scholarly journals MACINTYRE’S CRITIQUE OF KIERKEGAARD REVISITED

Author(s):  
Bojan Blagojevic

This essay presents an assessment of MacIntyre’s thesis that Kierkegaard is not trying to rationally justify morality at all. Using MacIntyre’s account of Kierkegaard’s work Either/Or, and comparing his interpretation to Kierkegaard’s works, I aim to show that MacIntyre’s conclusions are wrong. In doing so, I will provide a different interpretation of Either/Or, while arguing that it is possible to use later Kierkegaard’s works in that interpretation. Contrary to MacIntyre’s assertion, Kierkegaard does not change his characterization of the ethical in his later works, but outlines in Either/Or the same problems he will deal with in Fear and Trembling. The foundation of his conception of the ethical lies in his conception of the self, given in The Sickness unto Death. Analyzing this conception of self through Kierkegaard’s account of the forms of despair, I will argue that the significance of morality lies in delivering the self from various forms of despair. As Kierkegaard’s thesis on the ubiquity of despair provides a horizon for the debate between the aesthetic and the ethical individual, we can say that the concept of despair provides a basis for his rational justification of morality.

Nanomaterials ◽  
2021 ◽  
Vol 11 (7) ◽  
pp. 1686
Author(s):  
Ruohong Sui ◽  
Paul A. Charpentier ◽  
Robert A. Marriott

In the past two decades, we have learned a great deal about self-assembly of dendritic metal oxide structures, partially inspired by the nanostructures mimicking the aesthetic hierarchical structures of ferns and corals. The self-assembly process involves either anisotropic polycondensation or molecular recognition mechanisms. The major driving force for research in this field is due to the wide variety of applications in addition to the unique structures and properties of these dendritic nanostructures. Our purpose of this minireview is twofold: (1) to showcase what we have learned so far about how the self-assembly process occurs; and (2) to encourage people to use this type of material for drug delivery, renewable energy conversion and storage, biomaterials, and electronic noses.


2014 ◽  
Vol 12 (40) ◽  
pp. 7932-7936 ◽  
Author(s):  
Benjamin M. Schulze ◽  
Davita L. Watkins ◽  
Jing Zhang ◽  
Ion Ghiviriga ◽  
Ronald K. Castellano

Reported is characterization of the self-assembly of π-conjugated oligomers, molecules studied recently in photovoltaic devices, using variable temperature diffusion ordered spectroscopy; the approach has allowed estimation of assembly size, shape, and molecularity.


2003 ◽  
Vol 32 (10) ◽  
pp. 934-935 ◽  
Author(s):  
Hai-Ying Gu ◽  
Rong-Xiao Sa ◽  
Su-Su Yuan ◽  
Hong-Yuan Chen ◽  
Ai-Min Yu
Keyword(s):  
The Self ◽  

2021 ◽  
Vol 118 (7) ◽  
pp. 345-372
Author(s):  
Santiago Echeverri ◽  

A traditional view holds that the self-concept is essentially indexical. In a highly influential article, Ruth Millikan famously held that the self-concept should be understood as a Millian name with a sui generis functional role. This article presents a novel explanatory argument against the Millian view and in favor of the indexical view. The argument starts from a characterization of the self-concept as a device of information integration. It then shows that the indexical view yields a better explanation of the integration function than the Millian view. The resulting account can rebut Millikan’s objections and it has broader implications for the debate on the essential indexical.


2012 ◽  
Vol 18 (2) ◽  
Author(s):  
Rodney Taveira

The combination of melodramatic and art cinematic techniques and influences in AMC’s television series Mad Men (2007¬–) reveals how a melodramatic televisuality can image novel modes of social and intimate relations and an alternative to the archetypal American narrative of the self-made man. Set in 1960s’ America, the series uses a contemporaneous and cosmopolitan California to triangulate the formal and narrative insistence of the past on the present. This triangulation is played out by Don Draper’s relations with his family, women, and his former identities and by the representation of homosexuality throughout the series. The application of Lee Edelman’s concept of “sinthomosexuality” and Richard Rorty’s “liberal ironist” reveal a queer, visual rhetoric to the show’s narrative and formal structures, forming a queer irony that allows the show to straddle the aesthetic extremes of “quality TV” (Jane Feuer) and soap opera, which, in turn, queers the exemplary American heterosexuality of Don Draper.


2010 ◽  
Vol 20 (43) ◽  
pp. 9684 ◽  
Author(s):  
Shanmugam Easwaramoorthi ◽  
Pyosang Kim ◽  
Jong Min Lim ◽  
Suhee Song ◽  
Honsuk Suh ◽  
...  
Keyword(s):  
The Self ◽  

Author(s):  
Feng Zhu

This paper aims to critically introduce the applicability of Foucault’s late work, on the practices of the self, to the scholarship of contemporary computer games. I argue that the gameplay tasks that we set ourselves, and the patterns of action that they produce, can be understood as a form of ‘work on the self’, and that this work is ambivalent between, on the one hand, an aesthetic transformation of the self – as articulated by Foucault in relation to the care or practices of the self – in which we break from the dominant subjectivities imposed upon us, and on the other, a closer tethering of ourselves through our own playful impulses, to a neoliberal subjectivity centred around instrumentally-driven selfimprovement. Game studies’ concern with the effects that computer games have on us stands to gain from an examination of Foucault’s late work for the purposes of analysing and disambiguating between the nature of the transformations at stake. Further, Foucault’s tripartite analysis of ‘power-knowledge-subject’, which might be applied here as ‘game-discourse-player’, foregrounds the imbrication of our gameplay practices – the extent to which they are due to us and the way in which our own volitions make us subject to power, which is particularly pertinent in the domain of play.


1979 ◽  
Vol 86 (2) ◽  
pp. 261-270 ◽  
Author(s):  
M. A. Youngson

1. Introduction. Recently Kaplansky suggested the definition of a suitable Jordan analogue of B*-algebras, which we call J B*-algebras (see (10) and (11)). In this article, we give a characterization of those complex unital Banach Jordan algebras which are J B*-algebras in an equivalent norm. This is done by generalizing results of Bonsall ((3) and (4)) to give necessary and sufficient conditions on a real unital Banach Jordan algebra under which it is the self-adjoint part of a J B*-algebra in an equivalent norm. As a corollary we also obtain a characterization of the cones in a Banach Jordan algebra which are the set of positive elements of a J B*-algebra.


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