•  71
    The Problem of Perfect Fakes
    Royal Institute of Philosophy Supplement 71 151-175. 2012.
    Fakes fall into two categories: copies and pastiches. The first is exemplified when someone paints a reproduction of Manet's The Fifer with the intention of selling it to you as the original. The second is exemplified when someone paints a picture in the style of Manet – although not a reproduction of one of his actual works – with the intention of selling it to you as a picture by Manet
  •  3
  •  1
    No Title available: New Books (review)
    Philosophy 68 (263): 108-110. 1993.
  • No Title available: New Books (review)
    Philosophy 68 (265): 415-418. 1993.
  •  90
    The Definition of 'Game'
    Philosophy 67 (262). 1992.
    Besides its intrinsic interest, the definition of ‘game’ is important for three reasons. Firstly, in Wittgenstein's Philosophical Investigations ‘game’ is the paradigm family resemblance concept. If he is wrong in thinking that ‘game’ cannot be defined, then the persuasive force of his argument against definition generally will be considerably weakened. This, in its turn, will have important consequences for our understanding of concepts and philosophical method. Secondly, Wittgenstein's later w…Read more
  • No Title available: New Books (review)
    Philosophy 71 (276): 304-308. 1996.
  •  17
    Wittgenstein's Romantic Inheritance
    Philosophy 69 (269). 1994.
    A number of writers have noted affinities between the form and style of Wittgenstein′s Philosophical Investigations and the Christian confessional tradition. 1 , 2 In this paper, however, If the Christian tradition, than of the Christian inheritance refracted through, and secularized by, German Romanticism. I shall argue that Wittgenstein′s work is less a direct continuation on this context, not only do many of the features of the Investigations which seem eccentric or wilful become naturalized,…Read more
  •  312
    Wittgenstein, Plato, and the historical socrates
    Philosophy 82 (1): 45-85. 2007.
    This essay examines the profound affinities between Wittgenstein and the historical Socrates. The first five sections argue that similarities between their personalities and circumstances can explain a comparable pattern of philosophical development. The next nine show that many apparently chance similarities between the two men's lives and receptions can be explained by their shared conceptions ofphilosophical method. The last three sections consider the difficulty of practising this method thr…Read more
  •  2
    No Title available
    Philosophy 70 (271): 125-127. 1995.
  • After Twenty-Two Years
    Philosophy 70 (n/a): 1. 1995.
  • No Title available
    Philosophy 69 (270): 505-507. 1994.
  •  40
    Success through Failure: Wittgenstein and the Romantic Preface
    Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 6 (1): 85-113. 2013.
    I argue that the Preface to Wittgenstein’s Philosophical Investigations represents a form of preface found in several other major works of Romanticism. In essence, this kind of preamble says: ‘I have tried very hard to write a work of the following conventional type … . I failed, and have thus been compelled to publish, with some reluctance, the following fragmentary, eccentric, unfinished or otherwise unsatisfactory work.’ It sometimes transpires, however, that a work which appeared unfinished …Read more
  •  66
    Lamarque and Olsen on literature and truth
    Philosophical Quarterly 47 (188): 322-341. 1997.
    In Fiction, Truth and Literature, Lamarque and Olsen argue that if a critic claims or attempts to prove that the outlook of a work of literature is true or false, he is not engaging in literary or aesthetic appreciation. This paper argues against this position by adducing cases where literary critics discuss the truth or falsity of a work’s view, when their opinions are obviously relevant to the work’s aesthetic assessment. The paper considers in detail the way factual errors damage a work’s aes…Read more
  • No Title available
    Philosophy 69 (270): 515-518. 1994.
  •  84
    The objectivity of aesthetic judgements
    British Journal of Aesthetics 39 (1): 40-52. 1999.
    The first half of this article argues that, like judgments as to whether something smells or tastes good, judgments about works of art ultimately depend on an element of subjective response. However, it shows that, unlike gustatory or olfactory judgments, we can argue meaningfully about our experience of works of art because they have _parts<D>. Because works of art have parts these can be patterned by the imagination, and this patterning can be influenced by what is said to us. The second half …Read more