Elkholy, Sharin N. Review of Marije Altorf's IRIS MURDOCH AND THE ART OF IMAGING. NDPR (June 2009).

Altorf, Marije. Iris Murdoch and the Art of Imaging. London: Continuum, 2008.

The general public often knows more about the personal lives of female artists and thinkers than their actual achievements. This is likely the case with philosopher and novelist Iris Murdoch who was the subject of a recent film, Iris (2001), based on her relationship with John Bayley and her bout with Alzheimer's disease. One of the first women to study philosophy at Cambridge, along with Elizabeth Anscombe, Mary Midgley, Philippa Foot and Mary Warnock, Murdoch went on to teach philosophy, making little of her status as a woman in a field dominated by men. Instead, Murdoch broke with the analytic tradition she studied and became the first thinker to write in English on the existentialism of Jean-Paul Sartre, paving the road for the independent approach she would later take to philosophical problems. Increasingly unsatisfied with Sartre's philosophical account of the meaning of existence, Murdoch turned to literature, her own, to explore human relationships and, above all, morality. Murdoch is the author of dozens of novels, numerous plays, poetry and philosophical texts.

In Iris Murdoch and the Art of Imaging, Marije Altorf explores the relationship between philosophy and literature in Murdoch's thought. She argues that while there has been some consideration regarding the influence of Murdoch's philosophy on her literature, little attention has been paid to the influence of Murdoch's fiction on her philosophical work. Through an exploration of Murdoch's use of imagery, Altorf works to portray the distinctiveness of Murdoch's approach to philosophy and morality. Altorf believes that through a study of Murdoch's literature the reader may arrive at her vision of philosophical truths and the forms of morality she deems valuable.

Writing literature allowed Murdoch to explore the intricacies and ambiguities of human existence in ways she was unable to in her philosophical writings. Altorf argues that Murdoch's conception of literature serves as the springboard for her philosophical positions, as well as the source of her criticisms of contemporary existentialism and philosophy of language. Observing the changes in Murdoch's imagery and metaphors, Altorf suggests, one can gauge the development of Murdoch's thought, culminating in her understanding of the role of the imagination and fantasy with regard to the "Good." . . .

Read the whole review here: http://ndpr.nd.edu/review.cfm?id=16346.

Cordner, Christopher. "Review of Megan Laverty's IRIS MURDOCH'S ETHICS." NDPR (June 2008)

Laverty, Megan. Iris Murdoch's Ethics: a Consideration of her Romantic Vision. London: Continuum, 2007. Modern moral philosophy has followed in Aristotle's footsteps not Plato's. Aristotle highlights 'the virtues'. By highlighting love and the good, Iris Murdoch once again brought Platonic ideas alive, making them accessible in a contemporary idiom. This bent of her philosophy is, I am sure, one reason it has so engaged people, but perhaps it is also why so few of the philosophers who have expressed their indebtedness to Murdoch's moral philosophy have written directly about it. Contemporary analytic philosophy still resists, or perhaps just has not been able to find its own words for, what Murdoch had to say as a philosopher. Megan Laverty describes her book as not aiming 'to replicate Murdoch's ideas' (12), but as 'an exercise in methodological mimesis or iteration' (12). What she writes will be 'a way of "going on" with Murdoch's concepts or terms' (12) rather than an analysis of them. Laverty situates Murdoch within the tradition of what (following Nikolas Kompridis) she calls 'philosophical romanticism' (2). She says that the 'authority of Murdoch's philosophy . . . is given by its location in, and its ability to comment on, a larger philosophical tradition, in this case romantic' (2). This is a bold move, given Murdoch's criticisms of romanticism, which Laverty brings out. But Laverty also reminds us that for Murdoch Plato was one of 'the great romantics' (7). Laverty sees philosophical romanticism as a response to Kant, a response seeking what Laverty (taking up a phrase of Murdoch's) calls a 'third way' (19) between Kant's locating of noumenal reality beyond consciousness and a lapsing into subjectivism. She writes: 'Murdoch and the romantics comprehend, without bridging, the gap between human subjectivity and reality, by bringing the noumenal within the sweep of human experience' (9). Thus Laverty locates Murdoch's work in concerns that have been and continue to be central to philosophy; and she speaks to these concerns in ways that should engage thinkers both within and without analytical philosophy. . . . Read the rest here: http://ndpr.nd.edu/review.cfm?id=13428.