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.

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

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

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)

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

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’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)

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

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)

It has been insufficiently remarked that Murdoch deems “Kant’s ethical theory” to be “one of the most beautiful and exciting things in the whole of philosophy” in her 1959 essay “The Sublime and the Good”. Murdoch specifically has in mind the connection between Kant’s ethics and his theory of the sublime, which runs via the moral feeling of respect (Achtung). The chapter examines Murdoch’s interest in Kant on this point as a way to tease out the range (...) of issues that complicate Kant’s significance for the development of Murdoch’s distinctive conception of ethics as it is articulated in _The Sovereignty of Good_ and earlier essays. It focuses on her particular concerns about the moral dangers of consolation, and why this led her to propose reworking the Kantian theory of the sublime as a theory of art, and specifically of tragedy. (shrink)

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

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)

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

: This paper examines a claim defended by an unlikely pair: Friedrich Nietzsche and Iris Murdoch. The claim is that perceptual experience itself—as distinct from perceptually based judgments and beliefs—can be morally significant. In particular, Nietzsche and Murdoch hold that two agents in the same circumstances attending to the same objects can have experiences with different contents, depending on the concepts that they possess and employ. Moreover, they maintain that this renders perception an object of moral concern. This (...) paper explicates these claims, examines the way in which we might distinguish between better and worse perceptual experiences, and argues that if some version of the Murdochian/Nietzschean claim is accepted, then certain influential accounts of moral epistemology and agency must be rejected. (shrink)

Murdoch and Levinas both believe that our humanity requires us to suppress our natural egoism and to be morally responsive to others. Murdoch insists that while such a morality presupposes a ’transcendent background’, God should be kept out of the picture altogether. By contrast, Levinas argues that, in responding morally to others, we make contact with God (though not the God of traditional Christianity) and that in doing so we become more God-like. I attempt to clarify their agreements (...) and differences, and I offer some criticisms of their conception of humanity, God, and the relationship between them. (shrink)

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

In her Idea of Perfection, Ms. Murdoch criticizes what she takes to be an existentialist conception of ethics. This conception is not, however, existentialist, either in the sense in which Sartre characterized it, or any of those other existentialists from Dostoyevsky onwards. Whether her alternative ethic is better or worse than that of the existentialist, I do not know; but the one is not in contrast to the other.

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)

Iris Murdoch’s The Sovereignty of Good—especially the first essay, “The Idea of Perfection”—is often associated with a critique of a certain picture of agency and its proper place in ethical thought. There is implicit in this critique, however, an alternative, much richer one. I propose a reading of Murdochian agency in terms of the continuous activity of cultivating and refining a distinctive practical standpoint, and I apply this reading to her account of moral progress. For Murdoch moral progress (...) depends on transcending egoism and achieving clear perception of a normatively-saturated reality, but it would be a mistake to think of egoism in terms of selfishness, or clarity in terms of altruism. Rather, I argue, Murdochian moral progress requires overcoming socially-conditioned and often ideological forms of alienation, and making the social conditions that inform our practical standpoints self-conscious. (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)

In this article, I suggest that combining resources from philosophy and psychology can yield useful tools for philosophical counselling. More specifically, I argue for three theses: a) Iris Murdoch’s notion of just attention and Marshall Rosenberg’s method of non-violent communication are interestingly compatible; b) engaging in non-violent communication serves to support one’s endeavors to acquire the kind of clear vision Murdoch thinks doing well by others requires; and c) non-violent just communication would be beneficial to both counsellors and (...) counselees and thus a useful resource for philosophical counsellors. (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)

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

I offer a reading of Murdoch's conception of concrete universality as it appears in 'The Idea of Perfection', the first essay in the Sovereignty of Good. I show that it has British Idealist overtones that are inflected by Wittgenstein, a thought I try to illuminate by drawing an analogy with Wittgenstein's discussion of the metre stick in Paris in Philosophical Investigations §50. In the last part of the paper, I appeal to the work of Murdoch's erstwhile tutor Donald (...) MacKinnon to respond to an objection to my strategy, which I draw from Murdoch's later work, Metaphysics as a Guide to Morals. (shrink)

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

Despite the initial strangeness of grouping Iris Murdoch (a Platonist), Martha Nussbaum (an Aristotelian), and Richard Rorty (a pragmatist) together, this paper will argue that these thinkers share a strong commitment to the moral purport of literature. I will also show that their shared idea of moral engagement through literature interlocks the individual’s sense of self and the world of others. After considering their accounts, I will conclude by raising the question of literature’s moral limits.

I reconsider the relation between love and respect in Kantian ethics, taking as my guide Iris Murdoch's view of love as the fundamental moral attitude and a kind of attention to individuals. It is widely supposed that Kantian ethics disregards individuals, since we don't respect individuals but the universal quality of personhood they instantiate. We need not draw this conclusion if we recognise that Kant and Murdoch share a view about the centrality of love to virtue. We can (...) then see that respect in the virtuous person cannot be blind to the individual, as critics of Kantian ethics contend. My approach contrasts recent efforts to assimilate Kantian respect to Murdochian love, which overlook Murdoch's distinctive claims about the singularity of moral activity. This idea is not as un-Kantian as it seems, and it should inform any Kantian ethics that aims to address the charge about individuals. (shrink)

This book draws on Iris Murdoch's philosophy to explore questions related to the importance of attention in ethics. In doing so, it also engages with Murdoch's ideas about the existence of a moral reality, the importance of love, and the necessity but also the difficulty, for most of us, of fighting against our natural self-centred tendencies. Why is attention important to morality? This book argues that many moral failures and moral achievements can be explained by attention. Not only (...) our actions and choices, but the possibilities we choose among, and even the meaning what we perceive, are to a large extent determined by whether we pay attention, and what we attend do. In this way, the book argues that attention is fundamental, though often overlooked, in morality. While the book's discussion of attention revolves primarily around Murdoch's thought, it also engages significantly with Simone Weil, who introduced the concept of attention in a spiritual context. The book also engages with contemporary debates concerning moral perception and motivation, empirical psychology, animal ethics, and Buddhist philosophy. The Ethics of Attention will be of interest to researchers and advanced students working on Iris Murdoch, Simone Weil, ethics and moral psychology, and the philosophy of attention. (shrink)

In this paper, I will highlight the role played, within the group of Oxonian philosophers who revived virtue ethics beginning in the 1950s, by perhaps the most heterodox and elusive figure, Iris Murdoch. In particular, I will discuss whether Murdoch can be considered, like Anscombe and Foot, a promoter of virtue ethics, or whether points of contact with that strand are limited to the polemical goals that the philosopher and novelist shared, for a thirty-year period, with her colleagues (...) and friends. Increasingly, important differences have led scholars to treat Murdoch as a heterodox virtue ethicist or as an advocate of an entirely different theoretical framework: from Neo-Platonism, to anti-theory, to a kind of Christian Buddhism or practical mysticism. In this article, I will briefly explore some of these hypotheses and try to show how Murdoch can be seen as the proponent of a credible virtue theory, though certainly far removed from the "mainstream" Aristotelian strand. (shrink)

As we explore panentheism, what can we learn from Rāmānuja's Viśiṣṭādvaita? Although widely acknowledged as a panentheist, in the contemporary debate on how to characterize panentheism, Rāmānuja barely features. But Rāmānuja's position is worth studying not just because it bears on taxonomical questions. Among its interesting features is a conception on which devotional love, bhakti, serves an epistemic function that is also of crucial soteriological relevance. This chapter addresses both these topics. First, Rāmānuja's Viśiṣṭādvaita is used to cast doubt on (...) a characterization of panentheism recently proposed by Mikael Stenmark. Second, Rāmānuja's conception of bhakti is juxtaposed with two conceptions of love that serve an analogous dual function: Weil's conception of supernatural love and Murdoch's conception of love as just attention. Rāmānuja's position, it is argued, is distinct, partly due to his panentheist commitments, but it also shares a number of features with the other two. In closing, it is suggested that for further comparative work on these three, ample room remains. (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)

Dombrowski and Murdoch offer versions of the ontological argument which aim to avoid two types of objection – those concerned with the nature of the divine, and those concerned with the move from an abstract concept to a mind-independent reality. For both, the nature of the concept of God/Good entails its instantiation, and both supply a supporting argument from experience. It is only Murdoch who successfully negotiates the transition from an abstract concept to the instantiation of that concept, (...) however, and this is achieved by means of an ontological argument from moral experience which, in a reversal of the Kantian doctrine, depends ultimately on a form of the cosmological argument. (shrink)

Das Buch ist ein Beitrag zur aktuellen philosophischen Debatte über das anthropologisch-epistemologische Fundament moralischer Normen. Es werden zwei unterschiedliche Modelle vorgestellt: zum einen die Autonomie-Konzeption Kants, die auf dem Begriff des freien Willens gründet, der sich selbst dem Vernunftgesetz unterstellt; zum anderen die von Platon inspirierte Moralphilosophie Iris Murdochs, in der die moralische Sehkraft, die sich an der aufmerksamen Wahrnehmung des konkreten Einzelnen orientiert, im Mittelpunkt des guten Lebens steht. In der Auseinandersetzung mit den beiden Entwürfen werden deren Stärken und (...) Schwächen deutlich. Die Arbeit mündet in einen Vorschlag, wie Kants und Murdochs Grundintuitionen konstruktiv miteinander versöhnt werden können. (shrink)

In this paper I consider Simone Weil’s notion of attention as the fundamental and necessary condition for mystical experience, and investigate Iris Murdoch’s secular adaptation of attention as a moral attitude. After exploring the concept of attention in Weil and its relation to the mystical, I turn to Murdoch to address the following question: how does Murdoch manage to maintain Weil’s idea of attention, even keeping the importance of mysticism, without Weil’s religious metaphysical background? Simone Weil returns (...) to the importance of attention throughout her writing. To attend, for Weil, means to empty oneself of all that is personal, primarily one’s will, which Weil sees as the essence of the human individual. This act imitates God’s act of creation, considered as a withdrawal in order to let something other than himself exist. Since such withdrawal represents God’s supreme act of love, salvation for human beings lies in the attempt to do likewise. By giving up one’s will, while desiring God with all of one’s soul, one creates the conditions for God to descend into the soul. This ‘passive activity’ is attention. Weil’s writings had a deep impact on Iris Murdoch’s moral philosophy. In particular, Weil’s concept of attention is carried into Murdoch’s thought almost unchanged, with one striking exception: the absence of God in Murdoch’s system. Just as surprisingly, Murdoch at the same time maintains that mysticism and spirituality are crucial for morality, nor does she wish to sever the connection between attention and mysticism. Is Murdoch being inconsistent? I believe not. But the idea of attention as a mystical concept, within a metaphysics which has no room for God, requires further examination. For Murdoch, attention is the central capacity of the morally good person. Attention is, like in Weil, connected with an emptying of the self (for Murdoch the Ego) and a renunciation of will, in order to let something external make an impression in the subject. However, in Murdoch’s philosophy such external impression is not given by God, but by reality itself. Thus far, it appears, the notion of mysticism would be unnecessary. Yet for Murdoch reality is not something that we passively perceive, but something that requires a moral faculty – attention – made up of selflessness and desire for the good, in order to be apprehended. Two elements of mysticism then begin to surface: firstly, apprehension of reality requires a faculty that is not purely intellectual, but that involves the whole of the individual, including intuitions that one may be unable to explain (which Murdoch is happy to call ‘the soul’); secondly, the reality thus apprehended is considered as transcendent, insofar as its truth, infinitely distant, transcends the individual’s complete grasp. Thus the mystic, in Murdoch’s system, is regarded as an ideal moral person, not because s/he is guided by God, but because of his/her selfless ability to attend to the world beyond oneself and intuit its moral and metaphysical truth. (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 held that states of mind and character are of the first moral importance, and that attention to one's states of mind and character are a widespread source of moral failure. Maintaining both of these claims can lead to problems in the account of how one could become good. This paper explains the way in which Murdoch negotiated those problems, focusing, in particular on /The Sovereignty of Good/ and /The Nice and The Good/.

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)

In this chapter I discuss the relation between imaginative perception and moral creativity. I focus on three authors that have explained moral imagination as imaginative perception. Iris Murdoch, Martha Nussbaum, and Cora Diamond have all argued how we use imagination to transform our perspective of moral situations. However, their central examples demonstrate the importance of morally inventive action as well. I argue that this reveals another mode of moral imagination: moral creativity. While a creative process might build on imaginative (...) perception, moral creativity includes inventive responses to moral problems that are not necessarily given by seeing the world in another way. (shrink)

(English abstract further below.) -/- Wer denkt, Polyamorie erfordere ein geringeres Maß an Verpflichtung als Zweierbeziehungen, der liegt gründlich daneben. Wie aber gestaltet sich polyamoröse wechselseitige Verpflichtung idealerweise? In diesem Beitrag untersuche ich, ob sich ein bestimmtes, auf Iris Murdochs Konzeption von Liebe als gerechter Aufmerksamkeit beruhendes Ideal wechselseitiger Verpflichtung in romantischen Partnerschaften fruchtbar auf polyamoröse Beziehungsgeflechte anwenden lässt. Ich beginne damit, Murdochs im deutschsprachigen Raum kaum rezipierte Liebeskonzeption ausführlich darzustellen und diese dabei von Simone Weils Position abzugrenzen, der (...) class='Hi'>Murdoch wesentliche Elemente entnimmt. In einem zweiten Schritt skizziere ich das von Murdochs Position inspirierte Ideal wechselseitiger Verpflichtung. In Auseinandersetzung mit Überlegungen, die John Enman-Beech und Julienne Obadia mit Blick auf die in polyamorösen Beziehungsgeflechten verbreitete Praxis angestellt haben, Beziehungsvereinbarungen einzugehen, werbe ich drittens für die skizzierte Idealkonzeption, indem ich zeige, dass sich mit ihr den von Enman-Beech und Obadia aufgeworfenen Herausforderungen, die sich im Zuge intrapolykularer Beziehungsvereinbarungen stellen, in zwei Hinsichten mit Erfolg begegnen lässt. Erstens hebe ich hervor, dass eine am skizzierten Ideal orientierte Praxis bereits die Art von prozeduralen Normen implementiert, auf deren Bedeutung Enman-Beech zu Recht hinweist. Zweitens argumentiere ich dafür, dass das skizzierte Ideal nicht den Schwierigkeiten ausgesetzt ist, die sich nach Obadia mit denjenigen Elementen intrapolykularer Beziehungsvereinbarungen verbinden, die sie als Vertragskomplex bezeichnet, und ein weniger pessimistisches Bild davon nahelegt, wie vermittelst solcher Beziehungsvereinbarungen konstituierte Individuen aufzufassen sind. -/- ENGLISH ABSTRACT: In this paper, I focus on a certain ideal conception of how lovers may commit to each other in polyamorous relationships. Drawing on an analysis of Iris Murdoch’s adaptation of Simone Weil’s ideas, I sketch what I have elsewhere called the ideal lovers’ pledge—a conception of a commitment between lovers that is spelled out in terms of Weil’s and Murdoch’s shared notion of love as just attention. I then argue that this conception is well-suited to meet certain challenges that arise in the context of thinking about relationship agreements in polyamorous relationships, challenges that have been brought out in recent work by John Enman-Beech and Julienne Obadia. First, I show that practices of forging relationship agreements in polyamorous relationships that are oriented toward the ideal I propose will naturally implement the kind of procedural norms that Enman-Beech rightly highlights. Second, I argue that the ideal I propose does not generate the kinds of problems that according to Obadia arise due to a constellation of assumptions that she thinks underlie the practice of forging relationship agreements in polyamorous relationships – a constellation she dubs the contract complex. The proposed ideal thus suggests an alternative under-standing of such agreements and implies a less pessimistic account of what kind of individuals are constituted by way of forging such agreements. (shrink)

One of the standard examples in contemporary moral psychology originates in the works of social psychologist Jonathan Haidt. He treats people's responses to the story of Julie and Mark, two siblings who decide to have casual, consensual, protected sex, as facts of human morality, providing evidence for his social intuitionist approach to moral judgements. We argue that Haidt's description of the facts of the story and the reactions of the respondents as ‘morally dumbfounded’ presupposes a view about moral reasoning that (...) is more substantial than he acknowledges. Drawing on the philosophical work by Iris Murdoch and Cora Diamond, we explore how different descriptions of human morality, sexuality, and family relations engage us in evaluations about distinctive features of human life and language that go deeper than Haidt envisages. Thus, we show the need to attend to the concepts used to describe the facts of human moral psychology and the pictures of morality these concepts reveal about the researcher's own understanding of moral experience. This points to the particular responsibility any researcher into human moral psychology has for ensuring that the descriptions they offer are attuned to the complexities of the lives of those they form theories about and that these do not appear conceptually confounding. (shrink)

The social intuitionist approach to moral judgments advanced by social psychologist Jonathan Haidt presupposes that it is possible to provide an explanation of the human moral sense without normative implications. By contrast, Iris Murdoch’s philosophical work on moral psychology suggests that every description of morality necessarily involves evaluative features that reveal the thinker’s own moral attitudes and implicit philosophical pictures. In the light of this, we contend that Haidt’s treatment of the story about Julie and Mark, two siblings who (...) decide to have casual, protected, and in his view harmless sex, provides a too simplistic picture of what is involved in understanding human morality. Despite his aim to explain the roots of moral judgments, he fails to provide a deeper understanding of morality in two different respects. First, he does so by suggesting that his story contains all the relevant information needed to take a moral stand on it, and by rejecting as irrelevant the wider human context in which questions about sexual and family relations arise. Second, he simplifies the responses of the people who are subject to his experiment by disregarding their various reasons for disapproving and by equating understanding human morality with explaining an impersonal psychological process. (shrink)

Unusual among Western philosophers, Schopenhauer explicitly drew on Hindu and especially Buddhist traditions inhis moral philosophy. He saw plurality, especially the plurality of human persons, as a kind of illusion; in reality all is one, and compassionate acts express an implicit recognition of this oneness. Max Scheler retains the transcendence of self aspect of compassion but emphasizes that the subject must have a clear, lived sense of herself as a distinct individual in order for that transcendence to take place properly. (...) This feature is absent in the Buddhist tradition. Feminist philosophers of the early second wave built on this insight (only occasionally drawing it from Scheler) to recognize ways women are often not socialized to develop this distinctive sense of self, therefore harming their ability to engage in compassion and other forms of care for others. Iris Murdoch adds a Freudian-inspired (though Freud influenced Scheler also) pessimism about the ability of humans to keep their identities sufficiently distinct from the other to allow a clear view of the other, and thus real care and help to the other to take place. But in her later work, Murdoch explicitly recognizes and draws on the Buddhist tradition of oneness and transcendence of the self. Group solidarities can partake of aspects of Buddhist oneness and self-transcendence, for example the sense of fellowship in a social justice movement in which Blacks draw on a shared identity to experience connection, compassion, empathy, and solidarity with one another. But social justice movements also allow for a solidarity across racial lines, grounded in the shared commitment to justice, including justice for one of the groups in the solidarity community. (All these issues are powerfully portrayed in the 2014 film, Selma.) None of these solidarities, however, express the universalistic dimension of Buddhist oneness. (shrink)

Philosophers of race and other writers in the Black and Latinx intellectual traditions have remarked on what it is like to live under “the racial gaze,” to be shaped and limited by the way whites perceive us. However, little work has been spent developing how the racial gaze functions in whites’, and other racially privileged people’s, moral psychology. I argue in this paper that there is a morally objectionable way of perceiving people of color. This claim builds on an insight (...) from Iris Murdoch that our perception can be morally evaluable and extends it to issues of race. I articulate how racial stereotypes and misvaluing distort one’s perception of people of color and that these distortions are organizing around a dominant conception for race that plays an important role in the oppression of people of color. I believe understanding racist perception lays a foundation for understanding the moral dimensions of interpersonal (as opposed to structural) racism. (shrink)

ABSTRACT With the aim of showing what it takes to see the world and others as they are, this article provides a phenomenological account of what Iris Murdoch has memorably called “the work of attention.” I first show that Aron Gurwitsch’s analyses of attention provide a basis on which to reject a voluntaristic account of attention according to which seeing things as they are is as simple as directing one’s attention to something. Then, in order to elucidate the work (...) that is involved in paying attention, I draw on Edmund Husserl’s descriptions of the activity characteristic of attentive consciousness. I then show how a Husserlian account of the work of attention can help make sense of Murdoch’s pessimistic claim that our consciousness is not “a transparent glass through which it views the world” while also indicating how we, by paying attention, can do better. (shrink)

Engaging with the philosophical writings of Iris Murdoch, we submit that there are difficulties associated with providing a good description of morality that are intimately connected with difficulties in understanding other human beings. We suggest three senses in which moral philosophical reflection needs to account for our understanding of others: (1) the failure to understand someone is not merely an intellectual failure, but also engages us morally; (2) the moral question of understanding is not limited to the extent to (...) which we understand a particular person, but also presents itself in how we picture difficulties in understanding people; and (3) “philosophical pictures of morality” fundamentally shape the conceptual framework we use to investigate morality, as well as the analysis of morality we find illuminative and satisfactory. Exploring the implications of these claims, we ask what it means to think of others as the same, or as different, from ourselves. We then consider the ethical significance of finding, or not finding, our feet in our encounters with others, dwelling on how the metaphor of movement reveals one way in which we are never at peace in the exploration of morality. (shrink)