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(p.10)
Here, Kant provides further explanation to the nature of the good will. The goodwill is good by itself, not by virtue of what it accomplishes (like, say, Rousseau’s “General Will”, which functions as a floating spiritual entity that represents the decision that resulted in best outcome for all). What has been purposefully configured has constituent parts that are most suitable – the faculty of reason cannot be achieving happiness; rather it is a practical faculty meant to shape our will.

Moral actions must be born from duty, not inclination. The moral worth of these actions comes not from their intended purpose, but in the maxim that resolved it: the principle of the will.

The question of “ethics” as raised in the Calvin and Hobbes comic above poses the question: do the ends justify the means? John Stuart Mill might say yes – his form of utilitarianism holds that what matters is the aggregate happiness; the happiness of everyone and not the happiness of any particular person. This question doesn’t hold weight in Kant’s universe, for the outcome is not even considered – instead, it’s action as according to the the good will, the higher consideration of pure reason.

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(p. 9)
Kant underscores the crucial importance of good will.

Understanding, wit, judgement (aka qualities of temperament) are only moral if they have a good will to correct the influence of those qualities on the mind.

Unless a good will is present to correct and make generally purposive their influence on the individual, and with it also the whole principle for acting

Same goes for power, riches, honor, even well-being and satisfaction with oneself (aka gifts of fortune) – incomplete and vulnerable to corruption without a good will.

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What do the daughters have to say about Chua’s controversial style of parenting? Sophia wrote a post for the NY Post on why she loves her “strict Chinese mom”.

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When asked if Chua thought that strict, “Eastern” parenting eventually helps children lead happy lives as adults, she responded with this, commenting on the “tough immigrant” way of parenting:

When it works well, absolutely! And by working well, I mean when high expectations are coupled with love, understanding and parental involvement. This is the gift my parents gave me, and what I hope I’m giving my daughters. I’ve also taught law students of all backgrounds for 17 years, and I’ve met countless students raised the “tough immigrant” way (by parents from Pakistan, India, Nigeria, Korea, Jamaica, Haiti, Iran, Ireland, etc.) who are thriving, independent, bold, creative, hilarious and, at least to my eyes, as happy as anyone.

But I also know of people raised with “tough love” who are not happy and who resent their parents. There is no easy formula for parenting, no right approach (I don’t believe, by the way, that Chinese parenting is superior—a splashy headline, but I didn’t choose it). The best rule of thumb I can think of is that love, compassion and knowing your child have to come first, whatever culture you’re from.

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You can’t watch the never-produced musical, but you can watch a live performance of “1984”,
https://www.youtube.com/watch?v=gH9WnSOISv0

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Julia Hannafin studies Creative Writing and Chinese at Columbia University. She’s the Poetry Genius intern. You can find her on the site annotating the likes of E. E. Cummings, Yeezy when he was on Def Poetry Jam, and Lil B (#taskforce), helping out with Outside the Lines With Rap Genius, and writing her own poetry.

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Complete with a damn perfect campy af music video:

https://www.youtube.com/watch?v=al5-bU8DUAg

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https://www.youtube.com/watch?v=G4hF3NkEpYk

Performing “May 30 & 31” – also with verified annotations on Rock Genius!

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Check out what Slow Dakota had to say in his verified annotations on “Burstner Speaks II”.

He explained the intertwined references:

The name of a minor female character in Franz Kafka’s “The Trial.” The Bürstner in this album is not the same character, of course, but the reference demonstrates the album’s reliance on the aesthetic, religious metaphor, and absurdity in Kafka’s novel.

Kafka’s novel, like the album, is about responsibility; The Trial’s protagonist is accused of a crime he knows nothing about, and then must cope with the inevitability of a trial.

The novel is largely a retelling of the book of Job, on which Bürstner and the Baby also relies for its structure of alternating dialogue. The Baby Speaks, Bürstner Speaks, etc. recall the Book of Job’s chapters: The Lord Speaks, Job Speaks, etc.

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