scholarly journals Anti-Nausea: Iris Murdoch and the Natural Goodness of the Natural World

Author(s):  
Frances White
Philosophy ◽  
1998 ◽  
Vol 73 (4) ◽  
pp. 535-535

Editorial: Elegy for IrisFor many philosophers, Iris Murdoch is a guiding light. In 1961, her essay ‘Against Dryness’ (Encounter, January 1961) sounded a clarion call against the conventional wisdom of the age. According to that wisdom, in her words, ‘We no longer see man against a background of values, of realities which transcend him. We picture man as a brave naked will surrounded by an easily comprehended empirical world. For the hard idea of truth we have substituted a facile idea of sincerity.’Those who followed Iris Murdoch through her subsequent philosophical writings, in which she developed another wisdom, will have felt themselves to be on a voyage of discovery. The final destination of the voyage, if final destination there was, would remain as elusive as the need to undertake it was compelling.As many will know, Dame Iris is now suffering from Alzheimer's disease. In his ‘Elegy for Iris: Scenes from an Indomitable Marriage’ (New Yorker, 25 July 1998), John Bayley writes that his wife ‘is not sailing into the dark. The voyage is over and, under the dark escort of Alzheimer's, she has arrived somewhere.’ Alzheimer's disease is a cruel and frightening condition, the apparent disintegration of all we are and hope. Bayley describes all of that, with unbearable poignancy, interspersing the collapse of the present with memories of their younger days together. But he also tells us how, in Iris Murdoch's case, Alzheimer's, ‘which can accentuate personality traits to the point of demonic parody, seems only to accentuate the natural goodness in her… she seems to become the presence found in an icon.’ In her philosophy and her novels Iris Murdoch taught us to go beyond the clichés of academic thought. In her declining days she may yet lead us to reconsider other clichés.


2020 ◽  
Vol 87 ◽  
pp. 151-167
Author(s):  
Clare Mac Cumhaill

AbstractThis paper involves constructive exegesis. I consider the contrast between morality and art as sketched in Philippa Foot's 1972 paper of the same name, ‘Morality and Art’. I then consider how her views might have shifted against the background of the conceptual landscape afforded by Natural Goodness (2001), though the topic of the relation of art and morality is not explicitly explored in that work. The method is to set out some textual fragments from Natural Goodness that can be arranged for a tentative Footian ‘aesthetics’. I bring them into conversation with some ideas from Iris Murdoch to elucidate what I think the import may be, for Foot, of depicting human form.


2013 ◽  
Author(s):  
Jeffrey Meyers
Keyword(s):  

Author(s):  
Alistair Fox

This chapter examines Merata Mita’s Mauri, the first fiction feature film in the world to be solely written and directed by an indigenous woman, as an example of “Fourth Cinema” – that is, a form of filmmaking that aims to create, produce, and transmit the stories of indigenous people, and in their own image – showing how Mita presents the coming-of-age story of a Māori girl who grows into an understanding of the spiritual dimension of the relationship of her people to the natural world, and to the ancestors who have preceded them. The discussion demonstrates how the film adopts storytelling procedures that reflect a distinctively Māori view of time and are designed to signify the presence of the mauri (or life force) in the Māori world.


2018 ◽  
Vol 48 (2) ◽  
pp. 202-218
Author(s):  
Heather Ingman

Irish literary gerontology has been slow to develop and this article aims to stimulate discussion by engaging with gerontologists' assertions that ageing in a community of peers is enriching. Juxtaposing the experience of ageing individuals in the novels of Iris Murdoch and John Banville with the more social experiences of John McGahern's protagonists, the article finds parallels between Murdoch's The Sea, The Sea (1978) and Banville's fiction with its emphasis on the ageing individual, invariably male, who attempts to fashion a coherent identity through narration. By contrast, McGahern's The Barracks (1963), is focused through the eyes of a female protagonist whose final months are shaped by interaction with the society around her, while in That They May Face the Rising Sun (2002) ageing is experienced through an entire community.


Romanticism ◽  
2020 ◽  
Vol 26 (2) ◽  
pp. 191-201
Author(s):  
Paul Chirico

John Clare observed and described the natural world with an unsurpassed accuracy and intimacy. But his landscapes also bore the memories of life and labour. Like Wordsworth, he sought to create textual objects in transmissible forms, to deliver their reported worlds – expansive, dynamic, somehow inhabitable – to distant readers, drawing them into sympathetic intercommunion with a complex living scene. His intimate descriptive poetry reveals the tangible qualities of light and sound, and the material basis of the apparently abstract concept of time. Memory and imagination are understood to inhabit bodily spaces, provoking ‘real transport’: an observer lost in – and to – the moment. From his place and time, Clare felt solidarity with isolated birds, alienation from labour, estrangement from human communities. Publications such as annuals often showcased formulaic reflections on nature and on memory; Clare exploited textual duplicability, his meditative descriptive poetry spanning the history and futurity of an observed scene.


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