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  1. Environmental Philosophy after the End of Nature.Steven Vogel - 2002 - Environmental Ethics 24 (1):23-39.
    I call for “postnaturalism” in environmental philosophy—for an environmental philosophy that no longer employs the concept nature. First, the term is too ambiguous and philosophically dangerous and, second, McKibben and others who argue that nature has already ended are probably right—except that perhaps nature has always already ended. Poststructuralism, environmental history, and recent science studies all point in the same direction: the world we inhabit is always already one transformed by human practices. Environmental questions are social and political ones, to (...)
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  • Topophilia: A Study of Environmental Perception, Attitudes, and Values.Yi-fu Tuan - 1975 - Journal of Aesthetics and Art Criticism 34 (1):99-100.
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  • Not for Profit: Why Democracy Needs the Humanities.Martha C. Nussbaum - 2010 - Princeton University Press.
    "--Peter Brooks, Princeton University "This is an important book and a superb piece of writing, combining passionate enthusiasm with calm arguments and informative examples.
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  • (1 other version)Meaning.Herbert Paul Grice - 1957 - Philosophical Review 66 (3):377-388.
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  • Towards a virtue theory of art.Peter Goldie - 2007 - British Journal of Aesthetics 47 (4):372-387.
    In this paper I sketch a virtue theory of art, analogous to a virtue theory of ethics along Aristotelian lines. What this involves is looking beyond a parochial conception of art understood as work of art, as product, to include intentions, motives, skills, traits, and feelings, all of which can be expressed in artistic activity. The clusters of traits that go to make up the particular virtues of art production and of art appreciation are indeed virtues in part because, when (...)
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  • The end of art: A philosophical defense.Arthur C. Danto - 1998 - History and Theory 37 (4):127–143.
    This essay constructs philosophical defenses against criticisms of my theory of the end of art. These have to do with the definition of art; the concept of artistic quality; the role of aesthetics; the relationship between philosophy and art; how to answer the question "But is it art?"; the difference between the end of art and "the death of painting"; historical imagination and the future; the method of using indiscernible counterparts, like Warhol's Brillo Box and the Brillo cartons it resembles; (...)
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  • Mountain Gloom and Mountain Glory: The Development of the Aesthetics of the Infinite.Marjorie Hope Nicolson - 1960 - Journal of Aesthetics and Art Criticism 19 (1):108-109.
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  • Discourse on Thinking.Martin Heidegger, John M. Anderson & E. Hans Freund - 1966 - Philosophy and Rhetoric 1 (1):53-59.
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  • An ecologically-informed ontology for environmental ethics.Douglas J. Buege - 1997 - Biology and Philosophy 12 (1):1-20.
    Since the inception of their subject as a distinct area of study in philosophy, environmental ethicists have quarreled over the choice of entities with which an environmental ethic should be concerned. A dichotomous ontology has arisen with the ethical atomists, e.g., Singer and Taylor, arguing for moral consideration of individual organisms and the holists, e.g., Rolston and Callicott, focussing on moral consideration of systems. This dichotomous view is ecologically misinformed and should be abandoned. In this paper, I argue that the (...)
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