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  1. M. W. Rowe (2007). Wittgenstein, Plato, and the Historical Socrates. Philosophy 82 (1):45-85.
    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 through writing, and examine the solutions which Plato and Wittgenstein adopted.
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  2.  15
    M. W. Rowe (forthcoming). The Philosophy of Poetry, Edited by John Gibson. Australasian Journal of Philosophy:1-4.
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  3.  95
    M. W. Rowe (2009). Literature, Knowledge, and the Aesthetic Attitude. Ratio 22 (4):375-397.
    An attitude which hopes to derive aesthetic pleasure from an object is often thought to be in tension with an attitude which hopes to derive knowledge from it. The current article argues that this alleged conflict only makes sense when the aesthetic attitude and knowledge are construed unnaturally narrowly, and that when both are correctly understood there is no tension between them. To do this, the article first proposes a broad and satisfying account of the aesthetic attitude, and then considers (...)
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  4.  37
    M. W. Rowe (2004). Philosophy and Literature: A Book of Essays. Ashgate Pub..
    Goethe and Wittgenstein -- Criticism without theory -- Wittgenstein's romantic inheritance -- Arnold and the socratic personality -- The dissolution of goodness : measure for measure and classical ethics -- Lamarque and Olsen on literature and truth -- The definition of 'art' -- Poetry and abstraction -- Larkin's 'Aubade'.
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  5.  2
    M. W. Rowe (2016). Lines to Time: A Poem by V. Penelope Pelizzon. Philosophy and Literature 40 (1):1-33.
    This essay explores a modern American poem—its verse form, imagery, diction, and rhythm, and, in particular, its cultural echoes, resonances, and overtones. I examine the poem’s explicit invocation of Apelles and crow mythology, but I also show that the implicit context from which it arises, and the one that allows it to speak with the great- est fullness and power, is work that Shakespeare wrote or published between 1606 and 1609. This context allows us to see that, at the heart (...)
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  6.  39
    M. W. Rowe (1992). The Definition of 'Game'. Philosophy 67 (262):467 - 479.
    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 writings are full of analogies drawn from games—chess alone is mentioned scores (...)
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  7.  45
    M. W. Rowe (1997). Lamarque and Olsen on Literature and Truth. Philosophical Quarterly 47 (188):322-341.
    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 (...)
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  8.  24
    M. W. Rowe (2012). The Problem of Perfect Fakes. Royal Institute of Philosophy Supplement 71:151-175.
    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.
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  9.  65
    M. W. Rowe (1991). Why ‘Art’ Doesn't Have Two Senses. British Journal of Aesthetics 31 (3):214-221.
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  10.  51
    M. W. Rowe (1996). Book Reviews. [REVIEW] British Journal of Aesthetics 36 (3):423-429.
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  11.  61
    M. W. Rowe (1996). Poetry and Abstraction. British Journal of Aesthetics 36 (1):1-15.
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  12.  55
    M. W. Rowe (1999). The Objectivity of Aesthetic Judgements. British Journal of Aesthetics 39 (1):40-52.
    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 (...)
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  13.  28
    M. W. Rowe (2013). Success Through Failure: Wittgenstein and the Romantic Preface. Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 6 (1):85-113.
    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 and unsatisfactory to the author (...)
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  14.  34
    M. W. Rowe (1991). Goethe and Wittgenstein. Philosophy 66 (257):283 - 303.
    The influence of Goethe on Wittgenstein is just beginning to be appreciated. Hacker and Baker, Westphal, Monk, and Haller have all drawn attention to significant affinities between the two men's work, and the number of explicit citations of Goethe in Wittgenstein's texts supports the idea that we are not dealing simply with a matter of deeplying similarities of aim and method, but of direct and major influence. These scholarly developments are encouraging because they help to place Wittgenstein's work within an (...)
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  15.  23
    M. W. Rowe (2002). Encyclopedia of Aesthetics. British Journal of Aesthetics 42 (1):83-86.
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  16.  14
    M. W. Rowe (1995). The Morality of Happiness By Julia Annas Oxford University Press, U.S.A., 1993, X+502 Pp., £45.00. [REVIEW] Philosophy 70 (271):125-.
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  17.  12
    M. W. Rowe (2009). Aesthetics and Music. British Journal of Aesthetics 49 (3):313-314.
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  18.  7
    M. W. Rowe (1994). Wittgenstein's Romantic Inheritance. Philosophy 69 (269):327 - 351.
    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, but light is also thrown on (...)
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  19.  9
    M. W. Rowe (1999). Book-Reviews. British Journal of Aesthetics 39 (4):423-429.
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  20.  1
    M. W. Rowe (1991). The Definition of `Art'. Philosophical Quarterly 41 (164):271-286.
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  21.  5
    M. W. Rowe (2011). Review Narratives and Narrators: A Philosophy of Stories By Gregory Currie Oxford: Oxford University Press, 2010, 243 + Xi Pp., £30.00. [REVIEW] Philosophy 86 (2):308-312.
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  22.  7
    M. W. Rowe (1993). The Rediscovery of the Mind By John R. Searle The Massachusetts Institute of Technology Press, 1992, Xv + 270 Pp., £19.95, £9.95 Paper. [REVIEW] Philosophy 68 (265):415-.
  23.  6
    M. W. Rowe (1994). A Pitch of Philosophy: Autobiographical Exercises By Stanley Cavell Harvard University Press 1994 Pp.196 Xv. £20.75p. Philosophy 69 (270):515-.
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  24.  6
    M. W. Rowe (1994). The Morality of Pluralism By John Kekes Princeton University Press 1993 Xii+227 Pp. [REVIEW] Philosophy 69 (270):505-.
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  25.  6
    M. W. Rowe (1997). Reason and Rhetoric in the Philosophy of Hobbes By Quentin Skinner Cambridge University Press, 1996, Pp. 477+Xvi, £35.00. [REVIEW] Philosophy 72 (281):471-.
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  26.  6
    M. W. Rowe (1996). The Limits of Experience By Lars Hertzberg Akateeminen Kirjakauppa, Helsinki, 1994, 293 Pp. No Price Given. [REVIEW] Philosophy 71 (276):304-.
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  27.  3
    M. W. Rowe (1993). Wittgenstein on Words as Instruments: Lessons in Philosophical Psychology By J. F. M. Hunter Edinburgh University Press, 1990, X + 170 Pp., £25.00. [REVIEW] Philosophy 68 (263):108-.
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  28. M. W. Rowe (1995). Editorial: After Twenty-Two Years. Philosophy 70 (271):1-1.
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  29. M. W. Rowe (1994). Booknotes. Philosophy 69:519.
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  30. M. W. Rowe (1994). Books Received. [REVIEW] Philosophy 69:520.
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  31. M. W. Rowe (2010). Iago's Elenchus : Shakespeare, Othello, and the Platonic Inheritance. In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Wiley-Blackwell
     
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  32. M. W. Rowe (1994). Notebook. Philosophy 69:526.
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  33. M. W. Rowe (1995). No Title Available. Philosophy 70 (271):127-129.
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  34. M. W. Rowe (1997). No Title Available: New Books. [REVIEW] Philosophy 72 (281):471-476.
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  35. M. W. Rowe (2012). 'Of the Standard of Taste': Decisions, Rules and Critical Argument. In Alan Bailey & Dan O'Brien (eds.), The Continuum Companion to Hume. Continuum 349.
     
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