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)

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)

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)

O desiderato deste ensaio propõe submeter o pensamento, «em» doação, à linguagem [Sprache]. A linguagem enquanto o que gesta, recolhe, forma e conforma o Dasein em seus comportamentos. Urge pensá-la no modo da vontade de verdade, no modo da impessoalidade na saga do seu dizer, de saída, eivada de juízos valorativos e para além disso, pensar o seu outro, a saber, a poesia, para que «em» jornada a linguagem poética conclame para que desse modo habitemos propriamente o lugar sagrado. (...) Pretende-se compreender a atmosfera regente dos modos de comportamentos deste ente [Dasein] na sua cotidianidade, ambientado cientificamente, politicamente e discursivamente. Neste diapasão, refletir-se-á a linguagem desde os comportamentos científicos, em sentido lato, até o ponto disruptivo onde a linguagem, como posse da verdade, se dê como possibilitadora de um salto para um pensar poético. E como consequência, a partir do gesto dito iluminado do poeta, a linguagem num dado abandono proporcione uma serenidade imperturbável. (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)

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)

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)

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)

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)

Are sports really supposed to be so competitive that, as Henry R. Sanders once famously said, â oeMen, I'll be honest. Winning isâ ]the only thing!â? (WK 2012) This competitive view of sports can be contrasted with a critical view by William Shakespeare, who wrote in Othello (Act. iv. Sc. 1), â oeThey laugh that win.â (BART 2012) Contrary to these opposing views (and other ones, as will be discussed in the book), sports (in relation to both training and (...) winning) are neither possible (or impossible) nor desirable (or undesirable) to the extent that the respective ideologues (on different sides) would like us to believe. Of course, this reexamination of the opposing views on the value of sports does not mean that sports are unimportant, or that those interdisciplinary fields related to sports, like sports nutrition, physiology, psychology, biomechanics, sports philosophy, sports technology, anthropometry, kinanthropometry, and so on, are not worth studying. Needless to say, neither of these extreme views is reasonable. Instead, this book offers an alternative way to understand the future of sports, especially in the dialectic context of training and winning - while learning from different approaches in the literature but without favoring any one of them (nor integrating them, since they are not necessarily compatible with each other). More specifically, this book offers a new theory (that is, the modificative theory of sports) in order to go beyond the existing approaches in a novel way. To understand this, the book is organized in four chapters. This seminal project will fundamentally change the way that we think about sports in relation to training and winning from the combined perspectives of the mind, nature, society, and culture, with enormous implications for the human future and its â oepost-humanâ fate. (shrink)

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)

Plato's Bedroom is a book for people who want to be better at falling in love and being in love, with all the ecstasies and dangers erotic life can bring. It is also an inviting book for readers who are intellectually playful and up for a challenge, written with verve, and full of stories thoughtful persons will find to be mirrors of their own erotic selves. Drawing on Greek myth, Plato, Shakespeare, and a wide range of modern literature and movies, (...) the book gets Aphrodite talking with the young lovers in A Midsummer Night's Dream, and lets us listen in on Woody Allen arguing with Othello. The author's account of how we seek, fear, avoid, and sometimes destroy love, is astonishingly fresh and engaging. Throughout its pages, one hears the voice of an engaging teacher and the conversation of a wise friend. In short, this is a work of practical philosophy, not scholarship, though only a scholar could have written it. It invites readers into a deep appreciation of timeless ancient wisdom through reflecting on their own powers for love and their susceptibility to desire. A distinctive feature of the book is the interweaving of two guiding threads in Plato's conception of erotic experience: androgyny, that is, the integration of masculine and feminine; and creativity, in both a sexual and a spiritual sense. These two aspects of Plato's erotic vision, androgyny and creativity, lead readers to a sense of grateful wonder and sacred awe at our own erotic powers. Our natural experience of romantic love, articulated so well by Plato, points toward a more explicitly religious interpretation of love's commitments and pleasures. (shrink)

Este artigo discorre sobre a educação escolar quilombola, comenta o processo de sua formação, características e paralelismo com a educação das relações étnico-raciais. Descreve sua importância no cenário da educação brasileira por ter como meta romper o silenciamento imposto aos quilombolas e ao mesmo tempo abrir espaços de diálogo com a emancipação iluminista, política e humana. A fim de dar efetividade a este desiderato, servimo-nos do método crítico-dialético que enxerga a situação contemporânea dos quilombolas articulada com o seu passado (...) histórico e condicionada pelas movimentações socioeconômicas prevalecentes. Sua força emancipadora fica por conta da prática professoral. (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.

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)

Peter Szondi´s pathbreaking work is a succinct and elegant argument for distinguishing between a philosophy of the tragic and the poetics of tragedy espoused by Aristotle. The first of the book´s two parts consists of a series of commentaries on philosophical and aesthetic texts from twelve thinkers and poets between 1795 and 1915: Schelling, Hölderlin, Hegel, Solger, Goethe, Schopenhauer, Vischer, Kierkegaard, Hebbel, Nietzsche, Simmel, and Scheler. The various definitions of tragedy are read not so much in terms of their specific (...) philosophies, but rather in the way their views assist in analyzing tragedies with an aim to establish a general concept of the tragic. The second part presents exemplary analyses of eight tragedies: Sophocles’Oedipus Rex, Calderon´s Life Is a Dream, Shakespeare´s Othello, Gryphius´ Leo Armenius, Racine´s Phaedra, Schiller´s Demetrius, Kleist’s The Schroffenstein Family and Büchner’s Danton's Death. The readings neither presuppose a concept of the tragic determined by context (as in Hegel's idea of the conflict between two orders of right), nor do they focus exclusively on the texts´ explicit contents. Instead, they elaborate the dialectical or aporetic structures at the heart of the tragic. The works analyzed represent the four great epochs of tragic poetry: the age of Greek tragedy; the Baroque era in Spain, England, and Germany; French Classicism; and the age of Goethe. (shrink)

Jealousy has been disparaged as psychologically debilitating and morally flawed since well before Shakespeare wrote Othello and is indeed represented—particularly well—as far back as in Homer's portrayal of gods and goddesses in The Iliad. According to some of these traditional views, often shared by philosophers, psychologists and the general public, jealousy is the sign, if not of an irredeemably corrupt mind, then at least of an excessively possessive and insecure character. But does jealousy always indicate some sort of flaw (...) or failure? Is jealousy rerehensible in all contexts? In the present paper, I intend to suggest some modifications to the view that it is, by giving jealousy a more sympathetic and charitable hearing than it normally receives, and suggesting that jealousy might, in some cases, be justifiable. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wittgenstein, Tolstoy, and ShakespearePeter B. LewisNear the middle of the first of his 1938 Lectures on Aesthetics, Wittgenstein talks about what he calls "the tremendous things in art"(LC, I 23 8, italics in original).1 Apart from a brief indication of the way in which our response to the tremendous differs from the non-tremendous, he does not refer again in this way to the tremendous things in art, though he (...) does refer elsewhere to what he calls "supreme art." But he does provide a couple of examples of the tremendous in art, the symphonies of Beethoven and Gothic Cathedrals. Suppose, now, like the student in the Investigations §185, we are asked to continue the series. I take it that, even given the lack of information, we could safely propose, say, Homer—the Iliad and the Odyssey—and Michelangelo—the Sistine Chapel—as further examples of the tremendous things in art. The idea is that the tremendous things in art are not works that are just very good or very fine, but rather they are great, supremely great; works of stature; special cases; instances of the highest kind of artistic achievement, occupying a distinctive place in the history of (Western) civilization.Another obvious candidate for the list of the tremendous things in art would be Shakespeare, where the name is shorthand for the great plays, the tragedies in particular, Lear, Hamlet, Othello,and so on. So it comes as something of a surprise to discover on reading that miscellaneous compendium of remarks known as Culture and Value that Wittgenstein himself had serious doubts about including Shakespeare in the pantheon of the tremendous things in art. There are seven passages in Culture and Value in which Wittgenstein reflects on Shakespeare.2 The earliest is dated 1939–40, though this passage does not appear to be critical of Shakespeare. The next two passages are [End Page 241] dated August 1946, the remainder coming in 1949 and 1950. The remarks critical of Shakespeare are, then, all very much late Wittgenstein.It is well-known that lots of people dislike Shakespeare's plays. Generations of school children have developed indifference or boredom or hatred that persists throughout their lives. And yet that does not count against Shakespeare's greatness; for, to borrow Hume's remark on those who would prefer Ogilby to Milton, "no one pays attention to such a taste; and we pronounce without scruple the sentiment of these [people] to be absurd and ridiculous."3 That rhetoric is, however, not available, at least not immediately, when the "pretended critic" (Hume's phrase) has the intellectual clout and aesthetic sensibility of a Wittgenstein; nor, for that matter, the artistic achievement of a Tolstoy.I have particular grounds for bringing Tolstoy into this discussion. In the first place, there is the importance of Tolstoy in the development of Wittgenstein's thinking about religious, moral and aesthetic issues. Secondly, it is by contrast with Tolstoy's criticism of Shakespeare that we can gain further understanding of Wittgenstein's remarks on Shakespeare. These two points are related. For it seems to me that it is partly through his reflections on Tolstoy's theories about art that Wittgenstein is led into commenting upon Shakespeare.Tolstoy famously attacks Shakespeare in his pamphlet, "Shakespeare and the Drama,"4 published in 1903 when Tolstoy was seventy-five years of age. Some have taken this essay as evidence that Tolstoy was in his dotage, his mind warped by religious-moralistic fervor. Not only does this fail to do justice to Tolstoy's reasons for criticizing Shakespeare—reasons that Howard Mounce has recently argued are by no means ridiculous5 —it also neglects the fact that the essay is the culmination of Tolstoy's life-long antagonism to Shakespeare. Nevertheless, that very slur on Tolstoy's sanity attests to Shakespeare's status in our culture as something tremendous. His achievement is a standard against which others are measured. And this, I think, is at least partly what Wittgenstein is hinting at in his remarks about the contrast between the tremendous and the non-tremendous in art when he says of the tremendous that "it plays an entirely different role... (shrink)