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Academic literature on the topic 'Murdoch, Iris – Philosophy'

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Published: 26 July 2024

Last updated: 27 July 2024

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Journal articles on the topic "Murdoch, Iris – Philosophy"

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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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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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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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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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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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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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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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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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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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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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Dissertations / Theses on the topic "Murdoch, Iris – Philosophy"

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O'Connor, Patricia Jo. "The moral philosophy of Iris Murdoch." Thesis, University of Exeter, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253061.

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Reid, Diana. "Iris Murdoch on the role of Art in Moral Perception." Thesis, Department of Philosophy, 2017. http://hdl.handle.net/2123/18825.

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First lines of the Introduction (as abstract not provided): Throughout her work, Iris Murdoch often touches on the intersection between ethics and aesthetics, in particular focussing on art’s role in moral perception. As a novelist and philosopher, Murdoch asks, “What is a good man like? How can we make ourselves morally better?”1 While she looks to aesthetics to address each of these questions, the literature to date has overwhelmingly focussed on the latter. Murdoch does not limit herself to the question of whether art can make us “morally better”. She also asks how art can help us understand what it is to be moral. The literature on Murdoch concerned exclusively with the intersection of aesthetics and ethics is limited. Moreover, within this literature, there is little debate about the role that art plays in moral perception. The dominant reading is that art is a vehicle through which we can achieve moral perception. On this view, critics including Anil Gomes and Elizabeth Burns argue that art, under certain conditions, can serve a practical purpose by allowing us to perceive of its subject matter morally. Therefore, looking at art can in some circumstances allow us to actually experience moral perception. Discussions here have in particular tended towards Murdoch’s role in “philosophy’s turn to literature”.2 While I do not dispute that this is a legitimate reading of Murdoch’s aesthetics, my concern is that it is not exhaustive. Rather, Murdoch’s account of the role of art in moral perception is more complex. Murdoch also argues that art plays a useful explanatory role insofar as aesthetic and moral perceptions are analogous. That is, in identifying the similarities between aesthetic and moral perception, we can come to a better understanding of what moral perception is.

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Cooper, Richard. "The languages of philosophy, religion, and art in the writings of Iris Murdoch /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72105.

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This thesis develops a complex theoretical model for conceptualizing the relationships among philosophy, religion, and art and, then, examines the philosophical writings and the novels of Iris Murdoch from this perspective. The theoretical model in its most general form is based on the premiss that philosophy, religion, and art can be thought of as conventionally defined linguistic fields analogous to Wittgensteinian language-games. Relations among the linguistic fields are, in turn, analysed as exclusive ("Disparate" Model), inclusive ("Reductionist" Model), or interactional ("Dialectical" and "Tensional" Models), the latter pair being most appropriate for figurative language, the former pair for non-figurative language. The Dialectical and Tensional Models are assimilated, respectively, to Roman Jakobson's theory of metaphor and metonymy as the fundamental poles of language. Emphasis falls upon the continuum between the dialectical-metaphoric and the tensional-metonymic poles as the area in which creative, imaginative activities, such as the writing of novels or deliberation upon ethical problems, takes place. Iris Murdoch's theories of "crystalline" and "journalistic," "open" and "closed" novels and the related ways of thinking are coordinated with this continuum as a paradigm. Moreover, a creative tension is revealed in her philosophical writings between a resisted impetus towards totalizing explanations and the experience of the inherent contingency of philosophical thought. Thus, there is in Murdoch's philosophy, as in her creative prose, an exploration of the dynamics between the dialectical-metaphoric pole of thought and language and the tensional-metonymic pole, with an increasing, though never finally realized tendency towards the tensional-metonymic pole. Detailed analyses of Murdoch's aesthetic and ethical thought and of a wide selection of her novels illustrate this thesis.

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Altorf, Marije. "Iris Murdoch and the art of imagination : imaginative philosophy as response to secularism." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1677/.

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This dissertation examines the work of the British philosopher and novelist Iris Murdoch. A centre concern of this work is a question Murdoch poses more than once: ‘How can we make ourselves morally better?” This question is understood to initiate a form of philosophy which is critical of much of its tradition and its understanding of reasoning and argument. It also recognises its dependence on other disciplines. Murdoch develops this form of philosophy in reply to the cultural phenomenon of secularisation. In the absence of God, she attributes tasks to philosophy formerly performed by religion. Most importantly, she advocates a concept of transcendent reality in philosophical discourse. This reality is the Good. She finds that in order to do so, she has to reconsider philosophy’s central faculty of reason. Drawing on literary, philosophical and theological sources, Murdoch develops an understanding of reason and argument in which images, imagery and imagination are central. This study has three objectives. It first aims to present Murdoch as an imaginative philosopher by exploring the role of literature in her philosophical writing. In doing so, it challenges various presuppositions about philosophy, held by both philosophers and non-philosophers. Its second aims is to reconsider these assumptions in general terms. This part draws significantly on the work of Le Doeuff. In particular, it considers the presence of imagery in philosophy as well as philosophy’s assumed neutrality, which has arisen from its long affiliation with science. Thirdly, the thesis presents a reconsideration of the notion of imagination. This notion is often involved in the interdisciplinary debate between theology, philosophy and the arts. Murdoch’s notion of imagination challenges two important assumptions. By releasing imagination from the limited corner of art, it first challenges a strict distinction between literary and systematic writing. By introducing fantasy as the bad opposite of good imagination, it secondly critically assesses unconditional ‘praises of imagination’.

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Jordan, Jessy E. G. Moore Scott Hunter. "Iris Murdoch's genealogy of the modern self retrieving consciousness beyond the linguistic turn /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5240.

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Meszaros, Julia T. "Selfless love and human flourishing : a theological and a secular perspective in dialogue." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:ed84f996-fa62-4514-bdd7-0ddb2896b0a8.

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The point of departure of this thesis is derived from a modern tendency to create a dichotomy between selfless love and human flourishing. Modern attempts to liberate the human being from heteronomous oppression and the moral norms promoting this have sometimes led to the conclusion that selfless love is harmful to human flourishing. Such a conclusion has gained momentum also through modernist re-conceptualisations of the self as an autonomous but empty consciousness which must guard itself against determination by the other. In effect, significant thinkers have replaced the notion of selfless love with a call for self-assertion over against the other, as key to the individual person’s well-being. This has been matched by Christian dismissals of the individual’s pursuit of human flourishing. In the face of modern insights into the ‘desirous’ nature of the human being, modern Christian theology has equally struggled to sustain the tension between the traditional Christian notion of selfless or self-giving love and human beings’ desire to affirm themselves and to find personal fulfilment in this world. Strands of Christian theology have, for instance, affirmed a self-surrendering love at the cost of dismissing the individual’s worldly desires entirely. In this thesis, I outline this situation in modern thought and its problematic consequences. With a view to discerning whether selfless love and human flourishing can be re-connected, I then undertake close studies of the theologian Paul Tillich’s and the moral philosopher and novelist Iris Murdoch’s conceptualisations of the self and of love. As I will argue, Tillich’s and Murdoch’s engagement with modern thought leads them to develop accounts of the self, which correspond with understandings of love as both selfless and conducive to human flourishing. On the basis of their thought I thus argue that selfless love and human flourishing can be understood as interdependent even today.

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Milligan, Tony. "Iris Murdoch's romantic Platonism." Thesis, University of Glasgow, 2005. http://theses.gla.ac.uk/7485/.

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This account of Iris Murdoch’s moral philosophy takes the form of a critique. It attempts to show the ways in which she falls foul of what she criticises. Murdoch is concerned about the influence of the romantic tradition upon our contemporary (post-war) accounts of morality. She charges contemporaries, such as Sartre and R. M. Hare with having mistakenly extended freedom in ways that make morality seem like a matter of free choice. Against this, her own most rigorous work (The Sovereignty of Good) advances three central claims: (1) an idea of moral perfection (an ideal Good) is built into our ways of thinking and speaking; (2) this idea of Good/perfection is not an unavoidable fiction but a reality principle, it helps to undermine the egocentricity that prevents us from doing justice to the reality of others; (3) this idea of a single, unitary Good pulls us towards Platonic metaphors. (We are like pilgrims, trying to move out of dark egocentricity and into the light of attention to others). My response to this is advanced in the following three parts: Part one sets out Murdoch’s position, complete with an account of the stylistic peculiarities of its exposition. (She believes that value-laden metaphors are unavoidable, and in some cases irreducible). Part Two flags up her similarity to what she attacks. Far from being a moral quietist, Murdoch is deeply critical of our everyday lack of moral ambition. (It is as if we are content to lurk about in the dark). She rejects everyday (‘bourgeois’) contentment in favour of the command ‘be ye therefore perfect’. Having flagged up this shared rejection of everyday contentment, I explore the way that Murdoch’s apparently diffuse charge of ‘romanticism’ is held together by the idea of erotic striving. Such romanticism is the general theoretical correlate of the wrong model of love, romantic love rather than the slow patient love that she wants us to emulate. On this account, avoiding romanticism requires us to meet the following conditions. Firstly, we must direct loving attention towards the contingent reality of persons without puritanically avoiding attention to messy detail. (We should not just ‘tag’ people symbolically, as one of these or one of those.) Secondly, our attention to the other should really be about them, it should not covertly redirect attention to the self. Thirdly, we should not allow our fascinating suffering to obscure the reality of death. (The realisation of our finitude is a crucial aspect of undermining egocentricity). Part Three consists of chapter-pairs which examine the central Murdochian metaphors of fallenness, eros, and the death of the self in an attempt to show that Murdoch falls foul of what she attacks.

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Boldrini, Miranda. "Éthique, imagination et réalité chez Iris Murdoch." Thesis, Amiens, 2019. http://www.theses.fr/2019AMIE0039.

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La thèse porte sur la pensée morale d'Iris Murdoch (1919-1999). Notre recherche vise, tout d'abord, à montrer le rôle hétérogène et novateur de Murdoch au sein de la philosophie morale du Vingtième siècle, en particulier dans la tradition philosophique analytique, un rôle qui reste aujourd'hui encore négligé. Nous examinons la perspective philosophique de Murdoch autour de trois axes principaux : le rapport entre éthique et langage ; la psychologie morale ; la relation entre méthode philosophique et normativité. Ainsi, nous montrons l'apport de la pensée de Murdoch sur des questions qui demeurent au cœur de débats majeurs de l'éthique philosophique contemporaine, en particulier : la critique de la dichotomie fait-valeur ; le perfectionnisme moral ; la critique du "scientisme" et le genre de naturalisme non-scientifique que Murdoch envisage pour l'éthique. Par cette analyse, à la fois théorique et historique, nous soutenons que Murdoch a joué un rôle fondamental dans la constitution de ce qu'on interprète aujourd’hui comme un courant alternatif de l'éthique analytique : une "philosophie de l'ordinaire" dont Wittgenstein représente la figure fondatrice, qui considère la réflexion philosophique comme un travail d'élucidation conceptuelle intéressée à la vie morale ordinaire. Dans cette perspective, nous mettons en relation la pensée de Murdoch avec le prisme actuel de l'éthique du care et d'approches féministes intéressées par l'épistémologie morale, afin de montrer que Murdoch offre une "épistémologie morale différente" pour l'éthique
The thesis focuses on Iris Murdoch's (1919-1999) moral thought. The research aims to show Murdoch's heterogenic and innovator role within contemporary moral philosophy, in particular in the analytic tradition. Murdoch's philosophical perspective is analyzed in three axes : the relationship between ethics and language ; moral psychology ; the relationship between philosophical method and normativity. The thesis shows Murdoch's contribution to some central debates of contemporary philosophical ethics, notably : the critic of the dichotomy between fact and value ; moral perfectionism ; and the critic of "scientism" and the kind of non-scientific naturalism Murdoch conceive for ethics. Through this analysis, both theoretical and historical, the research argues that Murdoch played a crucial role in the constitution of an alternative line of analytic moral philosophy : a "philosophy of the ordinary" inheriting from Wittgenstein, which consider philosophical reflection as conceptual elucidation interested in ordinary moral life. In this perspective, the thesis explores the relationship between Murdoch's moral thought and contemporary ethics of care along with feminist approaches interested in moral epistemology, in order to show that what Murdoch offers for ethics is a "different moral epistemology"

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Matthews, Vincent Craig. "The true self-knower : central themes in Iris Murdoch's moral philosophy." Thesis, King's College London (University of London), 1998. https://kclpure.kcl.ac.uk/portal/en/theses/the-true-selfknower--central-themes-in-iris-murdochs-moral-philosophy(f1e1abcd-e381-4c57-b88f-2b36bfc4d6b4).html.

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Larson, Kate. ""Everything important is to do with passion" : Iris Murdoch's concept of love and its Platonic origin /." Uppsala : Department of Philosophy, Uppsala University, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9532.

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Books on the topic "Murdoch, Iris – Philosophy"

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Iris Murdoch: Philosophical novelist. London: Continuum, 2010.

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Luprecht, Mark. Iris Murdoch connected: Critical essays on her fiction and philosophy. Knoxville: The University of Tennessee Press, 2014.

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Reckwitz, Erhard. Philosophie als Roman, Roman als Philosophie: Iris Murdoch "Under the net". Essen: Verlag Die Blaue Eule, 1989.

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Language lost and found: On Iris Murdoch and the limits of philosophical discourse. New York: Bloomsbury Academic, An imprint of Bloomsbury Pub. Plc, 2013.

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Griffin, Gabriele. The influence of the writings of Simone Weil on the fiction of Iris Murdoch. San Francisco: Mellen Research University Press, 1993.

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Iris, Murdoch, and Dooley Gillian 1955-, eds. From a tiny corner in the house of fiction: Conversations with Iris Murdoch. Columbia, S.C: University of South Carolina Press, 2003.

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Heusel, Barbara Stevens. Patterned aimlessness: Iris Murdoch's novels of the 1970s and 1980s. Athens: University of Georgia Press, 1995.

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Heusel, Barbara Stevens. Patterned aimlessness: Iris Murdoch's novels of the 1970s and the 1980s. Athens: University of Georgia Press, 1995.

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Arnold, David Scott. Liminal readings: Forms of otherness in Melville, Joyce, and Murdoch. New York: St. Martin's Press, 1993.

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Iris Murdoch's paradoxical novels: Thirty years of critical reception. Rochester, NY: Camden House, 2001.

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Book chapters on the topic "Murdoch, Iris – Philosophy"

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Antonaccio, Maria. "Reconsidering Iris Murdoch’s Moral Philosophy and Theology." In Iris Murdoch, 15–22. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230625174_2.

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Altorf, Marije. "Reassessing Iris Murdoch in the Light of Feminist Philosophy: Michèle Le Doeuff and the Philosophical Imaginary." In Iris Murdoch, 175–86. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230625174_15.

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Widdows, Heather. "The Visionary Aspects of Iris Murdoch’s Philosophy." In Iris Murdoch: Texts and Contexts, 17–29. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137271365_3.

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White, Frances. "‘If Only’ and ‘Too Late’: Remorse, Philosophy, and Time in The Nice and the Good and The Philosopher’s Pupil." In Iris Murdoch and Remorse, 35–71. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-43013-8_2.

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Waugh, Patricia. "Iris Murdoch and the Two Cultures: Science, Philosophy and the Novel." In Iris Murdoch: Texts and Contexts, 33–58. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137271365_4.

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Hämäläinen, Nora. "Iris Murdoch on Pure Consciousness and Morality." In Women in the History of Philosophy and Sciences, 173–84. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44421-1_12.

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Forsberg, Niklas. "‘Taking the Linguistic Method Seriously’: On Iris Murdoch on Language and Linguistic Philosophy." In Murdoch on Truth and Love, 109–32. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76216-6_6.

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Nicol, Bran J. "Philosophy’s Dangerous Pupil: Metaphysics as a Guide to Morals, Derrida and The Philosopher’s Pupil." In Iris Murdoch, 150–66. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230288584_8.

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Nicol, Bran. "Philosophy’s Dangerous Pupil: Metaphysics as a Guide to Morals, Derrida and The Philosopher’s Pupil." In Iris Murdoch, 150–66. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230374751_8.

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Jamieson, Lesley. "Approaching Murdoch’s Early Philosophy." In Iris Murdoch’s Practical Metaphysics, 1–11. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-36080-0_1.

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