Navegando por Orientadores "SOUZA, Jovelina Maria Ramos de"

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Amor, beleza e reminiscência: sobre a educação erótico-filosófica da alma no "Fedro" de Platão
(Universidade Federal do Pará, 2017-08-11) COSTA, Rafael Davi Melém da; SOUZA, Jovelina Maria Ramos de; http://lattes.cnpq.br/0475424515288539
Our research aims at showing how we can recognize in Plato’s Phaedrus a proposal of an eroticphilosophical education of the soul (psiche), one in which the association between love (eros), beauty (kalon) and recollection (anamnesis) serves as the basis to the harmonization of the human psyche through an active contribution of the non-reflexive parts of the soul, along with the intellect, in search of human excellence (arete) and happiness (eudaimonia).
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O conflito entre razão e paixão em Medeia sob a perspectiva da teoria aristotélica das paixões
(Universidade Federal do Pará, 2021-09-10) LOPES, Jeam Carlos Andrade; SOUZA, Jovelina Maria Ramos de; http://lattes.cnpq.br/0475424515288539; https://orcid.org/0000-0002-1249-1068
The present work intends to interpret the conflict between logos and pathos, in the protagonist Medea of the homonymous work, from the Aristotelian theory of passions. In the Rhetoric of the Passions, which is part of Aristotle's Rhetoric, anger is defined as the desire for revenge that involves sadness and con-tempt for a particular person. For Aristotle, the choleric thinks it's nice to think that you can get what you want, so he hopes that revenge will work, because he craves something possible. If we take Euripides' character Medea for a moment, we will see that this definition fits: Jason feels contempt for Medea and she relentlessly desires revenge on him, so much so that she finds a plausible, albeit extreme and un-justifiable solution – that of killing her own children – in order to satisfy the emotion felt, cholera, which is in no way irrational, or inhuman the, as long presumed among scholars. Therefore, we try to define first by which definition and theoretical current we will be guided by analyzing emotion, so that we can finally point out that we will not follow the interpretation of the conflict between pathos and logos, where these two elements are explained in opposition, as if they were two opposing and disconnected poles, in which emotion is considered an irrational part, source of unbridled and unconscious desires, and reason the conscious and controlling part of passions. An explanation already widely used for the conflict pre-sent in Medea, starting from the reading of Aristotelian ethics, and the phenomenon of acrasia, is that the soul of the character, when it clashes with him, would expose the appetizing part, of the irrational element, on the one hand, and the rational part, on the other. This aspect, we emphasize, will not be analyzed in our research. In fact, when we try to answer the question that worries us, as much as it leads us to focus on the most specific human capacity, that is, what distinguishes us from other ani-mals: rational activity, which allows the individual to reflect on his wills and desires before acting well in society, we in no way stress, or guide us by any author who places emotions as sources of irrationality, because, after all, they can be intelligent beacons that something needs to be changed in behavior, both of the one who feels the affection, and in the one who may have motivated the emergence of the af-fection. Based on this understanding, emotional responses will be had, which will depend on the per-sonality and character of the individual. In the case of Medea, before the event of philicide, his charac-ter can already be considered dubious, or at least prone to commit atrocities for the sake of his well-being: the killing of his own family members, which is counted other poetic material, other than that of the tragedigrapher. Thus, far from imputing an anachronic view to Euripides' work, we will offer, in this work, a reading that has its primary view in the Rhetoric of Aristotle's passions, given that for his study of emotions, the philosopher rescues elements of the tragic: human vulnerability in the face of fortune. Likewise, we will work with Ethics to Nicomachus in order to show, based on Nussbaum mainly, that the way of living based on rationality and balance of emotions, can be the output given by Aristotle to subtract or minimize the power of fortune in the life of the human being.
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Entre sátiros e silenos: ou a dimensão trágica da filosofia no Banquete de Platão
(Universidade Federal do Pará, 2017-06-01) PAMPLONA, Matheus Jorge do Couto Abreu; SOUZA, Jovelina Maria Ramos de; http://lattes.cnpq.br/0475424515288539
This thesis aims at showing how philosophy, though negatively defined in the Symposium, brings with it a feature that is essentially tragic. Although in the athenian tragedy what we call tragic conflict was mainly set from the perspective of the difference between the human sphere and the divine, in Plato, on the contrary, such a conflict is so secularized that we can actually conceive through a philosophical process of education the possibility to overcome the contingencies of fate or whatever transcends human capacities. Otherwise, we may say that the failure of this task inevitably results in tragedy.
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Filosofia e drama em Platão: elementos das Bacantes no Banquete
(Universidade Federal do Pará, 2017-07-03) SILVA, Camila de Souza da; SOUZA, Jovelina Maria Ramos de; http://lattes.cnpq.br/0475424515288539
Acesso aberto (Open Access)
O FR. 16 de Safo e o Banquete de Platão: a relação entre Eros e beleza
(Universidade Federal do Pará, 2022-04-19) LACERDA, Marjore Mariana Lima; SOUZA, Jovelina Maria Ramos de; http://lattes.cnpq.br/0475424515288539; https://orcid.org/0000-0002-1249-1068
We will try to show throughout this dissertation that the conception of Eros and beauty (to kalon), as well as the relationship between these two elements, are present in the oldest Greek poetic materials, such as the fragments of Sappho of Lesbos, an archaic melic poet. Thus, when we analyze his Fr. 16, we will point out how erotic conception is in line with the traditional vision in order, finally, to emphasize that the dialogue Platonic Banquet, by bringing to the dance the connection of eros with beauty, rescues themes portrayed in tradition, returning them, however, to philosophy.
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Hacia una reflexion ontologica del arte moderno hondureño: una vision desde la filosofia de Arthur C. Danto
(Universidade Federal do Pará, 2018-03-13) ZUNIGA MEJÍA, Rafael Antonio; SOUZA, Jovelina Maria Ramos de; http://lattes.cnpq.br/0475424515288539
The work will seek to understand how were the origen of modern art in Honduras, analyzing the work of the most renowned artist. For this, the phylosophy and aesthetic visión of Arthur C Danto will be used in order to make and ontology of Honduras art that allows to establish how this has been developed. The objective is to reflecto n the type of lenguage used by contemporany artist in Honduras classifying the work of these artist temporally and identifying each of the proposedstyles from mimetic representation painting, abstract painting, installation and object art.
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Platão e Diderot: a crítica ao artista
(Universidade Federal do Pará, 2015-10-15) ALCOLUMBRE, Alberto Oliveira; SOUZA, Jovelina Maria Ramos de; http://lattes.cnpq.br/0475424515288539
The aim of this work is, as the text indicates, to present the critique of the artist undertaken by Plato and Diderot. Despite Plato launch his criticism of poetry in The Republic within an ethical-political context; and Diderot, in his turn, in The Paradox of the Comedian, within an aesthetic register, there is an analogous position of the two philosophers regarding the subject. Among many similar points observed between them, we focus our vision into two of them that seemed to us fundamental to such criticism: the notions of pathos and ideal. In both Plato and Diderot one observes that the figure of the artist is always thought of in relation with these notions. Although at first glance, we could be tempted to conclude that, in this relationship, the ideal is presented as an antipode of the passions, we can see more closely that these oscillate: sometimes they show up as a hindrance, sometimes, as a positive reference within the respective critiques; the key to appease this conflict will be temperance (sophrosýne). In view of this, we propose, with this work, to investigate and explain this unstable relationship that one finds in an analogously form in those philosophers.