Due to the COVID-19 Pandemic, several changes have been forcibly made and observed in various fields and areas of society, one of which include the field of education; the foundation of the formation of intellect and knowledge. After two years of studying indoors and private educational institutions holding virtual classes, the time has finally come for students to be re- adjusted once more to the blended mode of learning; a combination of virtual and in-person classes. Thus, this study aimed to (...) investigate the development of students’ study habits and how these habits could potentially affect the students’ academic achievement or performance. The study utilized a descriptivecorrelational design to examine the impact of study habits to the academic performance of 137 senior high school students. The study made use of the Palsane and Sharma’s Study Habits Inventory, or also known as PSSHI, and using this instrument, the study has been able to procure sufficient results that will answer the present study’s problems. Using linear regression analysis, the present study found that there was a significance between the study habits and academic performance of the senior high school students, thus the study’s null hypothesis was eventually rejected. (shrink)

Histories of Japanese science have been integral in affirming the Meiji Restoration of 1868 as the starting point of modern Japan. Vernacular genres, characterized as “premodern,” have therefore largely been overlooked by historians of science, regardless of when they were published. Paradoxically, this has resulted in the marginalization of the very works through which most people encountered science. This article addresses this oversight and its historiographical ramifications by focusing on kyūri books – popular works of science – published in the (...) years following the Restoration, when there was unprecedented public interest in science. It asks, what if we take these kyūri books on their own terms as science books, just as those of the time saw them? This article explores three genres of kyūri books, namely fictionalized formats, such as the epic tale ( monogatari); epistolary guides; and genres, such as the sutra, that drew on religious textual practices. It argues that these literary genres provided interpretive frameworks that shaped readers’ encounters with “modern” science. This exploration underscores the importance of engaging with vernacular genres to understand the emergence of science as a global category in the nineteenth century. (shrink)

This chapter contains sections titled: Platonic Influences on Shakespeare's Pre‐1604 Work Othello's “Temptation Scene” as a Parody of the Elenchus.

Factoring in the paradoxical relationship between faith and empiricism in Protestant epistemology, this essay attributes Othello’s disaster to his inability to take the leap of faith a Protestant sensibility demands. Protestantism inherits from Luther a rigid compartmentalization of the knowable and the mysterious. Othello, innately inclined and further conditioned to think in terms of “tangible evidence,” cannot imagine alternative possibilities. His handling of Cassio’s brawl shows how Othello requires that facts speak for themselves, and how he has (...) no access to the “imaginative effort” necessary for charity. Additionally, Iago’s manipulation renders imagination intolerable for Othello, and reinforces his tendency to literalism, doctrinal purity, and a need for certainty. (shrink)

This lecture explores the boundaries between audiences and actors, and what happens when audiences interact with actors and their characters. Its illustrative case is Desdemona's response to Othello. When Desdemona marries Othello she crosses the boundary from audience world to the world of fiction. In so doing, she initiates a structure in which things that should be kept separate merge: genre, language, characters, plots. The mergings are consistently coded as theatrical: this is a tragedy of theatre boundaries gone (...) wrong. Psychologist Edward Bullough's argument from 1912 about distance in the theatre provides the theoretical framework for this lecture to explore the problems when audiences do not keep stage. (shrink)

Paul Robeson was a remarkable singer, a brilliant actor, and an engaged political activist. In his college years he was a football star. Throughout his life he campaigned for the rights the poor, the disadvantaged, and the oppressed. His most famous theatrical role was Othello; when he played the part in London and in New York he was one of the first black actors to do so. The New York production ran on Broadway longer than any other William Shakespeare (...) play had done. But Robeson’s life, which included political and racial attacks, the loss of his US passport, and claims that he was “un-American” (he visited the Soviet Union and compared its treatment of minorities favorably to that of the United States) led to a series of encounters in which Othello, both the role and the play, was in effect reenacted in public, culminating in Robeson’s eloquent testimony before the House Un-American Activities Committee. This essay traces the connections, and the sometimes-uncanny crossovers, between Robeson’s life and Shakespeare’s play. (shrink)

One of the most curious events in Othello is the titular character’s epileptic fit, which does not appear in the story by Cinthio that is the accepted source of the play’s plot. Why does Shakespeare invent such an incident? The easiest direction to take is the equation of epilepsy with demonic possession, a common belief in the early modern period. In this essay, however, I argue from textual and critical evidence for a philosophical interpretation of Othello’s epilepsy: namely, (...) that his seizure, particularly in relation to the play’s conflict of reason and emotion, can be seen as a challenge to early modern orthodoxy concerning the mind-body problem, in that it conflates the distinction between body and soul. (shrink)

The view that one’s moral status is dependent on the stance of the will alone is an attractive view, deeply entrenched in Christian ethics. Yet it cannot account for pervasive intuitions about some kinds of moral mistakes, in particular those which arise at the point of choice. An agent’s moral beliefs are connected to his or her moral personality in a way that beliefs about matters of fact are not. This does not mean that a moral mistake never excuses the (...) agent from subjective guilt, but it does mean that we cannot assume that this is always the case. This paper attempts to develop these suggestions through reflection on Othello, whose eponymous hero acts out of a combination of factual and moral errors which are intertwined with his character in revealing ways. (shrink)

Literary criticism of Shakespeare’s Othello since the early 20th century leaves us with various complaints that Shakespeare fails to achieve poetic justice therein, or that this work leaves us, in the end, with a moral enigma—despite what seems to be Shakespeare’s intent to represent a plot and characters having moral probity and, thereby, to foster our moral edification through the tragedy that unfolds. Here a number of interpretive views concerning the morality proper to Othello are reviewed. Thereafter, it (...) is proposed that Heidegger’s thought about the relation of appearance, semblance, and reality enables a novel interpretation of the moral significance of this tragedy, thereby to resolve the question of moral enigma. (shrink)

ABSTRACTWhile in the 1960s Allan Bloom suggested to read William Shakespeare’s works through the prism of political philosophy, a decade earlier Carl Schmitt used the works of English poet in a reverse way: he read political philosophy and history through Shakespeare. Deprived – under the influence of Leo Strauss – from the possibility of considering Thomas Hobbes a decisionist thinker, Schmitt in his ‘Hamlet or Hecuba’ used Shakespeare’s most famous work to interpret origins of disappearance of the state of emergency (...) from English soil. Shakespeare was seen by Schmitt as a writer who captured the Sixteenth and seventeenth century changes in thinking about sovereignty and the state. Interestingly, Schmitt did not use Shakespeare as method for the first time: in first decades of twentieth century, in his diary, he made ‘Othello’ a prism through which he read his love life. Because the author of ‘The Concept of the Political’ is one of the less methodologically cohesive writers of twentieth century, his usage of Shakespeare twice, in different circumstances, is interesting. In an article, author links ‘Hamlet or Hecuba’ with Schmitt’s geopolitical works and presents Shakespeare’s works as the coherent method of interpretation in Schmitt’s philosophy of decisionism. (shrink)

My central question in this paper is how delusional beliefs are related to self-deception. In section 1, I summarize my position on what self-deception is and how representative instances of it are to be explained. I turn to delusions in section 2, where I focus on the Capgras delusion, delusional jealousy (or the Othello syndrome), and the reverse Othello syndrome.

The purpose of reinforcement learning is to learn an optimal policy in general. However, in 2-players games such as the othello game, it is important to acquire a penalty avoiding policy. In this paper, we focus on formation of a penalty avoiding policy based on the Penalty Avoiding Rational Policy Making algorithm [Miyazaki 01]. In applying it to large-scale problems, we are confronted with the curse of dimensionality. We introduce several ideas and heuristics to overcome the combinational explosion in (...) large-scale problems. First, we propose an algorithm to save the memory by calculation of state transition. Second, we describe how to restrict exploration by two type knowledge; KIFU database and evaluation funcion. We show that our learning player can always defeat against the well-known othello game program KITTY. (shrink)

This anthology is a thorough introduction to classic literature for those who have not yet experienced these literary masterworks. For those who have known and loved these works in the past, this is an invitation to reunite with old friends in a fresh new format. From Shakespeare's finesse to Oscar Wilde's wit, this unique collection brings together works as diverse and influential as The Pilgrim's Progress and Othello. As an anthology that invites readers to immerse themselves in the masterpieces (...) of the literary giants, it is must-have addition to any library. (shrink)

Before committing suicide, Othello says, "Speak of me as I am; . . . speak of one who loved not wisely, but too well." Thinking of his love for Desdemona, we are not likely to agree with his assessment that he loved her "too well," especially if loving well is supposed to require some kind of dependability or concern for her well-being; we would be loath even to grant that he loved her "too much." Othello's love for his (...) wife seems, rather, to have been firmly subordinated to his love for his honor. Perhaps, then, his statement could be saved by saying that it was his honor that he loved too well, and that in devoting himself so completely to it, he did not love wisely. He needed a better way of coordinating his two concerns, one that wouldn't give him cause for regret—a way of loving well that was also wise. (shrink)

In this paper I trace Quine's early development of his treatment of names, first as abbreviations for definite descriptions with "Frege-Rusell" style substantive content, then as abbreviations for definite descriptions containing simple predicative content, through to a treatment of names themselves as predicates rather than as abbreviations for this or that type of more complex expression. Along the way, I explain why—despite ubiquitous claims and suggestions to the contrary—Quine never actually uses the verbized name "Socratizes".

Hamlet tells Horatio that there are more things in heaven and earth than are dreamt of in his philosophy. In Double Vision, philosopher and literary critic Tzachi Zamir argues that there are more things in Hamlet than are dreamt of--or at least conceded--by most philosophers. Making an original and persuasive case for the philosophical value of literature, Zamir suggests that certain important philosophical insights can be gained only through literature. But such insights cannot be reached if literature is deployed merely (...) as an aesthetic sugaring of a conceptual pill. Philosophical knowledge is not opposed to, but is consonant with, the literariness of literature. By focusing on the experience of reading literature as literature and not philosophy, Zamir sets a theoretical framework for a philosophically oriented literary criticism that will appeal both to philosophers and literary critics. Double Vision is concerned with the philosophical understanding induced by the aesthetic experience of literature. Literary works can function as credible philosophical arguments--not ones in which claims are conclusively demonstrated, but in which claims are made plausible. Such claims, Zamir argues, are embedded within an experiential structure that is itself a crucial dimension of knowing. Developing an account of literature's relation to knowledge, morality, and rhetoric, and advancing philosophical-literary readings of Richard III, Macbeth, Romeo and Juliet, Othello, Antony and Cleopatra, Hamlet, and King Lear, Zamir shows how his approach can open up familiar texts in surprising and rewarding ways. (shrink)

The paper analyzes the two types of self-deception, usually labeled straight and twisted self-deception. In straight cases the self-deceptive belief coincides with the subject’s desire. In twisted cases, by contrast, the self-deceptive belief opposes the subject’s desire as in the example of Othello’s conviction of Desdemona’s infidelity. Are both these contrasting types of deceptive beliefs cases of SD? The argument of this paper shall answer this question in the positive, yet in different way from the unitary explanation of straight (...) and twisted SD proposed by Alfred Mele. The causal account of SD claims to provide a unitary and simple explanation for both straight and twisted SD, and considers such a unitary explanation as a specific virtue of the causal view. Within the same causal model, the difference between straight and twisted self-deception is explained by a difference in the motivational state that in twisted cases is dominated by emotions. The paper will critically examine this claim, and advance an alternative explanation based on a different view of self-deception where emotions play a role alongside wishes both in straight and in twisted case. (shrink)

This anthology is a thorough introduction to classic literature for those who have not yet experienced these literary masterworks. For those who have known and loved these works in the past, this is an invitation to reunite with old friends in a fresh new format. From Shakespeare's finesse to Oscar Wilde's wit, this unique collection brings together works as diverse and influential as The Pilgrim's Progress and Othello. As an anthology that invites readers to immerse themselves in the masterpieces (...) of the literary giants, it is must-have addition to any library. (shrink)

We often have affective responses to fictional events. We feel afraid for Desdemona when Othello approaches her in a murderous rage. We feel disgust toward Iago for orchestrating this tragic event. What mental architecture could explain these affective responses? In this paper I consider the claim that the best explanation of our affective responses to fiction involves imaginative desires. Some theorists argue that accounts that do not invoke imaginative desires imply that consumers of fiction have irrational desires. I argue (...) that there are serious worries about imaginative desires that warrant skepticism about the adequacy of the account. Moreover, it is quite difficult to articulate general principles of rationality for desires, and even according to the most plausible of these possible principles, desires about fiction are not irrational. (shrink)

Through a series of provocative conversations, Frederick Luis Aldama and Herbert Lindenberger, who have written widely on literature, film, music, and art, locate a place for the discomforting and the often painfully unpleasant within aesthetics. The conversational format allows them to travel informally across many centuries and many art forms. They have much to tell one another about the arts since the advent of modernism soon after 1900—the nontonal music, for example, of the Second Vienna School, the chance-directed music and (...) dance of John Cage and Merce Cunningham, the in-your-faceness of such diverse visual artists as Francis Bacon, Pablo Picasso, Willem de Kooning, Egon Schiele, Otto Dix, and Damien Hirst. They demonstrate as well a long tradition of discomforting art stretching back many centuries, for example, in the Last Judgments of innumerable Renaissance painters, in Goya’s so-called “black” paintings, in Wagner’s Tristan chord, and in the subtexts of Shakespearean works such as King Lear and Othello. This book is addressed at once to scholars of literature, art history, musicology, and cinema. Although its conversational format eschews the standard conventions of scholarly argument, it provides original insights both into particular art forms and into individual works within these forms. Among other matters, it demonstrates how recent work in neuroscience may provide insights in the ways that consumers process difficult and discomforting works of art. The book also contributes to current aesthetic theory by charting the dialogue that goes on—especially in aesthetically challenging works—between creator, artifact, and consumer. (shrink)

This paper looks at intrinsic disputation within proposition, and specifically within propositions that offer a moderated version of the freedom of speech and expression. It begins from a consideration of what is at stake in Othello's ‘Rude am I in my speech’, a rhetorical gesture that frames an act of great eloquence, and in which the eloquence serves to formulate a quarrel by ostensibly resolving it. This example reveals that there is a conflict between empirical quarrel and articulated spoken (...) resolution. This leads the essay to explore the way in which diplomacy works, whereby we establish the pretence that there is peace between disputatious positions through the power of the logic of ‘but’, thus: ‘I agree with you, but …’. Finally, this is extended to a consideration of the limits of and/or on free speech: ‘I defend free speech, but …’, where the ‘but’ is a gesture in which the defence of free speech is modified to the point of being obliterated. (shrink)

Describimos en este artículo algunos de los puntos que consideramos más relevantes y, sobre todo, menos trabajados, de lo que podríamos denominar "la herencia humana e intelectual de Bertrand Rusell". Concretamente, nos centramos en el estudio de dos materias a las que el filósofo británico concedió gran importancia: el amor y la pasión. Previamente, apuntamos aquellos acontecimientos y sucesos de su vida que hoy, tras los veinticinco años de su desaparición, nos pueden resultar de mayor interés.

A consideration of the differences between Shakespearean comedy and tragedy in light of the historically particular inflection of dramatic irony in the English Reformation. The essay compares classical and humanist understandings of literary response and then proposes that we consider that response as a function of knowledge with respect to (and hence feelings about) a protagonist and his plight. The essay compares the structures of suspense in Sophocles’ and Seneca’s Oedipus plays, and then goes on to examine the ways in (...) which two early modern versions of Seneca’s play demonstrate different manners of crafting an audience’s affective relation based on epistemological advantage. The author argues that the peculiarities of these repsonses, and their difference from Shakespeare’s handling of dramatic irony, can be illuminated by the English response to Calvin’s understanding of predestination as a matter of being known about. The analysis concludes with examples from Much Ado About Nothing and Othello that demonstrate the different affective charge of privileged information. (shrink)

I aim to explode a famous thesis about “the rise of fictionality,” argued in an essay of that title by Catherine Gallagher. I also have in mind related claims that the eighteenth or the nineteenth century first distinguished fiction from nonfiction or first differentiated literature from other modes of discourse. Gallagher places the rise of fictionality exactly where Ian Watt placed the rise of the novel—England, 1720 to 1740—and she connects it to the development of a credit economy. This article (...) argues that the relationship between fiction and credit goes deeper than this, insofar as fiction was classically theorized in relation to modal concepts like probability and as such had a direct relationship to what Aristotle called endoxa: what is believed by all or by most. Probability was understood in relation not to what happens but to what is thought to happen: that is, to a socially constituted sense of what and who is credible. The article takes account of the multiple disciplines in which fictionality was theorized in the premodern period, but it emphasizes the centrality of rhetoric and the dissemination of a model of fictionality through the early modern grammar schools. Finally, it reads Shakespeare’s Othello to show that probable fiction was not only an available concept but a crucial tool for the analysis of social life. In Othello, ideologies of race and gender define the unequal terms on which credibility is established. Probable fiction is directly tied to the work of making and unmaking social worlds. (shrink)

Reissued with a new preface and a new essay on Macbeth, King Lear, Othello, Coriolanius, Hamlet and The Winter's Tale, this famous collection of essays on Shakespeare's tragedies considers the plays as responses to the crisis of knowledge and the emergence of modern skepticism.