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Published: 4 June 2021
Last updated: 18 May 2024

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1

Kane, Richard C., and Harold Bloom. "Iris Murdoch." South Atlantic Review 54, no. 3 (September 1989): 155. http://dx.doi.org/10.2307/3200208.

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2

Hague, Angela, and Deborah Johnson. "Iris Murdoch." South Atlantic Review 54, no. 2 (May 1989): 166. http://dx.doi.org/10.2307/3200579.

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3

Sapio, Maria Del, Deborah Johnson, and Alan Bold. "Iris Murdoch." Yearbook of English Studies 20 (1990): 342. http://dx.doi.org/10.2307/3507624.

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4

Dykes, Anthony. "Iris Murdoch." New Blackfriars 75, no. 888 (December 1994): 562–68. http://dx.doi.org/10.1111/j.1741-2005.1994.tb06434.x.

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5

Schneiderman, Leo. "Iris Murdoch: Fantasy Vs. Imagination." Imagination, Cognition and Personality 16, no. 4 (June 1997): 379–97. http://dx.doi.org/10.2190/2ycw-jjdl-nkpq-4thc.

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Iris Murdoch is an exponent of the view that fictional narratives are best written by observing other people realistically and as entirely separate from the author's private life, with its memories and desires. Convinced that it is possible for a novelist to be “objective,” she has written over twenty novels, relying on what she terms “imagination,” i.e., attention to the uniqueness of individuals, without subjective distortion dictated by the author's unconscious conflicts or ideological obsessions. The opposite of “imagination,” in Murdoch's view, is “fantasy,” or the exploitation by the novelist of his or her emotional problems, traumatic experiences, and other “solipsistic” influences. In pursuit of her goal of strict realism, Murdoch paradoxically has embraced Plato's view that ultimate reality, the abstract essence of things, exists outside the illusionary world of appearances. Her novels often are intended to illustrate the difficulties involved in arriving at a “true” reading of what transpires in human relationships, and how, in the absence of truth her self-deceived protagonists are debarred from the pursuit of virtue. The significance of Murdoch's approach for understanding the creative process is that she assigns primary roles to attention and cognition on the part of the novelist and is dismissive of the contribution of conative and affective determinants. Her fictional portraits are nevertheless as compassionate as her view of society is satirical, raising questions as to whether Murdoch has been able to maintain her self-imposed psychological distance from her materials, and whether, indeed, any writer can profitably do so.
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6

Sadjadi, Bakhtiar, and Peyman Amanolahi Baharvand. "The Significance of Love and Selflessness in Iris Murdoch’s Moral Philosophy." Khazar Journal of Humanities and Social Sciences 22, no. 2 (July 2019): 83–92. http://dx.doi.org/10.5782/2223-2621.2019.22.2.83.

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As a distinguished philosopher and novelist in the second half of the twentieth century, Iris Murdoch addressed the significance of ethics in her framework of thought. Murdoch’s moral philosophy was widely acknowledged as a challenge to the prevailing ethical traditions which, she asserted, had failed to present an accurate picture of morality. As a philosopher and literary figure, Murdoch maintained that not only moral philosophy but also literature should depict perceptible pictures of man’s morality. The purpose of this paper is to closely explore Murdoch’s perspective towards the weight of love in moral philosophy. Since she was concerned with ethical issues and man’s confrontation with ethical questions in a world in which religious values and beliefs had been shattered, Murdoch deployed literature to convey the concepts she advocated in her moral philosophy. She contended that literature was capable of sustaining and improving man’s morality. Murdoch was a prolific novelist and playwright authoring 26 novels and 6 plays in which she developed and reflected her philosophical arguments through the portrayal of her intended ethical behavior. This tendency is mostly highlighted in The Flight from the Enchanter (1956), and The Severed Head (1961) in which Murdoch resorts to Plato’s theory of Forms and his idea of the Good to combat the conventional moral philosophy of the twentieth century. Based on the findings of this article, Murdoch intends to depict the significance of freedom and love as the prerequisites of morality in any philosophical system.
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7

Henry, Richard, Iris Murdoch, and John Bayley. "Iris: A Memoir of Iris Murdoch." World Literature Today 73, no. 4 (1999): 748. http://dx.doi.org/10.2307/40155169.

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8

Umachandran, Mathura. "‘THE AFTERMATH EXPERIENCED BEFORE’: AESCHYLEAN UNTIMELINESS AND IRIS MURDOCH'S DEFENCE OF ART." Ramus 48, no. 2 (December 2019): 223–47. http://dx.doi.org/10.1017/rmu.2019.18.

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This year marks the centenary of the birth of Iris Murdoch (1919–99). She has been celebrated as one of Britain's most important postwar writers with twenty-six prose fiction novels to her name. Murdoch was also an ancient philosopher who was primarily interested in issues of moral philosophy. Pinning down her place in the Anglo-American analytic tradition of philosophy, however, is not a straightforward task. On the one hand she cut a conventional figure, holding a tutorial fellowship at St Anne's College, Oxford, from 1948 to 1963. On the other hand, her philosophical writing increasingly departed from the coordinates of analytical philosophy. As Martha Nussbaum notes in her deeply ambivalent review of Murdoch's The Fire and the Sun: Why Plato Banished the Artists, Murdoch is ‘a novelist whose best work is deeply philosophical, a philosopher who has stressed…the special role that beauty can play in motivating us to know the good, …a Platonist believer in human perfectability, and an artist.’ Nussbaum points us towards understanding two key elements in Murdoch's thought: her commitment to Plato and the manner in which Murdoch's activity as philosopher and novelist should be considered as interdependent.
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9

Braune, Camille. "From Inattentiveness Towards Moral Failures: Acknowledging Simone Weil in Iris Murdoch’s Literary Writings." Labyrinth 25, no. 2 (January 15, 2024): 47–73. http://dx.doi.org/10.25180/lj.v25i2.341.

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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.
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10

Bolton, Lucy. "Murdoch andMargaret: Learning a Moral Life." Film-Philosophy 21, no. 3 (October 2017): 265–80. http://dx.doi.org/10.3366/film.2017.0051.

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Reading the moral philosophy of Iris Murdoch alongside film enables us to see Murdoch's notions of practical moral good in action. For Murdoch, moral philosophy can be seen as “a more systematic and reflective extension of what ordinary moral agents are continually doing”. Murdoch can help us further by her consideration of the value of a moral fable: does a morally important fable always imply universal rules? And how do we decide whether a fable is morally important? By bringing Murdoch and Margaret (Kenneth Lonergan, 2011) together in an exploration of the moral decision making of the film's protagonist and our assessment of her choices, we can learn more about the idea of film as a morally important fable rather than a fable that is purely decorative.
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11

Fortney, Mark. "Loving Attention: Buddhaghosa, Katsuki Sekida, and Iris Murdoch on Meditation and Moral Development." Philosophy East and West 74, no. 2 (April 2024): 212–32. http://dx.doi.org/10.1353/pew.2024.a925190.

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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.
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12

Catană, Elisabeta Simona. "Postmodernist Faces of Truth and Fiction in Iris Murdoch’s The Sea, The Sea." Studia Universitatis Babeș-Bolyai Philologia 66, no. 2 (March 30, 2021): 9–20. http://dx.doi.org/10.24193/subbphilo.2021.2.01.

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"Postmodernist Faces of Truth and Fiction in Iris Murdoch’s The Sea, The Sea. This essay analyses Iris Murdoch’s The Sea, The Sea and argues that the concept of truth stands for multiple-faced fiction to be interpreted according to the readers’ vision, culture and education. One’s vision of the world represents one’s truth about the world. Emphasizing the fictionality of truth and inviting the readers to analyze the symbols of the sea and of the “various lights” (Murdoch 77), which stand for different views on the past and the world, Iris Murdoch’s The Sea, The Sea evinces its postmodernist and metafictional condition. Keywords: truth, fiction, postmodernist faces, vision, the past, the present, the sea, the light, the world "
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13

Moss, Howard. "Narrow Escapes: Iris Murdoch." Grand Street 6, no. 1 (1986): 228. http://dx.doi.org/10.2307/25006943.

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14

Henry, Richard, and Peter J. Conradi. "Iris Murdoch: A Life." World Literature Today 77, no. 1 (2003): 108. http://dx.doi.org/10.2307/40157855.

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15

Turner, N. "Iris Murdoch: Philosophical Novelist." Contemporary Women's Writing 7, no. 1 (May 18, 2012): 111–12. http://dx.doi.org/10.1093/cww/vps007.

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16

Altorf, Marije. "Iris Murdoch and Morality." European Legacy 19, no. 4 (June 7, 2014): 496. http://dx.doi.org/10.1080/10848770.2014.927214.

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17

Hämäläinen, Nora. "Symposium on Iris Murdoch." Heythrop Journal 54, no. 6 (June 17, 2013): 1007–11. http://dx.doi.org/10.1111/heyj.12045.

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18

Robjant, David. "Symposium on Iris Murdoch." Heythrop Journal 54, no. 6 (June 30, 2013): 999–1006. http://dx.doi.org/10.1111/heyj.12057.

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19

Antonaccio, Maria. "Symposium on Iris Murdoch." Heythrop Journal 54, no. 6 (July 14, 2013): 1012–20. http://dx.doi.org/10.1111/heyj.12058.

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20

Williges, Flavio. "Platão e Iris Murdoch." Revista Archai, no. 26 (May 1, 2019): e02603. http://dx.doi.org/10.14195/1984-249x_26_3.

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Desde a publicação, em 1958, do famoso artigo A Filosofia Moral Moderna de G. E. M. Anscombe estabeleceu-se uma espécie de consenso em torno da necessidade de as teorias ético-filosóficas contemporâneas ampliarem sua agenda de análise para além das noções de dever e obrigação. Esse movimento conduziu à redescoberta de concepções morais antigas ligadas à constituição de um caráter virtuoso e da conquista da felicidade ou bem-viver, especialmente a ética de Aristóteles e dos filósofos estoicos. Nesse artigo eu mostro que a filósofa e escritora britânica Iris Murdoch participou desse movimento de redescoberta da ética das virtudes antiga, localizando na filosofia de Platão, e não na filosofia de Aristóteles ou dos estoicos, um instrumento de crítica às teorias morais de seu tempo, uma crítica caracterizada pela substituição da noção tipicamente moderna da vontade racional do agente por noções profundamente vinculadas à filosofia platônica, como o “amor” e “atração” pelo Bem, entendidos como constituintes de um modelo de orientação moral objetiva. Diferente de Platão, no entanto, o Bem e seu poder de engajamento e atração, é explorado como uma fonte ético-metafísica com um significado psicológico muito particular. Ele é caracterizado, em termos da psicologia moral de base psicanalítica por ela adotada, como um olhar amoroso do outro e como um desejo de ver a realidade, entendido como um desejo pessoal de sermos justos e bons, o que dá um sabor psicológico-naturalista à sua reinvindicação da filosofia platônica.
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21

Stimpson, Catharine R., and Peter J. Conradi. "Iris Murdoch: A Life." Academe 88, no. 4 (2002): 70. http://dx.doi.org/10.2307/40252196.

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22

Leeson, Miles. "Iris Murdoch and Morality." Miscelánea: A Journal of English and American Studies 46 (February 17, 2013): 155–58. http://dx.doi.org/10.26754/ojs_misc/mj.20128965.

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23

Driver, Julia. "Love and Unselfing in Iris Murdoch." Royal Institute of Philosophy Supplement 87 (June 2, 2020): 169–80. http://dx.doi.org/10.1017/s1358246120000028.

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AbstractIris Murdoch believes that unselfing is required for virtue, as it takes us out of our egoistic preoccupations, and connects us to the Good in the world. Love is a form of unselfing, illustrating how close attention to another, and the way they really are, again, takes us out of a narrow focus on the self. Though this view of love runs counter to a view that those in love often overlook flaws in their loved ones, or at least down-play them, I argue that it is compatible with Murdoch's view that love can overlook some flaws, ones that do not speak to the loved one's true self. Unselfing requires that we don't engage in selfish delusion, but a softer view of our loved ones is permitted.
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24

Hämäläinen, Nora. "Reduce Ourselves to Zero?: Sabina Lovibond, Iris Murdoch, and Feminism." Hypatia 30, no. 4 (2015): 743–59. http://dx.doi.org/10.1111/hypa.12172.

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In her book Iris Murdoch, Gender and Philosophy, Sabina Lovibond argues that Iris Murdoch's philosophical and literary work is covertly dedicated to an ideology of female subordination. The most central and interesting aspect of her multifaceted argument concerns Murdoch's focus on the individual person's moral self‐scrutiny and transformation of consciousness. Lovibond suggests that this focus is antithetical to the kind of communal and structural criticism of society that has been essential for the advance of feminism. She further reads Murdoch's dismissal of “structuralism” as proof of Murdoch's alleged conservatism and neglect of feminist concerns. In this article I will argue that this line of argument—though not completely off‐base concerning the awkwardness of Murdoch's relation to feminism—(1) gives a misleading picture of Murdoch's philosophical and ideological position, and (2) establishes a problematic (though not unusual) antagonism between moral self‐scrutiny and social criticism, which a closer look at Murdoch's work can help us overcome.
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25

Alegría, Daniela. "The Ethic of Love by Iris Murdoch." Eidos, no. 31 (March 24, 2020): 64–90. http://dx.doi.org/10.14482/eidos.31.8001.

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26

Heusel, Barbara Stevens, Suguna Ramanathan, and Darlene D. Mettler. "Iris Murdoch: Figures of Good." South Atlantic Review 58, no. 1 (January 1993): 165. http://dx.doi.org/10.2307/3201129.

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27

Lewis, Tess, and Peter J. Conradi. "Iris Murdoch: The Imagined Life." Hudson Review 55, no. 1 (2002): 153. http://dx.doi.org/10.2307/3852866.

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28

Cooper, Samuel, and Sasha Lawson-Frost. "IRIS MURDOCH ON MORAL VISION." Think 20, no. 59 (2021): 63–76. http://dx.doi.org/10.1017/s1477175621000191.

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Iris Murdoch (1919–99) 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.
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29

Laverty, Megan Jane. "Iris Murdoch, Romanticism and Education." Philosophy of Education 77, no. 3 (2021): 80–84. http://dx.doi.org/10.47925/77.3.080.

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30

Fuad, Muhammad. "Iris Murdoch, Kesempurnaan, dan Moralitas." Paradigma, Jurnal Kajian Budaya 1, no. 2 (February 10, 2016): 182. http://dx.doi.org/10.17510/paradigma.v1i2.13.

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<p>The paper brings Iris Murdoch�s article, �The Idea of Perfection,� of which three frames of ideas, Plato�ethics, inner experience, and moral concept were discussed. The goal of �the idea of perfection� is�reaching Perfection by cultivating the inner experience� which the social behaviorists challenged the<br />notion of �inner experience� as the core role. It is not tangible, therefore it is meaningless. Besides�inner experience, Murdoch�s premise lies in morality, which is �a magnetic but inexhaustible reality.��Although no one can reach Perfection, it remains a measure of which human would direct their�lives and how far it will be for one can get close to it. Murdoch proposes �love� for it is capable for��progressive attempt to see a particular object clearly.� The ways of love are understood in the moral�context, therefore, the choice of which is arbitrary in a sense that they remain as effort to be just and�impartial. Moreover, in the political realm, the effort is challenged at its hardest, but again, the inner�experience, moral choice, and compassion are a possibility. The idea of perfection is practiced in order�that the concept becomes a standard of operation in one�s life. Thus, the cultivation of the ideal of�perfection is a continuing inner exercise.</p>
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31

Felton, Sharon. "Iris Murdoch (review)." MFS Modern Fiction Studies 34, no. 2 (1988): 291–92. http://dx.doi.org/10.1353/mfs.0.0813.

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32

Sagare, S. B., and Iris Murdoch. "An Interview with Iris Murdoch." MFS Modern Fiction Studies 47, no. 3 (2001): 696–714. http://dx.doi.org/10.1353/mfs.2001.0064.

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33

Jordan, J. "Iris Murdoch: Texts and Contexts." Contemporary Women's Writing 8, no. 3 (June 12, 2014): 432–33. http://dx.doi.org/10.1093/cww/vpu010.

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34

Willemsen, Mariëtte. "Vogels kijken met Iris Murdoch." Wijsgerig Perspectief 47, no. 3 (October 3, 2007): 25–38. http://dx.doi.org/10.1347/wper.47.3.25.

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35

Gutleben, Christian, and Iris Murdoch. "An Interview with Iris Murdoch." Recherches anglaises et nord-américaines 25, no. 1 (1992): 169–76. http://dx.doi.org/10.3406/ranam.1992.1260.

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36

Altorf, Marije. "After Cursing the Library: Iris Murdoch and the (In)visibility of Women in Philosophy." Hypatia 26, no. 2 (2011): 384–402. http://dx.doi.org/10.1111/j.1527-2001.2010.01157.x.

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This article offers a critical reading of three major biographies of the British novelist and philosopher Iris Murdoch. It considers in particular how a limited concern for gender issues has hampered their portrayals of Murdoch as a creator of images and ideas. The biographies are then contrasted to a biographical sketch constructed from Murdoch's philosophical writing. The assessment of the biographies is set against the larger background of the relation between women and philosophy. In doing so, the paper offers a critical response to Sally Haslanger's recent “Musings” (Haslanger 2008), which is contrasted to Virginia Woolf's A Room of One's Own (1929) and Michèle Le Doeuff's Hipparchia's Choice (2007).
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37

Franco, Pedro. "Iris Murdoch: das sombras à luz." Estrema: revista interdisciplinar de humanidades 2, no. 2 (2023): 65–90. http://dx.doi.org/10.51427/com.est.2023.02.02.0004.

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Neste ensaio, defendo que a imagem da luz é muito significativa na obra filosófica e literária de Iris Murdoch, e exploro as suas potencialidades, bem como as suas limitações. Estabeleço uma ligação entre dois romances de Iris Murdoch e suas ideias filosóficas, fazendo referência à sua obra filosófica como um todo. The Bell (1958) e A Severed Head (1961) representam respectivamente, na minha leitura, uma transição das sombras para a luz, sendo que o segundo romance reproduz de forma muito directa a alegoria da caverna de Platão. Nesta transição, a capacidade moral do auto-descentramento (unselfing) e da atenção particular ao indivíduo – ideias-chave do trabalho filosófico de Murdoch – são postas em causa. Ao atingir o estado de “iluminação”, alcança-se o que Murdoch entende ser o amor, um estado de verdade onde habita a bondade, e o exercício da atenção (como forma de auto-descentramento, inspirado na concepção de Simone Weil) é indispensável. Defendo que The Bell mostra a impossibilidade de alcançar esse estado, enquanto A Severed Head idealiza, pelo contrário, essa possibilidade. Ao longo do caminho iremos notar algumas ideias murdochianas sobre as relações entre arte, filosofia e moral, nomeadamente que os seus romances questionam as suas próprias ideias filosóficas, em vez de apenas ilustrá-las; a irrelevância das fronteiras entre vida externa e interna; e como o trabalho de Murdoch beneficia de algumas ideias aristotélicas, principalmente uma concepção de como aprendemos a ser virtuosos.
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38

Altorf, Marije. ""Initium ut esset, creatus est homo": Iris Murdoch on Authority and Creativity." Text Matters, no. 1 (November 23, 2011): 92–105. http://dx.doi.org/10.2478/v10231-011-0007-6.

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In 1970 the British novelist and philosopher Iris Murdoch published both her thirteenth novel, A Fairly Honourable Defeat, and her best known work of philosophy, The Sovereignty of Good. Given the proximity of these publication dates, it does not surprise that there are many points of comparison between these two works. The novel features, for instance, a character writing a work of moral philosophy not unlike Murdoch's own The Sovereignty of Good, while another character exemplifies her moral philosophy in his life. This article proposes a reading of the novel as a critical commentary on the philosophical work, focusing on the tension between creation and authority. While Murdoch considers humans to be first and foremost creative, she is at the same time wary of the misleading nature of any act of creation. For Murdoch, any creator and any creation—a beautiful picture as well as a watertight theory—may transmit a certain authority, and that authority may get in the way of acknowledging reality. It thus hinders the moral life, which for Murdoch should be thought of as a life of attention—to reality and ultimately to the Good—rather than a series of wilful creations and actions. A Fairly Honourable Defeat queries the possibility and danger of creation, through different characters as well as through images of cleanliness and messiness. Thus, the character whose book of moral philosophy is challenged and who is found wanting when putting his ideas to practice, likes ‘to get things clear’ (176). Another character, whose interferences create the novel's drama, has a self-confessed ‘passion for cleanliness and order’ (426). The saint of the story, in contrast, does not interfere unless by necessity, and resides in one of the filthiest kitchens in the history of literature. Yet, none of the main characters exemplifies a solution to the tension between creation and authority found in Murdoch's philosophy. An indication of a solution is found in a minor character, and in his creations of outrageous bunches of flowers, unusual meals, and absurd interiors. Yet, its location in a subplot suggests that this solution is not in any way final. It is concluded that any final solution should not be expected, not in the least because of the pervasive nature of the tension between creation and authority, which goes well beyond Murdoch's own authorship.
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39

Gila Moreno, María. "Las prisioneras de Iris Murdoch. Influencia y refutación de Marcel Proust en las novelas de Iris Murdoch." Escritura e Imagen 18 (December 13, 2022): 27–44. http://dx.doi.org/10.5209/esim.84832.

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Murdoch fue una ferviente admiradora de la obra de Proust, pero nunca aceptó su concepción del sufrimiento como aprendizaje para el artista. Frente a la convicción del narrador de En busca del tiempo perdido de haber redimido su vida con su arte, Murdoch arguye en Metaphysics as a Guide to Morals el carácter irredimible del daño infligido y sufrido. Esta oposición se observa asimismo en las tres novelas en las que la autora replica el motivo de la prisionera, tomado de Proust: El unicornio, El mar, el mar y An Accidental Man. Las tres muestran la crueldad y el dolor propios de la situación y, no obstante, celebran la variedad y la contingencia de la realidad. Frente al drama presentado por Proust, del que resulta un aprendizaje esencial para el artista, para Murdoch el sufrimiento es origen y fruto de miseria moral. Y el olvido, una huida legítima del dolor mediante la aceptación de la contingencia.
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40

Metin Barlık, Memet. "Iris Murdoch Eserlerinde Modern Yabancılaşma Olgusu." Uluslararasi Kibris Universitesi Fen-Edebiyat Fakultesi 24, no. 95 (January 1, 2018): 279–98. http://dx.doi.org/10.22559/folklor.193.

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41

Brugmans, Edith. "Iris Murdoch over filosofie en literatuur." Algemeen Nederlands Tijdschrift voor Wijsbegeerte 113, no. 4 (December 31, 2021): 461–78. http://dx.doi.org/10.5117/antw2021.4.003.brug.

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42

Turner, Jack. "Iris Murdoch and the Good Psychoanalyst." Twentieth Century Literature 40, no. 3 (1994): 300. http://dx.doi.org/10.2307/441557.

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Herman, David. "Iris Murdoch: The Retrospective Fiction (review)." MFS Modern Fiction Studies 47, no. 3 (2001): 715–17. http://dx.doi.org/10.1353/mfs.2001.0067.

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Painter, Rebecca M. "Book Review: Iris Murdoch: A Life." Christianity & Literature 52, no. 2 (March 2003): 286–89. http://dx.doi.org/10.1177/014833310305200225.

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HATİPOĞLU, Gülden. "Erotics of War and Sovereignty in Iris Murdoch’s The Red and the Green." Gaziantep University Journal of Social Sciences 22, no. 3 (July 28, 2023): 852–64. http://dx.doi.org/10.21547/jss.1237803.

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In The Red and the Green the Irish writer Iris Murdoch creates a narrative universe that focuses on the Easter Rising of 1916, one of the most tumultuous turns in twentieth century Irish history, and introduces a rich web of moral conflicts and dilemmas experienced by members of an Anglo-Irish community in Dublin. The main concern of this article is to introduce a reading of Murdoch’s The Red and the Green in the context of the mythopoetic discourse of the Easter Rising of 1916, which predominantly reflected the nationalist rhetoric of the Irish Revivalist Movement, and to show how Murdoch revisualizes recent Irish history through her own cultural origins. The argument is grounded on the premise that Millie features in the novel as the embodiment of the feminine archetype and symbolic representation of the Erotic in stark contrast to the war rhetoric of the Easter Rising that relies heavily on the desexualized, romanticized and idealized versions of the feminine in Celtic mythic imagination. Millie’s feminine archetypal image and her symbolic representation of Eros distorts and shakes the masculine rhetoric of the Rising. As a response to the desexualized, sterile, and therefore displaced representations of the Sovereignty Goddess in the literature of the Irish Revival, Murdoch introduces a critical ethos in the novel by restoring the essence of this feminine element in the portrayal of Millie, the central character around whom the plot largely revolves.
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Głąb, Anna. "Iris Murdoch’s Conception of Moral Development in Her Novel The Good Apprentice." Roczniki Filozoficzne 71, no. 2 (June 28, 2023): 239–60. http://dx.doi.org/10.18290/rf237102.13.

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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.
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Lovibond, Sabina. "The Elusiveness of the Ethical: From Murdoch to Diamond." Royal Institute of Philosophy Supplement 87 (June 2, 2020): 181–200. http://dx.doi.org/10.1017/s1358246119000195.

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AbstractCora Diamond is a powerful witness to the originality of Iris Murdoch's writings on ethics, showing how Murdoch is at variance with contemporary orthodoxy not just in respect of particular doctrines (no ‘ought’ from an ‘is’, etc.), but in her questioning of mainstream assumptions as to what constitutes the subject-matter of moral philosophy. Diamond celebrates Murdoch as an ally in her campaign against the ‘departmental’ conception of morality – the idea that moral thought is just one branch of thought among others – and highlights Murdoch's enduring belief in the ‘ubiquity of the moral quality inherent in consciousness’. In keeping with this belief, both philosophers affirm the value of general humanistic reflection on experience, an enterprise in which traditions of imaginative literature as well as of self-conscious theory can invite us to participate. While welcoming this vindication of the claims of ordinary (existentially embedded) moral intelligence, I will explore some difficulties flowing from the associated idea that ‘morality’ (in the guise of value-saturated human consciousness) is all-pervasive, and from the ‘perpetually-moralist’ account of our incentive to engage with fictional worlds.
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Watson, George. "Iris Murdoch and the Net of Theory." Hudson Review 51, no. 3 (1998): 490. http://dx.doi.org/10.2307/3852712.

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Głąb, Anna. "Moralność jako uwaga. Słownik etyczny Iris Murdoch." Logos i Ethos 2 (November 30, 2013): 81. http://dx.doi.org/10.15633/lie.155.

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Dalcol, Mônica Saldanha, and Flavio Williges. "Tradução do capítulo “Schopenhauer”, de Iris Murdoch." Voluntas: Revista Internacional de Filosofia 4, no. 2 (December 2, 2013): 112. http://dx.doi.org/10.5902/2179378633984.

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