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  1. Shaftesbury on the Beauty of Nature.Michael B. Gill - 2021 - Journal of Modern Philosophy 3 (1):1.
    Many people today glorify wild nature. This attitude is diametrically opposed to the denigration of wild nature that was common in the seventeenth century. One of the most significant initiators of the modern revaluation of nature was Anthony Ashley Cooper, the third Earl of Shaftesbury. I elucidate here Shaftesbury’s pivotal view of nature. I show how that view emerged as Shaftesbury’s solution to a problem he took to be of the deepest philosophical and personal importance: the problem of how worship (...)
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  • The Ugly Truth: Negative Aesthetics and Environment.Emily Brady - 2011 - Royal Institute of Philosophy Supplement 69:83-99.
    In autumn 2009, BBC television ran a natural history series, ‘Last Chance to See’, with Stephen Fry and wildlife writer and photographer, Mark Carwardine, searching out endangered species. In one episode they retraced the steps Carwardine had taken in the 1980s with Douglas Adams, when they visited Madagascar in search of the aye-aye, a nocturnal lemur. Fry and Carwardine visited an aye-aye in captivity, and upon first setting eyes on the creature they found it rather ugly. After spending an hour (...)
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  • Ken of Kin: Aesthetic experience of the Forest.Dennis Vickers - 2017 - Journal of Aesthetic Education 51 (1):15-23.
    In 2012, Qatar’s royal family bought one of five Paul Cezanne paintings titled The Card Players for approximately $250 million. By way of contrast, a 160-acre plot of hardwood forest in Forest County Wisconsin is now for sale for $250,000. The painting is roughly three feet high by four feet wide. The 160-acre forest is 880 square yards or twice the size of the area around Walden Pond that so inspired Henry David Thoreau and twice the size of Aldo Leopold’s (...)
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  • A response to Emily Brady's 'aesthetic regard for nature in environmental and land art'.Jason Boaz Simus - 2007 - Ethics, Place and Environment 10 (3):301 – 305.
    Emily Brady asks us to reconsider what kinds of environmental artworks constitute ‘aesthetic affronts to nature’, and concludes that many of these works may in fact show aesthetic regard for nature...
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