Iris Murdoch's concept of Good is a central feature of her moral theory; in Murdoch's thought, attention to the Good is the primary means of improving our moral conduct. Her view has been criticised on the grounds that the Good is irrelevant to life in this world (Don Cupitt), that the notion of a transcendent, single object of attention is incoherent (Stewart Sutherland), and that we can only understand what goodness is if we see it as an attribute (...) of a theistic, trinitarian God (Christoph Schwöbel). The paper argues that, with some clarification and development of Murdoch's view, these objections are by no means fatal to her position. (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)

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)

The subject of this article is moral agency in nursing, studied by the use of an applied philosophical method. It draws upon nurses’ accounts of how they see intrinsic value in their work and believe that they make a difference to patients in terms that leave their patients feeling better. The analysis is based on the philosophy of Iris Murdoch to reveal how nurses’ accounts demonstrated that they hold a view of themselves and their professional practice that is intrinsically (...) linked to, and dependent upon, their capacity to see good in the work they do. (shrink)

Moral imagination has been described by Murdoch as ‘a way of seeing’. The focus of concern here is the influence of belief upon moral imagination and those attitudes that are needed if moral imagination is to be developed. The perspective adopted endorses a Humean recognition of the potent influence of personal experience upon those beliefs that are held, and therefore upon how we see the world. Kantian commitment to the power of the will, and to the ability of individuals (...) to choose who they wish to be, allows room for optimism, a view which is supported by the findings of Liaschenko. (shrink)

This article offers an argument for a form of panentheism in which the divine is conceived as both ‘God the World’ and ‘God the Good’. ‘God the World’ captures the notion that the totality of everything which exists is ‘in’ God, while acknowledging that, given evil and suffering, not everything is ‘of’ God. ‘God the Good’ encompasses the idea that God is also the universal concept of Goodness, akin to Plato’s Form of the Good as developed by Iris Murdoch, (...) which is inextricably conjoined with God the World because it is the nature of the world which determines the nature of perfect Goodness. This form of ‘conjoined’ panentheism yields a concept of divine personhood which includes both divine agency and human/divine engagement. God the Good is an agent of change by providing human persons with a standard of Goodness against which to measure the goodness of their own actions, while God the World provides the physical embodiment through which God acts. Human engagement with the divine may take a number of forms and may lead to moral action, the means by which the divine acts upon the world and changes it for the better. (shrink)

Résumé éditeur : This book tells two intertwined stories, centered on twentieth-century moral philosophers Elizabeth Anscombe, Mary Midgley, Philippa Foot, and Iris Murdoch. The first is the story of four friends who came up to Oxford together just before WWII. It is the story of their lives, loves, and intellectual preoccupations; it is a story about women trying to find a place in a man's world of academic philosophy. The second story is about these friends' shared philosophical project (...) and their unintentional creation of a school of thought that challenged the dominant way of doing ethics. That dominant school of thought envisioned the world as empty, value-free matter, on which humans impose meaning. This outlook treated statements such as “this is good” as mere expressions of feeling or preference, reflecting no objective standards. It emphasized human freedom and demanded an unflinching recognition of the value-free world. The four friends diagnosed this moral philosophy as an impoverishing intellectual fad. This style of thought, they believed, obscured the realities of human nature and left people without the resources to make difficult moral choices or to confront evil. As an alternative, the women proposed a naturalistic ethics, reviving a line of thought running through Plato, Aristotle, and Aquinas, and enriched by modern biologists like Jane Goodall and Charles Darwin. The women proposed that there are, in fact, moral truths, based in facts about the distinctive nature of the human animal and what that animal needs to thrive.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Women Are Up to Something: How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics by Benjamin J. B. LipscombAmy Gilbert RichardsLIPSCOMB, Benjamin J. B. The Women Are Up to Something: How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics. New York: Oxford University Press, 2022. xxx + 326 pp. Cloth, $27.95In The Women Are Up to Something, (...) Lipscomb demonstrates in form and content the inextricable link between philosophical theory and personal story and character. The book tells two stories: "first, a story [End Page 148] about four women, their overlapping friendships, and their struggle to establish themselves as philosophers in an often-hostile context; second, a story about two conflicting approaches to ethics." These two stories connect through the role these women played in the development of the second of the conflicting approaches—a challenge to the mid-twentieth-century Oxbridge orthodoxy in metaethics, what Lipscomb later calls a "minority report."Chapter 1 centers on the fact–value divide. The consequence of this divide for ethics lies in its banishment of all evaluative terms from the realm of possible facts, thereby demoting them to matters of "opinion." Lipscomb here offers a genealogy of the divide. He also introduces the insight that will become the seed of the minority report: The picture of the world offered by the fact-value divide is just that, a picture. Bringing to light the deep background pictures that undergird our understanding of the world is one of the most difficult intellectual tasks. But the picture rooted in the fact–value divide includes the claim that the divide itself is simply a "fact"—not a picture at all, and therefore not contestable. Lipscomb labels this view "the Dawkins' sublime."The next three chapters continue the work of stage-setting. Chapter 2 immerses us in the Oxford of the women's undergraduate years—an Oxford temporarily but dramatically altered by World War II, where female students made up a much larger percentage of the undergraduate population than was usual, and where professors were in a new way open to mentoring women. Chapter 3 briefly recounts all four childhoods, lived in the aftermath of the first World War. Chapter 4 returns to Oxford and narrates the graduate degrees of the four women. It also offers a perceptive primer on the history of analytic ethics, culminating in the state of the field at the point when the women were on the cusp of entering it—the precise shape of the approach to ethics the women would eventually abjure.Each of the next four chapters traces the development of the mature philosophy of one of the four women—in order: Murdoch, Anscombe, Foot, and Midgley. Despite deep differences among their philosophical and theological outlooks, they all four came to defend a version of the thesis, commonplace in ancient and medieval philosophy, that there are things that are good for human beings qua human being, that our moral lives are largely a matter of seeing and responding—well or poorly—to these elements of the human good that are given as part of our nature. In other words, there are facts about values. We in crucial ways discover rather than invent morality.The last chapter serves as an epilogue to both stories: It traces the ways in which the writing and lives of these four women produced a decisive change in the landscape of Anglo-American philosophy. Lipscomb notes which strains in contemporary Anglo-American philosophy owe their existence to the minority report. Figures like Korsgaard feature as contemporary representatives of an ethics grounded in the fact–value [End Page 149] divide. Figures like MacIntyre and Hursthouse feature as inheritors of the philosophical legacy of the book's heroines.In this final chapter Lipscomb also offers brief portraits of the later life and death of each of the women in turn. At the end of the final portrait, the book rounds to a poetic close—not offering a final philosophical statement but reflecting on the fruits of friendship and the power of its legacy for those who come after.It is difficult to pin down Lipscomb's precise philosophical... (shrink)

In his reference letter for Murdoch’s 1947 fellowship application at Newnham College, Cambridge, her erstwhile Oxford undergraduate tutor, Donald MacKinnon, remarks that Murdoch is ‘on the threshold of creative work of a high order’. This chapter outlines the nature of that ‘creative work’ and its early development. We show how Murdoch’s close study of the Christian existentialist philosopher and playwright Gabriel Marcel (1883–1973) came to inflect both her early critique of Jean Paul Sartre’s existentialism and her first (...) attempts to show the limits of logical positivism. We explain how once at Cambridge, Murdoch’s exposure to Wittgenstein’s method, through her philosophical friendship with Elizabeth Anscombe, gave her the conceptual means to recast those aspects of Marcel’s thought (as well as those of Martin Buber) that she believed were important but, as she wrote in her application, ‘vague’. We show, finally, how both strands of Murdoch’s thinking are later brought into synchrony in the much-discussed example of M&D. This, in turn, allows us to isolate Murdoch’s understanding of the individual’s relation to their own ‘ghostly past’ and to reveal the importance of Murdoch’s early encounters with Anscombe and Marcel. (shrink)

This article explains Iris Murdoch's notion of moral vision and its importance as a basic concept within applied ethics. It does so by exploring the influence of Iris Murdoch upon Alasdair Maclntyre whose ideas are frequently discussed by business ethicists. Arguably, the British philosopher Iris Murdoch who wrote -amongst others -Metaphysics as a Guide to Morals, along with her contemporaries, Philippa Foot and Elizabeth Anscombe, pioneered the resurgence of Aristotle's virtue ethics. Furthermore, Iris Murdoch influenced (...) Alasdair Maclntyre. Heather Widdows, in her biography of Iris Murdoch lists Alasdair Maclntyre amongst those ' thinkers she inspired'. And in his writings Maclntyre does both examine Murdoch's work and acknowledge that ' Iris Murdoch has... put us all in her debt'. Murdoch was both an influential philosopher and a successful novelist. Maclntyre has stated that ' Iris Murdoch's novels are philosophy: but they are philosophy which casts doubt on all philosophy, including her own'. I therefore explore in this article the influence of Iris Murdoch's literary work, where ' true vision occasions right conduct' upon Alasdair Maclntyre's portrayal of us as ' storytelling animals' on a 'narrative quest'. (shrink)

Benjamin J.B. Lipscomb, The Women Are up to Something. How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics, Oxford University Press, New York, 2022, 326pp., ISBN 978–0–19–754107–4.

Review of Lipscomb, B. J. B. (2021). The Women Are Up to Something: How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics. Oxford: Oxford University Press.

Volume 30, Issue 6, December 2022, Page 1144-1146.

Elizabeth Anscombe, Mary Midgley, Iris Murdoch and Philippa Foot all studied at Oxford University during the Second World War. One of their wartime tutors was Donald MacKinnon. This paper gives a broad overview of MacKinnon's philosophical outlook as it was developing at this time. Four talks from between 1938 and 1941—‘And the Son of Man That Thou Visiteth Him’ (1938), ‘What Is a Metaphysical Statement?’ (1940), ‘The Function of Philosophy in Education’ (1941) and ‘Revelation and Social Justice’ (1941)—give (...) a foretaste of the conception of moral philosophy that he later articulated in A Study of Ethical Theory (1957). We identify aspects of his philosophical outlook and unusual treatment of method that likely shaped his teaching. We trace his influence in the work of Midgley, Murdoch and Foot, all of whom studied with him from Trinity Term 1940 until their finals in 1942. In the case of Anscombe, though she was briefly his student—he taught her Plato—she and MacKinnon moved in shared intellectual circles, and there is reason to think that some of the forces that shaped MacKinnon's outlook also shaped hers. The sketch we offer is incomplete—in particular, we are not able to do justice to MacKinnon's explicitly theological writings—but we hope to achieve three things. First, to go some way towards indicating the importance of the teacher MacKinnon to understanding the work of his better-known pupils. Second, to introduce a philosopher for whom the teaching of philosophy, practical ethics and metaphysical theory were deeply entwined. Third, to reflect on the relationship between, on the one hand, a conception of the practice and significance of metaphysics and, on the other, a view on the role and nature of philosophical teaching and learning. (shrink)

Recent scholarship has focused on the provocative suggestion that there is a deep unity linking the philosophical projects of Iris Murdoch, Elizabeth Anscombe, Philippa Foot, and Mary Midgley. In addition to providing scholars with the opportunity to consider what these four shared, the unanimity story also offers an occasion to reflect on what is distinctive about each. Whereas Anscombe, Foot, and Midgley each turn to broadly Aristotelian resources for developing an alternative to the dominant non‐cognitivism of their day, (...) Murdoch turns to Platonic ones. The nature of Murdoch's Platonism, however, is not always well understood and has been identified as a “recurring question.” This paper aims to contribute to the ongoing attempt to understand Murdoch's distinctive, Platonic alternative to the ethical non‐cognitivism of her day. I contend that Murdoch's philosophical method, especially its transcendental elements, is an unexplored resource for better understanding the character of her Platonism as a modest one. (shrink)

This volume celebrates the centenary of the birth of Elizabeth Anscombe, Philippa Foot, Mary Midgley and Iris Murdoch. These four remarkable women were philosophical colleagues in Oxford in the 1940s, and their careers intertwined and overlapped henceforth. The papers in this book are all by prominent philosophers who spoke at the Royal Institute of Philosophy's annual lecture series from 2018-9. Together they cover the philosophical careers of Anscombe, Foot, Midgley and Murdoch, focusing on their thinking on morality, (...) human nature and action and the place of humanity in the animal and natural world, all areas to which they made notable and distinctive contributions. Connexions are drawn to the thought of Wittgenstein, Aquinas and Aristotle. This book demonstrates the way these four philosophers individually and collectively changed the direction of philosophy in the English speaking world in the mid-twentieth-century and how they continue to influence it one hundred years after their birth. (shrink)

At Oxford University, in the context of WW2, when men were largely obliged to abandon the university benches to take part in the war effort, four women philosophers, Iris Murdoch (1919-1999), Mary Midgley (1919-2018), Elizabeth Anscombe (1919-2001) and Philippa Foot (1920-2010), formed a group of philosophical reflections that would become a competitor, after the war, to John L. Austin’s famous ‘Saturday Mornings’. At the heart of the concerns of this ‘wartime quartet’: putting the importance of being human back (...) at the centre of ethics. They opposed “modern moral philosophy” and its many presuppositions, including the claim that ethical questions are independent of the facts of human life or concern a purely rational subject abstracted from everyday issues and from its belonging to the human species. By putting the importance of being human back at the heart of their ethical reflections, these philosophers came to reflect on issues that directly concern human life, far from the philosophical abstractions that interested their men homologues. In this paper, I explore the extent to which this re-inscription of philosophy into everyday life and into ordinary human concerns, opens the way to a feminist philosophy and ethics. (shrink)

This article situates the Australian moral philosopher Julius Kovesi (1930–1989) in the context of the ‘Quartet’ of women philosophers—Iris Murdoch, Elizabeth Anscombe, Philippa Foot and Mary Midgley—with whom he was associated in various ways. His connections with the Quartet have not been documented previously, but they are not minor or incidental. Foot herself credits him with being one of the ‘members of a small band of guerrillas fighting the prevailing orthodoxy of anti‐naturalist emotivism and prescriptivism in ethics, and (...) challenging the Humean doctrine of the gap between “is” and “ought”’. The evidence shows that Kovesi made a distinctive contribution to the reshaping of moral philosophy that the Quartet were developing. In particular, it shows him as developing a Wittgensteinian but not an Aristotelian moral philosophy. (shrink)

Elizabeth Anscombe, Iris Murdoch, Mary Midgley, Simone Weil, Hannah Arendt and Simone de Beauvoir have long been relied upon to bring some token of gender balan.

In this paper I examine the relation between intentional action and morality from the perspective of practical epistemology. In other words I study the relation between Elizabeth Anscombe's knowledge of one’s own intentional actions (knowledge in action) and Iris Murdoch's knowledge of what is good to do or what one ought to do in particular circumstances (knowledge in the circumstances). If practical knowledge in the former sense (knowledge in action) and practical knowledge in the latter sense (knowledge in (...) the circumstances) turn out to constitute exercises of one and the same capacity for knowledge, as I will argue they do, this will give us strong reason to believe that what is known in the two cases (i.e. intentional action and the moral fabric of the world) is in some sense the same. In examining the relation between practical knowledge of one’s own intentional actions and practical knowledge of what is good to do I draw from two traditions of thought on practical epistemology. The first is the tradition of Anscombe’s conception of knowledge in action and the second is the tradition of Murdoch’s conception of knowledge in the circumstances. What is striking about these traditions is that they tend to understand practical knowledge by reference to the possible involvement therein of perception. Thus Anscombe claims in her Intention[1] that knowledge in action is specified as knowledge without observation; a claim to the effect that the epistemological status of knowledge in action is determined by reference to the lack of a certain sort of involvement therein of perception. And Iris Murdoch in her Sovereignty of the Good[2] proposes that what makes knowledge in the circumstances knowledge is a form of sensitivity to particular features or aspects of the circumstances in which the agent finds herself. Thus, for Murdoch, knowledge in the circumstances owes its status as knowledge to the capacity of the agent to perceive what she ought to do in particular circumstances. In this paper I will argue that both of these forms of knowledge are instances of the exercise of one and the same capacity for knowledge. But the question now arises. How can we both claim that the two forms of practical knowledge are instances of the exercise of one and the same capacity for knowledge and that perception plays such a diverse role in their epistemological grounding? In the main body of this paper I will show how to interpret the Murdochian and the Anscombean claims so as to provide the materials with which we can answer this question. If the argument of this paper works, it will transpire that both of these forms of knowledge are instances of the exercise of our capacity for self-knowledge. This account of practical knowledge opens the way for understanding intentional action and the moral fabric of the world as knowable as the self. And it is thus that what is known in the two forms of knowing (i.e. intentional action and the moral fabric of the world) is in some sense the same. [1] Anscombe, 1957. [2] Murdoch, 1970. (shrink)

This essay employs strategies drawn from the emergent field of everyday aesthetics to explore the pleasures of reading Daniel Defoe’s Robinson Crusoe and Samuel Richardson’s Sir Charles Grandison. As a fictional paradigm, Crusoe has been a paradoxical inspiration, inviting critique as a seductive representative of colonial power, on the one hand, and eliciting admiration for his ability to provoke meaningful artistic and intellectual engagement from a diverse group of writers and thinkers, on the other hand. To many ordinary readers, he (...) has proved company worth keeping as a source of inspiration and personal pleasure primarily through his aesthetic approach to the structuring of everyday life. The fiction of Samuel Richardson continues the focus on the everyday, placing even greater emphasis on the relationship between the ethical and the aesthetic. In his final novel, Sir Charles Grandison, pleasure can scarce be felt without some commentary outlining the contours of moral significance, and the very act of moral reasoning is demonstrably affective for characters and readers alike. The essay ends with consideration of the power of literature, especially the realistic novel, to shape the ordinary lives of everyday readers. (shrink)

Mac Cumhaill and Wiseman’s book about the formative years of four influential female philosophers is well-researched and timely, appearing shortly after Lipscomb’s (2022) on the same topic. They describe the lives of Elizabeth Anscombe, Philippa Foot, Mary Midgley and Iris Murdoch from 1938 to 1956, that is, from the last pre-war term at Oxford, where all four took a BA, to the term in which Anscombe defended her famous objection to "Mr. Truman’s Degree" at Oxford’s general assembly. Using (...) a wide range of sources, the authors paint a vivid picture of how the war shaped British universities and thereby the philosophical education of these four students. (shrink)

'Philosophy in a world of women. I reflected, talking with Mary, Pip and Elizabeth, how much I love them.' Two brilliant young scholars uncover the major philosophical contributions of four women whose ideas could have changed the course of twentieth-century thought. Written with energy, expertise and panache, The Quartet is a page-turning blend of research and recovery, storytelling, and a call to arms. Iris Murdoch, Philippa Foot, Mary Midgley and Elizabeth Anscombe were great friends and comrades in (...) the intellectual trenches, rethinking the possibilities of moral philosophy when the men 'left the room' and taking on the establishment, ultimately embodied by President Truman. Mac Cumhaill and Wiseman bring these women out of the shadows and into vivid colour. (shrink)

Feminist Time Against Nation Time offers a series of essays that explore the complex and oftentimes contradictory relationship between feminism and nationalism through a problematization of contemporality. The collection pursues the following questions: how do the specific temporalities of nationalism and war limit and delimit public spaces in which dissent might happen; and how might we account for the often contradictory and ambiguous relationship of "feminism" and "nationalism" through an exploration of the problem of time?

Lists are a recurring feature in Old English and Old Icelandic poetry, and particularly a feature of those poems that are included in the genre wisdom literature and those that have a claim to be among the earliest surviving compositions in each language. Some poems, such as Widsith and Grímnismál, are entirely made up of lists contained within a slight narrative frame; others, such as The Wanderer and Hávamál, have lists embedded within them. Both kinds of poem have posed problems (...) for modern readers and editors, some of whom have dismissed list poems as simply pedestrian and boring, while others have struggled with problems of unity and with the many metrical difficulties that the verse lists in both languages display. An example is the Old English Maxims II , the structure of which has been a major concern of the scholars who have written about the poem. Among them R. MacGregor Dawson argues for a type of unity based on association for both Maxims I and II, asserting that the poems are “not simply lists but mnemonic arrangements in sequences built up by multiple association of ideas, either through meaning or through sound.” The most recent editor of Maxims II, on the other hand, points out that at least one of the perceived divisions in the poem is based on relationships of form rather than meaning or sound. T. A. Shippey goes on to remark that within this sequence there is much variety and that “Of the twenty-four descriptive phrases only three repeat a syntactic and metric shape used previously in the section.”. (shrink)

Thirty-six 1-year-old middle-class children with fathers who spent differential time with them at home were observed in two experimental contexts separated by 2 weeks. In the first, each infant was shown six to eight repetitions of three different nonsocial events followed by a change in..

This book collects Thomas Nagel's recent philosophical reflections on topics of fundamental interest: ethics, moral psychology, science and religion, death and the holocaust, and the metaphysics of mind. Among the figures discussed are Peter Singer, Alvin Plantinga, Christine Korsgaard, Elizabeth Anscombe, Philippa Foot, Iris Murdoch, T. M. Scanlon, Ronald Dworkin, Samuel Scheffler, Daniel Kahneman, Jonathan Haidt, Joshua Greene, and Daniel Dennett. Nagel consistently defends a realist interpretation of moral truth and resists reductive attempts to subsume ethics to psychology (...) and evolutionary theory. He also defends a pluralistic conception of the content of morality against utilitarianism, including deontological elements such as rights and special responsibilities. A realist outlook also informs his discussions of metaphysical and epistemological questions. The book closes with tributes to a number of people Nagel has known over the course of his career. The essays are all addressed to a general audience, and should appeal not only to philosophers but to anyone interested in current attempts to understand human life, human values, and how we fit into the world. (shrink)

The current investigation examines children’s learning about a novel machine in a local history museum. Parent–child dyads were audio-recorded as they navigated an exhibit that contained a novel artifact: a coffee grinder from the turn of the 20th century. Prior to entering the exhibit, children were randomly assigned to receive an experimental “component” prompt that focused their attention on the machine’s internal mechanisms or a control “history” prompt. First, we audio-recorded children and their caregivers while they freely explored the exhibit, (...) and then, we measured children’s learning by asking them two questions in a test phase. Children of all ages, regardless of the prompt given, discussed most aspects of the machine, including the whole machine, its parts, and, to a lesser extent, its mechanisms. In the test phase, older children recalled more information than younger children about all aspects of the machine and appeared more knowledgeable to adult coders. Overall, this suggests that children of all ages were motivated to discuss all aspects of a machine, but some scaffolding may be necessary to help the youngest children take full advantage of these learning opportunities. While the prompts did not significantly influence the number of children who discussed the machine’s mechanisms, children who received the component prompt were rated as more knowledgeable about the machine in the test phase, suggesting that this prompt influenced what they learned. Implications for visitor experience and exhibit design are discussed. (shrink)

This essay will move toward a phenomenology of “more” in ten steps. 1st, situates the investigation within the tradition of Husserlian phenomenological practice, then 2nd draws upon Husserl’s own experience of doing phenomenology. 3rd considers some initial aspects of the structure of the lived experience of “more” and 4th is about the number series, while 5th addresses the primal experience of time, space, and movement. 6th focuses on the phenomenological notion of horizons, then 7th turns to the related question of (...) transcendence. 8th takes a critical look at a particular conceptual model sometime used in thinking about the experience of “more”; 9th briefly brings out one of the ethical implications of this critique; and finally, 10th highlights some of the ways in which the research documented here is itself still incomplete and demands “more”.Este ensayo se moverá hacia una fenomenología de "más" en diez pasos. El prime-ro, sitúa la investigación dentro de la tradición de la práctica fenomenológica husserliana; luego, el segundo se basa en la propia experiencia de Husserl de hacer fenomenología; el tercero considera algunos aspectos iniciales de la estructura de la experiencia vivida de "más" y el cuarto es sobre la serie numérica, mientras que el quinto aborda la experiencia primordial de tiempo, espacio y movimiento. El sexto se centra en la noción fenomenológica de horizontes; después el séptimo pasa a la cuestión relacionada con la trascendencia. El octavo echa una mirada crítica a un modelo conceptual particular usado en algún momento para pensar sobre la experiencia de "más"; el noveno destaca brevemente una de las implicaciones éticas de esta crítica;y, finalmente, el décimo resalta algunas de las formas en las que la investigación aquí documentada todavía está incompleta y exige "más". (shrink)