
Brian Rosebury
Brian Rosebury works as a philosopher, historian of ideas, and writer on literature.
Since the 1990s he has worked mainly in moral and political philosophy, focusing especially on questions of moral responsibility, reciprocity, retribution and punishment. His first substantial paper in this field ("Moral responsibility and 'moral luck'") appeared in Philosophical Review in 1995. More recently, he has published articles in Philosophy and Phenomenological Research (2008), Utilitas (2009), Criminal Law and Philosophy (2011), and Criminal Justice Ethics (2011)
In literary studies and aesthetics, his works include Art and Desire: a study in the aesthetics of fiction (Palgrave 1988), Tolkien: a Cultural Phenomenon (Palgrave, 2003), and articles in the British Journal of Aesthetics (1979, 1997, 2000).
Phone: +44(0)1772 893037
Address: School of Humanities and Social Sciences
University of Central Lancashire
Preston PR1 2HE
United Kingdom
Since the 1990s he has worked mainly in moral and political philosophy, focusing especially on questions of moral responsibility, reciprocity, retribution and punishment. His first substantial paper in this field ("Moral responsibility and 'moral luck'") appeared in Philosophical Review in 1995. More recently, he has published articles in Philosophy and Phenomenological Research (2008), Utilitas (2009), Criminal Law and Philosophy (2011), and Criminal Justice Ethics (2011)
In literary studies and aesthetics, his works include Art and Desire: a study in the aesthetics of fiction (Palgrave 1988), Tolkien: a Cultural Phenomenon (Palgrave, 2003), and articles in the British Journal of Aesthetics (1979, 1997, 2000).
Phone: +44(0)1772 893037
Address: School of Humanities and Social Sciences
University of Central Lancashire
Preston PR1 2HE
United Kingdom
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Papers by Brian Rosebury
Comment pouvons-nous etre emus par une fiction par laquelle nous connaissons des comptes rendus ou des representations d'evenements qui ne sont pas reellement arrives? E. Schaper critique l'hypothese de Coleridge d'une "suspension volontaire de la non-croyance" de la part de l'auditeur ou du lecteur. L'A. montre que si sa solution est meilleure d'un point de vue psychologique que la precedente, elle ne resoud cependant pas le paradoxe.
Comment pouvons-nous etre emus par une fiction par laquelle nous connaissons des comptes rendus ou des representations d'evenements qui ne sont pas reellement arrives? E. Schaper critique l'hypothese de Coleridge d'une "suspension volontaire de la non-croyance" de la part de l'auditeur ou du lecteur. L'A. montre que si sa solution est meilleure d'un point de vue psychologique que la precedente, elle ne resoud cependant pas le paradoxe.