea that truth and reality are fundamentally (...) ethical concepts. For Murdoch, I suggest, realism is a matter of doing justice to the objects one is confronted with—something that cannot be understood except in ethical terms. (shrink)

Anselm’s ontological argument is an argument for the existence of God. This paper presents Iris Murdoch’s ontological argument for the existence of the Good. It discusses her interpretation of Anselm’s argument, her distinctive appropriation of it, as well as some of the merits of her version of the argument. In doing so, it also shows how the argument integrates some key Murdochian ideas: morality’s wide scope, the basicness of vision to morality, moral realism, and Platonism.

The novelist and philosopher Iris Murdoch and the painter Harry Weinberger engaged in over twenty years of close friendship and intellectual discourse, centred on sustained discussion of the practice, teaching and morality of art. This book presents a reappraisal of Murdoch’s novels – chiefly, three mature novels, The Sea, The Sea (1978), Nuns and Soldiers (1980) and The Good Apprentice (1985), and two enigmatic late novels, The Green Knight (1993) and Jackson’s Dilemma (1995) – which are perceived through the prism (...) of her discourse with Weinberger. It draws on a run of almost 400 letters from Murdoch to Weinberger, and on Murdoch’s philosophical writings, Weinberger’s private writings, the remarks of both artists in interviews, and other material relating to their views on art and art history, much of which is unpublished and has received no previous critical attention. Scrutiny of their shared values, methods and the imagistic dialogue that takes place in their art provides original perspectives on Murdoch’s creativity, and new ways of understanding her experimentation with the visual arts. This book offers a new line of enquiry into Murdoch's novels, and into the relationship between literature and the visual arts. (shrink)

Timely and immersive, Metaphysical Animals tells the unlikely story of four young women philosophers. Mary Midgley (neé Scrutton), Iris Murdoch, Elizabeth Anscombe, and Philippa Foot (neé Bosanquet...

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.

A central notion in Benjamin Lipscomb's narrative of the rise of the ‘Wartime Quartet’—Anscombe, Foot, Midgley, and Murdoch—is that of philosophical pictures (e.

This exploration of the crucially important role played by remorse in Iris Murdoch’s philosophical, theological, and political thinking identifies it as a critical concept in her moral psychology and a recurrent theme in her art. Through engagement with Simone Weil, current theories of remorse, trauma theory and Holocaust studies, it offers fresh perspectives on Murdoch’s fiction – particularly the late novels, her radio play The One Alone, and her monograph Heidegger.

This essay explores the legacy of the four philosophers now often referred to as ‘The Wartime Quartet’: G.E.M. Anscombe, Iris Murdoch, Philippa Foot and Mary Midgley. The life and work of the four, who studied together in Oxford during the Second World War, is the subject of two recently published books, The Women Are Up to Something, by Benjamin Lipscomb, and Metaphysical Animals, by Clare Mac Cumhaill and Rachael Wiseman. The two books show us how Anscombe, Murdoch, Foot and Midgley (...) became friends united in their hostility to the logical-positivist orthodoxy of the day and its deleterious influence on Oxford moral philosophy. And we see how their friendship had a formative influence on their subsequent—highly distinguished—careers, so that it is possible to discern, if not exactly a school of thought, then various common themes, ideas and concerns, which are expressed and developed in contrasting ways. While Lipscomb represents the work of the Quartet as of largely historical significance, my paper defends what I take to be Mac Cumhaill and Wiseman's position that their legacy is very much a living one, containing insights that are not just of enduring relevance, but can transform how we see ourselves and how we do philosophy. For Mac Cumhaill and Wiseman, the key idea shared by the members of the Quartet is to place the concept of life at the centre of philosophical attention. This commitment has at least four dimensions: (i) an interest in the ordinary; (ii) a focus on virtue, goodness and human flourishing; (iii) an affirmation of our animal nature; (iv) recognition of the normative landscape that structures our lives. I try to bring out the philosophical significance of these themes in a way relevant to the philosophical elucidation of education. (shrink)

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)

Politics never became a central intellectual interest of Murdoch’s, but she produced one important and visionary political essay in the ‘50’s, several popular writings on political matters, and a significant chapter in Metaphysics as a Guide to Morals that echoes throughout that book. In the 1958 “House of Theory,” she sees the welfare state as having almost entirely failed to address the deeper problems of capitalist society, including a failure to create the conditions for values she saw as central to (...) the socialist tradition—equality, absence of exploitation, meaningful work, and a sense of community. In Metaphysics as a Guide to Morals, Murdoch abandons the idea that moral ideals provide a guide to constructing a good society. She retains from her earlier work that the individual-moral domain is governed by perfectionism, but society cannot be. ‘Society must be thought of as a bad job to be made the best of’, for example, through the liberal idea of rights. Murdoch had a lifelong engagement with Marxism as a philosophy, introduced to her as a member of the Communist Party in the late ‘30’s and ‘40’s, and continuing through her subsequent long Labour period, and even when she moved to the Right in the Thatcher era. Marx and Marxism were always part of her mental universe, and she continued to work out what she agreed and disagreed with in it. (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)

In this chapter, we examine Iris Murdoch’s views about art. We highlight continuities and differences between her views on art and aesthetics, and those of Plato, Kant, and Freud. We argue that Murdoch’s views about art, though traditionally linked to Plato, are more compatible with Kant’s thought than has been acknowledged—though with his ethics rather than his aesthetics. Murdoch shows Plato’s influence in her idea that beauty is the good in a different guise. However, Murdoch shows a more Kantian than (...) Platonic influence in her suggestion that the experience of beauty can be conducive to virtue, and distances herself from Plato in her claim that the enjoyment, as well as the production, of certain kinds of art can be virtuous. We also argue that her view of bad art as self-consoling fantasy is consonant with Freudian thought. Lastly, we question her view of bad art, specifically concerning her identification of bad art as self-consoling fantasy or entertainment, and her separation of the latter and good art. (shrink)

An outstanding reference source to the full span of Murdoch's work, comprising 37 specially commissioned chapters written by an international team of leading scholars. This is the first volume to do justice to the incredibly rich and wide-ranging nature of her work. Divided into five parts, the volume covers the following areas: -/- - A guide to Murdoch's key philosophical texts, including The Sovereignty of Good and Metaphysics as a Guide to Morals. - Core themes and concepts in Murdoch's philosophy, (...) such as love, moral vision, and attention. - Murdoch's engagement with the history of philosophy, including Plato, Kant, Hegel, Simone Weil, and Wittgenstein. - Interdisciplinary connections with art, literature, and religion, including Judaism, Buddhism, and Christianity. - Murdoch and contemporary philosophical debates, including feminism, virtue ethics, and metaethics. - The application of Murdoch’s thought to applied ethics, including animal ethics, psychiatric ethics, and the environment. -/- Although recent years have seen a blossoming of interest in Murdoch’s philosophy, The Murdochian Mind is the first volume to do justice to the incredibly rich and wide-ranging nature of her work. As such it will be of great interest to students of philosophy, especially ethics and aesthetics, as well as those in related disciplines such as literature, religion, and gender studies. (shrink)