Dissertações em Filosofia (Mestrado) - PPGFIL/IFCH
URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/5863
O Mestrado Acadêmico iniciou-se em 2011, foi reconhecido pela CAPES nos termos da Portaria nº 84, de 22/12/2014 pertence ao Programa de Pós-Graduação em Filosofia (PPGFIL) do Instituto de Filosofia e Ciências Humanas (IFCH) da Universidade Federal do Pará (UFPA).
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Navegando Dissertações em Filosofia (Mestrado) - PPGFIL/IFCH por Orientadores "PONTES, Ivan Risafi de"
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Item Acesso aberto (Open Access) Arthur Schopenhauer e o medo da morte(Universidade Federal do Pará, 2022-07-01) LOBATO, Milene Dayana Paes; DEBONA, Vilmar; http://lattes.cnpq.br/5992703653122811; https://orcid.org/0000-0002-0411-3358; PONTES, Ivan Risafi de; http://lattes.cnpq.br/8592244270861493All that is known in the phenomenal world are forms of objectification of the Will. The Will is treated by Schopenhauer as blind, arbitrary, tyrannical, and brutal, being responsible for all the suffering of life. Among the various existential fears and consternations, death is the greatest among them, the idea of finitude is what terrifies the human being the most. Knowing this, Arthur Schopenhauer developed a philosophical thought about death that provides a possible answer to the aforementioned common affliction of humanity. Death and life would be partitions of the same cycle in which there are two extremes of non-being: before life and after death. If life and death form a unity, what makes the individual fear death, but not fear life (in the same intensity)? Schopenhauerian thought shows that life should be equally feared since it can be even worse. Death for the subject is only a cessation of consciousness, which is solely the result of organic life and not the cause of it. The lack of awareness of death and the mere awareness of the present (nunc stans) results in the anguish and frustration of not being able to reach eternity. Therefore, the present work problematizes the “philosophy of death” in Schopenhauer and the relationship with the indestructibility of our being-in-itself. It seeks to indicate possibilities for alleviating the fear of death through two ways: that of self-knowledge as Will (metaphysical/knowledge) and that of the search for a more bearable and less unhappy life as possible (eudemonological). Thus, perceiving himself as a constituent of a being-in- itself that is impossible to be annihilated with death, or accepting the impossibility of a life without pain, Schopenhauer shows direct ways for the possibility of overcoming and alleviating the fear of dying – and various other existential fears.Item Acesso aberto (Open Access) O conceito de trágico na dialética do esclarecimento(Universidade Federal do Pará, 2022-03-18) DUARTE, Diarlene da Silva; PONTES, Ivan Risafi de; http://lattes.cnpq.br/8592244270861493The search undertaken aims to analyze the concept of the tragic according to the perspective of the authors Theodor Adorno and Max Horkheimer. The study has as reference the work Dialectics of Enlightenment, whose theory is absolutely relevant to the interpretation of the history of reason, as well as the context and the human condition in current society. Therefore, the analysis intends to understand the perspectives of Adorno and Horkheimer when they analyze the absence of tragic, assuming that the process of clarification was the main reason that led to the loss of tragicity in the contemporary period. For this, it is necessary to understand the relationship between myth and tragedy in the classical period as an embryonic moment of Greek tragedies and the basis of tragic thought. After that, it intends to analyze the clarification process more specifically from the dialectical clash between the Enlightenment thought of Immanuel Kant and the critical theory of Adorno and Horkheimer, making it possible, subsequently, to understand the relationship between clarification and myth. about the operators of the Culture Industry and their conclusions for the spectator. In this way, the clarification shows that its will not only be the main cause of the cancellation of the tragic in the contemporary world, however, especially, it also highlights the cancellation of the person himself.Item Acesso aberto (Open Access) Friedrich Nietzsche e John Coltrane: a manifestação das pulsões Apolíneo e Dionisíaco na improvisação musical do Jazz(Universidade Federal do Pará, 2022-10-10) CONCEIÇÃO, Robenare Marques dos Santos; PONTES, Ivan Risafi de; http://lattes.cnpq.br/8592244270861493This research aims to show, through the analysis discussed in The Birth of Tragedy, that musical improvisation practiced in jazz instrumental music is likely to be thought of as the result of the pairing of Apollonian and Dionysian impulses, pointing to a zone of convergence between Nietzsche and Jazz. Friedrich Nietzsche is the main author to be researched from his work The Birth of Tragedy. It inaugurates a vast legacy that will last in the following decades of the 19th century, marking the beginning of an unprecedented philosophizing and the starting point of his philosophy. Therefore, the study and research to be presented in this dissertation were the results of reflections around the first published work of the German philosopher. However, in addition to The Birth of Tragedy, other works by Nietzsche were included in the bibliographic reference of this work, among them: The Preparatory Writings: The Greek Musical Drama, Socrates and Tragedy and The Dionysian Vision of the World; Richard Wagner in Bayreuth; Ecce Homo; The Gaia Science; Human, All Too Human; Twilight of the Idols; The case of Wagner and Nietzsche against Wagner, in addition to the notes and letters in which Nietzsche deals with music, will also be consulted on dissertation works by researchers who have dedicated themselves to the philosophical study of the relationship between Nietzsche's philosophy and the song. Therefore, we intend to present an analysis of one of the most important jazz works in jazz historiography - A Love Supreme, recorded in 1964 by John Coltrane, with the purpose of being involved in this research to describe the relationship between the generative impulses of art, for, from the relationship described, it is possible to observe a convergence between Nietzsche's thinking about art and the artist of ancient Greek tragedy with John Coltrane and his musical creative process. Thus, in addition to Friedrich Nietzsche, as an interlocutor in the study and philosophical reflection on music, it is important to show a historical overview of saxophonist John Coltrane, known worldwide in the 60s of the 20th century and of great influence on the generation of jazz musicians that came later and for its influence on the structuring of musical improvisation. The methodology to be used in this research is an exploratory approach, as it seeks to approach the identified phenomenon: the relationship between the philosophical thought approached by Friedrich Nietzsche in the book The Birth of Tragedy and Musical Improvisation applied to jazz instrumental music, leading to know more about it and, in this way, contribute to the development of concepts and ideas in the field of philosophy, aesthetics and music.Item Acesso aberto (Open Access) A recepção de Franz Kafka no pensamento político de Hannah Arendt(Universidade Federal do Pará, 2022-06-08) PICANÇO NETO, Ival de Andrade; PONTES, Ivan Risafi de; http://lattes.cnpq.br/8592244270861493This research seeks to analyze the reception of the works of the Jewish writer Franz Kafka in Hannah Arendt's political thought since Arendt mentions Kafka and his writings at different times throughout her works, for instance: in Between past and future (1961 - 1968), in The Life of the mind (1977), and essays such as Franz Kafka: a Revaluation (1944), The Jew as pariah (1944), and the essay on Walter Benjamin (1968). We will start from the assumption that in the various moments in which Kafka appears in Arendt's works, it is to, somehow, elucidate the contemporary context of perplexity resulting from the rupture in tradition, therefore we intend to answer the following question: what is the depth of this reception of Kafka in Arendt's political thought, what is the meaning of his presence and the context in which he appears in the Arendt’s works? Since she sees in the writer a representative of the typification of the pariah, the exemplary pariah, as the man of goodwill, who, through his figure and his writings, thinks about the different faces and layers of contemporary fragmentation.