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  1.  65
    Emily Brady (2000). Aesthetics of the Natural Environment. University of Alabama Press.
    Emily Brady provides a systematic account of aesthetics in relation to the natural environment, offering a critical understanding of what aesthetic appreciation ...
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  2. Emily Brady & Jerrold Levinson (eds.) (2001). Aesthetic Concepts: Essays After Sibley. Oxford University Press.
    Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art theory, and art criticism.
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  3.  46
    Emily Brady (2012). Reassessing Aesthetic Appreciation of Nature in the Kantian Sublime. Journal of Aesthetic Education 46 (1):91-109.
    The sublime has been a relatively neglected topic in recent work in philosophical aesthetics, with existing discussions confined mainly to problems in Kant's theory.1 Given the revival of interest in his aesthetic theory and the influence of the Kantian sublime compared to other eighteenth-century accounts, this focus is not surprising. Kant's emphasis on nature also sets his theory apart from other eighteenth-century theories that, although making nature central, also give explicit attention to moral character and mathematical ideas and generally devote (...)
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  4.  70
    Emily Brady (1998). Imagination and the Aesthetic Appreciation of Nature. Journal of Aesthetics and Art Criticism 56 (2):139-147.
  5.  30
    Emily Brady (2002). Aesthetic Character and Aesthetic Integrity in Environmental Conservation. Environmental Ethics 24 (1):75-91.
    Aesthetics plays an important role in environmental conservation. In this paper, I pin down two key concepts for understanding this role, aesthetic character and aesthetic integrity. Aesthetic character describes the particularity of an environment based on its aesthetic and nonaesthetic qualities. In the first part, I give an account of aesthetic character through a discussion of its subjective and objective bases, and I argue for an awareness of the dynamic nature of this character. In the second part, I consider aesthetic (...)
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  6.  77
    Emily Brady & Arto Haapala, Melancholy as an Aesthetic Emotion.
    In this article, we want to show the relevance and importance of melancholy as an aesthetic emotion. Melancholy often plays a role in our encounters with art works, and it is also present in some of our aesthetic responses to the natural environment. Melancholy invites aesthetic considerations to come into play not only in well-defined aesthetic contexts but also in everyday situations that give reason for melancholy to arise. But the complexity of melancholy, the fact that it is fascinating in (...)
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  7.  3
    Emily Brady, Isis Brook, Jouni Paavola, Clive L. Spash, Marko Ahteensuu, Helena Siipi, Mohammad Reza Balali, Jozef Keulartz, Michiel Korthals & Ted Benton (2009). Index to Environmental Values Volume 18, 2009. Environmental Values 18:541-544.
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  8.  89
    Emily Brady (2007). Aesthetic Regard for Nature in Environmental and Land Art. Ethics, Place and Environment 10 (3):287 – 300.
    Recent work in environmental ethics has seen a pragmatic turn that emphasises the importance of developing positive relationships with nature through practices involved in, for example, ecological restoration and community gardens. This article explores whether environmental and land art-making encourages positive aesthetic-moral relationships between nature and humans. It critically examines a particular type of aesthetic objection to these kinds of artworks and defends the work of Robert Smithson and Andy Goldsworthy, among others, against this charge. It is argued that rather (...)
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  9.  17
    Deborah Barnbaum, Kyle Hunter, Sophie Bourgault, Emily Brady, Andrea Bramberger, Howard Cannatella, Carla Carmona Escalera, Arne De Boever & J. Grube (2012). Index to Volume 46. Journal of Aesthetic Education 46 (4).
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  10.  51
    Emily Brady (2011). The Ugly Truth: Negative Aesthetics and Environment. 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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  11. Sven Arntzen & Emily Brady (2010). Humans in the Land. The Ethics and Aesthetics of the Cultural Landscape Oslo: Oslo Academic Press. Enrahonar 45:173-193.
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  12.  47
    Emily Brady (2011). Adam Smith's ''Sympathetic Imagination'' and the Aesthetic Appreciation of Environment. Journal of Scottish Philosophy 9 (1):95-109.
    This paper explores the significance of Adam Smith's ideas for defending non-cognitivist theories of aesthetic appreciation of nature. Objections to non-cognitivism argue that the exercise of emotion and imagination in aesthetic judgement potentially sentimentalizes and trivializes nature. I argue that although directed at moral judgement, Smith's views also find a place in addressing this problem. First, sympathetic imagination may afford a deeper and more sensitive type of aesthetic engagement. Second, in taking up the position of the impartial spectator, aesthetic judgements (...)
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  13.  13
    Emily Brady (2010). Aesthetics and Nature. British Journal of Aesthetics 50 (1):114-117.
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  14.  31
    Emily Brady (2006). The Aesthetics of Agricultural Landscapes and the Relationship Between Humans and Nature. Ethics, Place and Environment 9 (1):1 – 19.
    The continuum between nature and artefact is occupied by objects and environments that embody a relationship between natural processes and human activity. In this paper, I explore the relationship that emerges through human interaction with the land in the generation and aesthetic appreciation of industrial farming in contrast to more traditional agricultural practices. I consider the concept of a dialectical relationship and develop it in order to characterise the distinctive synthesising activity of humans and nature which underlies cultivated environments. I (...)
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  15.  5
    Emily Brady (2003). [Book Review] the Reach of the Aesthetic. [REVIEW] Environmental Values 12 (1):129-131.
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  16.  12
    Emily Brady (2006). Aesthetics in Practice: Valuing the Natural World. Environmental Values 15 (3):277 - 291.
    Aesthetic value, often viewed as subjective and even trivial compared to other environmental values, is commonly given low priority in policy debates. In this paper I argue that the seriousness and importance of aesthetic value cannot be denied when we recognise the ways that aesthetic experience is already embedded in a range of human practices. The first area of human practice considered involves the complex relationship between aesthetic experience and the development of an ethical attitude towards the environment. I then (...)
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  17.  27
    Emily Brady (2007). Introduction to 'Environmental and Land Art': A Special Issue of Ethics, Place and Environment. Ethics, Place and Environment 10 (3):257 – 261.
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  18.  3
    Emily Brady (2014). Aesthetic Value, Ethics and Climate Change. Environmental Values 23 (5):551-570.
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  19.  8
    Emily Brady (1998). Don't Eat the Daisies: Disinterestedness and the Situated Aesthetic. Environmental Values 7 (1):97 - 114.
    In debates about nature conservation, aesthetic appreciation is typically understood in terms of valuing nature as an amenity, something that we value for the pleasure it provides. In this paper I argue that this position, what I call the hedonistic model, rests on a misunderstanding of aesthetic appreciation. To support this claim I put forward an alternative model based on disinterestedness, and I defend disinterestedness against mistaken interpretations of it. Properly understood, disinterestedness defines a standpoint which precludes self-interest and utility, (...)
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  20.  9
    Emily Brady & Eugene C. Hargrove (2011). Announcing the Winner of the Holmes Rolston, III Early Career Essay Prize. Environmental Ethics 33 (3):228-228.
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  21.  15
    Isis Brook & Emily Brady (2003). Topiary: Ethics and Aesthetics. Ethics and the Environment 8 (1):127-142.
    : In this paper we discuss ethical and aesthetic questions in relation to the gardening practice of topiary. We begin by considering the ethical concerns arising from the uneasiness some appreciators might feel when experiencing topiary as a manipulation or contortion of natural processes. We then turn to ways in which topiary might cause an 'aesthetic affront' through the humanizing effects of sentimentality and falsification of nature (most often found in representational rather than abstract topiary). Our contention is that successful (...)
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  22.  14
    Emily Brady (2007). Sublimity: The Non-Rational and the Irrational in the History of Aesthetics by Kirwan, James. Journal of Aesthetics and Art Criticism 65 (2):242–244.
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  23.  3
    Elisa Aaltola, Gary Backhaus, John Murungi, Jennifer Bates, Emily Brady, Emily Brady Haapala, J. Baird Callicott & Robert L. Chapman (2003). Report on Books and Articles. Environmental Ethics 24 (2):75-91.
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  24.  10
    Emily Brady & Isis Brook, Topiary : Ethics and Aesthetics.
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  25.  10
    Emily Brady, Introduction : Sibley's Vision.
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  26.  10
    Emily Brady (2009). Ronald W. Hepburn: In Memoriam. British Journal of Aesthetics 49 (3):199-202.
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  27.  6
    Emily Brady, The Expressive Face.
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  28. Emily Brady (2010). Ugliness and Nature. Enrahonar: Quaderns de Filosofía 45:27-40.
  29.  1
    Clare Palmer & Emily Brady (2007). Landscape and Value in the Work of Alfred Wainwright. Landscape Research 32 (4):397-421.
    Alfred Wainwright was arguably the best known British guidebook writer of the20th century, and his work has been highly influential in promoting and directing fell-walking in northern Britain, in particular in the English Lake District. His work has, however, received little critical attention. This paper represents an initial attempt to undertake such a study. We examine Wainwright’s work through the lens of the landscape values and aesthetics that, we suggest,underpins it, and by an exploration of what might be called Wainwright’s (...)
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  30.  5
    Emily Brady, Book Review: Hopkins, R. Picture, Image and Experience. [REVIEW]
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  31.  1
    Emily Brady (2006). WHP Logo Environmental Values. Environmental Values 15:277-291.
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  32. Sven Arntzen & Emily Brady (eds.) (2008). Humans in the Land: The Ethics and Aesthetics of the Cultural Landscape. Unipub.
     
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  33. Emily Brady & J. Levinson, Aesthetic Concepts : Essays After Sibley.
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  34. Emily Brady (2009). Animal Relations. Environmental Values 18 (1):1 - 4.
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  35. Emily Brady (2009). Editorial: Animal Relations. Environmental Values 18 (1):1-4.
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  36. Emily Brady & Pauline Phemister (eds.) (2012). Human-Environment Relations: Transformative Values: In Theory and Practice. Springer.
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  37. Emily Brady, Interpreting Environments.
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  38.  25
    Emily Brady (1999). Sublime Attachment : Imagination, Feeling and Respect for Nature.
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  39. Emily Brady (2007). Sense and Sensibility. Environmental Values 16 (3):283 - 285.
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  40. Emily Brady (2013). The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature. Cambridge University Press.
    In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to (...)
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  41. Emily Brady & Pauline Phemister (eds.) (2012). Transformative Values: Human-Environment Relations in Theory and Practice. Springer.
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  42. Isis Brook & Emily Brady (2003). The Ethics and Aesthetics of Topiary. Ethics and the Environment 8 (1):127-42.
     
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  43. Timothy Doyle, Doug Mceachern, John Barry, Vernon Pratt, Jane Howarth & Emily Brady (2002). Environment and Politics. Environmental Values 11 (1):97-102.
     
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  44. Andrea Kantrowitz, David Wong, Tyson E. Lewis, K. E. Gover, Sophie Bourgault, Azlan Iqbal, Emily Brady, Mordechai Gordon & Todd Parker (2012). 1. Front Matter Front Matter (Pp. I-Iii). Journal of Aesthetic Education 46 (1).
     
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  45. Pauline Phemister & Emily Brady (2012). Introduction. In Emily Brady & Pauline Phemister (eds.), Transformative Values: Human-Environment Relations in Theory and Practice. Springer
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