Arte y moral en Iris Murdoch: el buen arte como vehículo para el progreso moral

Una de las tesis más importantes de la filosofía moral de Iris Murdoch es aquella de acuerdo con la cual el buen arte ayuda a los seres humanos a ser moralmente mejores. Pese a su importancia, en los textos de Murdoch no siempre queda claro cuáles son las razones que la llevan a sostener esta idea. En este artículo, me propongo rastrear estas razones a partir de una lectura atenta de algunos de sus textos y reconstruir los argumentos que posiblemente tenía en mente la autora. En concreto, propongo que, en la opinión de Murdoch, el buen arte contribuye al progreso moral por dos razones. Primero, porque constituye un entrenamiento para llevar a cabo la tarea de superar la fantasía con miras a ver la realidad. Segundo, porque el arte nos revela la complejidad del mundo. Y superar la fantasía y ver el mundo en su complejidad son cosas esenciales para ser moralmente buenos.

Authorial dialogue in Iris Murdoch’s “The Sea, the Sea”

В статье рассматривается роль авторского диалога в философско-психологическом романе Айрис Мёрдок «Море, море» (Iris Murdoch “The Sea, the Sea”, 1978) в раскрытии авторского замысла в целом и выявлении аспектов диалогичности художественного текста. На сегодняшний день отсутствуют лингвистические исследования данного популярного романа, который представляет прекрасный образец философско-психологического произведения литературы ХХ века и отражает актуальные тенденции работы с художественным словом, что обусловливает актуальность и научную новизну работы. Авторы статьи на материале романа А. Мёрдок анализируют диалогические маркеры речевого взаимодействия, опираясь на теорию, разработанную в исследовании Т. Ф. Плехановой, посвященную анализу художественного текста как дискурса в его диалогическом измерении, предлагают классификацию диалогических маркеров авторско-читательского взаимодействия, выявляют языковые средства, оформляющие непосредственный диалогический контакт, проводят подробный лингвостилистический анализ наиболее интересных фрагментов речевого взаимодействия, делают выводы об их роли в реализации авторского замысла. The article discusses the role of the authorial dialogue in the philosophical and psychological novel by Iris Murdoch “The Sea, the Sea” in revealing the authorial intent, namely aspects of the dialogic character of a literary text. The popular novel by Iris Murdoch is a perfect specimen of philosophical and psychological fiction of the twentieth century reflecting up-to-date literary trends; however, it has not undergone any thorough linguistic analysis so far. This fact determines the topicality and novelty of the research conducted. The authors investigate dialogical markers of speech interaction based on the theory devoted to the analysis of a literary text as a discourse in its dialogical dimension developed by T. F. Plekhanova. Based on the results of the Plekhanova research, the authors of the article offer a classification of dialogical markers of author-reader interaction; identify linguistic means that form direct dialogical contact, conduct a detailed linguistic and stylistic analysis of the most interesting fragments of speech interaction, make conclusions about their role in the implementation of the authorial intent.

Oxford in Wartime

This chapter introduces the remaining women—Iris Murdoch, Mary Scrutton (later Midgley), and Gertrude Elizabeth Margaret Anscombe (Elizabeth to her friends)—and describes the state of women’s education in Oxford leading up to and during World War II. Somerville College, where all but Anscombe attended, was at that time one of the most selective institutions in the British Empire. This was due not only to its reputation within Oxford, but also to its small enrollment and the limited number of women’s colleges in general. Despite Somerville’s selectivity, the women still faced disadvantages. Oxford still treated its women as “on probation,” and few women had received the education in classical languages that was a gateway to the prestigious “Greats” degree. During the war, however, as Oxford was drained of fighting-age men, women students were able to benefit from more intensive mentoring and other learning opportunities formerly directed toward men.

Forms of Metatextuality Actualized in a Literary Text and Their Role in Representation of the Author’s Worldview (Based on the Novel Word Child by Iris Murdoch).

The article presents a lingvocognitive research and deals with the study of metatext as a means of representing the author’s worldview. The author of the study describes and systematizes the ways by which metatextuality reveals itself in a literary text. The material is taken from the novel Word Child by Iris Murdoch in which meta-language reflection is expressed evidently. Cognitive approach, used in the study of metatext, brings the research to the level of metacognition and provides a wider interpretation of both the forms of metatextual commentary in the text and their function in the reconstruction of the author’s individual world vision.

FOUNDATIONS OF THE NOVEL WORLD OF IRIS MURDOCH

Iris Murdoch enters the wide space of literature and culture, conducts intertextual roll-over with various proto-texts, modalities, archetypes, philosophical concepts that have developed in literature, seeking to penetrate into the essence of man and the world. As a writer of the “transition”, Iris Murdoch’s work is not associated with an outright deformation of the world in its spatial and temporal coordinates, with the hypertrophy of conventional elements, with demonstrative deconstructive game stylization, with a violation of lifelikeness and ethical relativism inherent in “mature” postmodernism. An important feature of the poetics of “transition” in Murdoch turns out to be organic, devoid of contrast, both because of the objectively established relationship between modernism and postmodernism, and because of the subjective nature of her artistic thinking, marked by the gift of contamination.