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)

"But he that filches from me my good name Robs me of that which not enriches him, And makes me poor indeed." (Othello) -/- ( http://philpapers.org/profile/112741 ).

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.

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)

According to Cantor (Mathematische Annalen 21:545–586, 1883 ; Cantor’s letter to Dedekind, 1899 ) a set is any multitude which can be thought of as one (“jedes Viele, welches sich als Eines denken läßt”) without contradiction—a consistent multitude. Other multitudes are inconsistent or paradoxical. Set theoretical paradoxes have common root—lack of understanding why some multitudes are not sets. Why some multitudes of objects of thought cannot themselves be objects of thought? Moreover, it is a logical truth that such multitudes do (...) exist. However we do not understand this logical truth so well as we understand, for example, the logical truth $${\forall x \, x = x}$$ . In this paper we formulate a logical truth which we call the productivity principle. Rusell (Proc Lond Math Soc 4(2):29–53, 1906 ) was the first one to formulate this principle, but in a restricted form and with a different purpose. The principle explicates a logical mechanism that lies behind paradoxical multitudes, and is understandable as well as any simple logical truth. However, it does not explain the concept of set. It only sets logical bounds of the concept within the framework of the classical two valued $${\in}$$ -language. The principle behaves as a logical regulator of any theory we formulate to explain and describe sets. It provides tools to identify paradoxical classes inside the theory. We show how the known paradoxical classes follow from the productivity principle and how the principle gives us a uniform way to generate new paradoxical classes. In the case of ZFC set theory the productivity principle shows that the limitation of size principles are of a restrictive nature and that they do not explain which classes are sets. The productivity principle, as a logical regulator, can have a definite heuristic role in the development of a consistent set theory. We sketch such a theory—the cumulative cardinal theory of sets. The theory is based on the idea of cardinality of collecting objects into sets. Its development is guided by means of the productivity principle in such a way that its consistency seems plausible. Moreover, the theory inherits good properties from cardinal conception and from cumulative conception of sets. Because of the cardinality principle it can easily justify the replacement axiom, and because of the cumulative property it can easily justify the power set axiom and the union axiom. It would be possible to prove that the cumulative cardinal theory of sets is equivalent to the Morse–Kelley set theory. In this way we provide a natural and plausibly consistent axiomatization for the Morse–Kelley set theory. (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)