Online research in philosophy

The word dignity is frequently used both in clinical and philosophical discourse when referring to and describing the ideal conditions of the patient's treatment, particularly the dying patient. An exploration of the variety of meanings associated with the word dignity will note dignity's ambiguous usage and reveal instrumental concepts needed to better understand the discourse of the dying. When applied to a critique of recent and contemporary criticisms of the medical community's handling of the dying, such concepts might provide a more coherent notion of dignity. Rather than a separate construct, a death with dignity might be viewed as an interactive process among the dying and their caretakers. Together, this interdependent amalgam engages in humanizing communication aimed toward understanding the final needs and wants of the patient.

Against those who dismiss Kant's project in the "Religion" because it provides a Pelagian understanding of salvation, this paper offers an analysis of the deep structure of Kant's views on divine justice and grace showing them not to conflict with an authentically Christian understanding of these concepts. The first part of the paper argues that Kant's analysis of these concepts helps us to understand the necessary conditions of the Christian understanding of grace: unfolding them uncovers intrinsic relations holding between God's justice and grace. Parts two and three provide an analysis of two concepts of grace used by Kant. Getting clear on their differences is the key to understanding why Kant's account is not Pelagian.

This paper examines the relation of Schiller’s Letters on Aesthetic Education to Gadamer’s philosophical hermeneutics, particularly by examining the connection between the concepts of “play” and “appearance” in Schiller’s thought. The paper points out parallels between the two thinkers which remain unacknowledged in Gadamer’s critique of Schiller. The first main section of the paper examines the notion of play in Schiller, pointing out that Schiller conceives of play in a medial voice, much as Gadamer does. The second section directly takes on Gadamer’s claim that Schiller’s notion of aesthetic appearance sunders art from truth, by arguing that Schiller conceives of appearance as a mode of truth.

This is the first English scholarly edition of this pivotal essay, accompanied by the first comprehensive commentary on it.