•  174
    The Earthy Realism of Plato's Metaphysics, or: What Shall We Do with Iris Murdoch?
    Philosophical Investigations 35 (1): 43-67. 2011.
    I develop Iris Murdoch's argument that “there is no Platonic ‘elsewhere,’ similar to the Christian ‘elsewhere.’ ” Thus: Iris Murdoch is against the Separation of the Forms not as a correction of Plato but in order to keep faith with him; Plato's Parmenides is not a source book of accurately targeted self-refutation but a catalogue of student errors; the testimony of Aristotle and Gilbert Ryle about Plato's motivations in the Theory of Forms is not an indubitable foundation from which to denounce…Read more
  •  173
    Is Iris Murdoch a Closet Existentialist? Some Trouble with Vision, Choice and Exegesis
    European Journal of Philosophy 21 (3): 475-494. 2013.
    : Richard Moran argues that Iris Murdoch is an Existentialist who pretends not to be. His support for this view will be shown to depend on his attempt to assimilate Iris Murdoch's discussion of moral ‘vision’ in the parable of the Mother in Law to Sartre's thought on ‘choice’ and ‘orientation’. Discussing both Moran's Murdoch exegesis and Sartre's Being and Nothingness, I develop the Sartrean view to which Moran hopes to assimilate Murdoch, before pointing out how Moran's assimilation fails. Mur…Read more
  •  127
    While Iris Murdoch lived, Charles Taylor found philosophers as yet ‘too close’ to her rich philosophical contribution to see its true importance (Taylor 1996: 3). Twelve years from her death, Iris Murdoch, Philosopher is the first collection of essays on Murdoch’s philosophy edited by a philosopher, for a readership in academic philosophy. The collection is not yet the fulfilment of Taylor’s prophecy, but has the energy of a giant leap.
  •  106
    As a buddhist christian; the misappropriation of Iris Murdoch
    Heythrop Journal 52 (6): 993-1008. 2011.
    This is a rebuttal of influential attempts to appropriate Murdoch for either Christianity or Buddhism. I show that Maria Antonaccio and Peter Byrne ignore Murdoch's explicit statements and misunderstand Murdoch’s interest in the Ontological Argument. I explain how St. Anselm’s remark ‘I believe in order to understand’ is properly connected with Murdoch’s parable of the Mother-in-Law: Murdoch is here offering support for a virtue epistemology. Later, I explore the merits and dangers of exegesis f…Read more
  •  101
    If in our use of imagery we are all of us the unacknowledged legislators of the world, it would follow that one can ‘serve the cause of sexual equality in education’ by challenging the way our images of the academic are gendered.1 This is the excellent stated purpose of Sabina Lovibond's short new book, Iris Murdoch, Gender and Philosophy.2.
  •  91
    I consider the support variously offered for the remark at Philosophical Investigations 246: ‘It can’t be said of me at all (except perhaps as a joke) that I know I am in pain.’ Against the first sort of argument to be found in Wittgenstein and the literature I offer cases in which I learn of pain. Against the second sort of argument I develop the case in which I am persuaded by compelling evidence that I am, contrary to what I imagined, still in an emotional pain about N. I then consider the…Read more
  •  78
    Nauseating Flux: Iris Murdoch on Sartre and Heraclitus
    European Journal of Philosophy 22 (4): 633-652. 2014.
    I observe Iris Murdoch's distinctive use of the word ‘flux’ in discussion of Sartre's Nausea and show that her usage is persuasive and revolutionary, first as Sartre exegesis, second as Heraclitus exegesis, and throughout as a contribution to the philosophy of language. Murdoch's usage of ‘flux’ frames a comparison of Sartre's Roquentin with other figures who have had similarly flowing experience but without nausea. Roquentin's plight is shown to be ‘a philosopher's plight’ precipitated by a def…Read more
  •  72
    Iris Murdoch's everyday "metaphysical entities"
    Minerva - An Internet Journal of Philosophy 4 (1): 1. 2000.
  •  62
    David Robjant also criticizes Levin's article from Think 10.
  •  59
    Murdoch brings together the darkness of misery and the darkness of wickedness under the observation that ‘goodness is not acontinuously active organic part of our purposes and wishes’. This looks like an empirically minded correction of Socrates. But besides correcting Socrates, is Murdoch also offering, as Stephen Mulhall suggests, ‘a fundamental counter-example’ to her own ‘moral vision’? This depends on what one takes Murdoch’s moral vision to be. I trace Mulhall's mistake to Maria Antonac…Read more
  •  49
    Who Killed Arnold Baffin?: Iris Murdoch and Philosophy by Literature
    Philosophy and Literature 39 (1A): 178-194. 2015.
    Iris Murdoch’s The Black Prince is narrated by a convicted felon named Bradley Pearson, looking back on his former adventures culminating in the death of the author Arnold Baffin. Bradley writes while in prison for Arnold’s murder, and between various speculative and philosophical remarks on Love and Art, Bradley relates a story that, if true, would make his conviction a miscarriage of justice. According to Bradley, Arnold was a victim of domestic violence, killed by his wife, Rachel. The fact t…Read more
  •  37
    Like Leo Strauss and Karl Popper, most readers take it that one cannot have a political reading of the Republic at all, except by interest in Plato’s attitude toward the proposals developed by Socrates and his interlocutors. But this is not true. I do not mean that it is a good idea to cultivate apathy concerning Plato’s attitudes to sexual equality, private property, food, war, and so on. I mean that there is this possibility mentioned by Stanley Rosen, that “Plato speaks in the story he tells,…Read more
  •  5
    The Urge to Write: Of Murdoch on Plato’s Demiurge
    In Nora Hämäläinen & Gillian Dooley (eds.), Reading Iris Murdoch’s Metaphysics as a Guide to Morals, Springer Verlag. pp. 227-242. 2019.
    The Timaeus is difficult, and Murdoch has two strands of thought about it. On the one hand she thinks it a defence of Forms, and on the other hand she thinks it is an allegory on the inspiration and limitations of the artist, or creative literary writer. Arguing that the two strands get in each other’s way, and that one is mistaken, I will defend and expand on ‘Plato’s portrait of the artist’.