Programa de Pós-Graduação em Filosofia - PPGFIL/IFCH

URI Permanente desta comunidadehttps://repositorio.ufpa.br/handle/2011/5862

O Programa de Pós-Graduação em Filosofia (PPGFIL) do Instituto de Filosofia e Ciências Humanas (IFCH) da Universidade Federal do Pará (UFPA). Foi criado em dezembro de 2010 e iniciou suas atividades efetivas em agosto de 2011, como curso de Mestrado em Filosofia, sendo o único na área em toda a Região Norte.

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Agora exibindo 1 - 20 de 31

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Alegria e pobreza nas representações Sanfranciscanas de Dante e Giotto
(Universidade Federal do Pará, 2022-02-22) SILVA, Jonas Matheus Sousa da; MOLINARI, Jonathan; http://lattes.cnpq.br/3579284707222729
Il est basé, dans le premier chapitre, de nature historiographique et philologique, d’une présentation positive du XIIIe siècle en Italie et du contexte de la main droite, en passant par un statut quaestionis sur l’esthétique médiévale et saint Bonaventure, dans lequel ses oeuvres Itinerarium Mentis in Deum, l’argument central de De Triplici Via, alias Incendium Amoris et le contexte historique de la Legenda Sancti Francisci sont présentés, pour témoigner de la réception de ces écrits chez Giotto et Dante. L’historiographie sur saint François au Jacques Le Goff et à Auerbach est présentée ci-dessous; ce qu’il y a de joie et de pauvreté dans les Écrits de saint François et dans les Sources franciscaines; L’analyse de Massimo Cacciari des occurrences de tels concepts dans les représentations saintfrancicanes de Dante et Giotto est donnée et le reflet du motif de la croix comme point d’intercession de la pauvreté et de la joie est atteint. Le chapitre suivant traite de la réception de la figure de saint François dans la Commedia de Dante et de la nouveauté de cette représentation. La biographie de Dante est exposée dans son contexte politique; il suit pour la présentation des aspects de la littérature dantesque selon l’intellectuel italien Francesco de Sanctis, dans son Histoire de la littérature italienne; la représentation de saint François en Commedia est mise en évidence, en particulier dans Paradiso XI, et se termine par la réflexion sur le motif de la croix dans cette oeuvre. Le dernier chapitre traite de la représentation de saint François dans les 28 fresques de Giotto dans le cycle de la basilique supérieure d’Assise. Il met en lumière la biographie de Giotto dans son contexte culturel; la représentation picturale de saint François dans le cycle giottesco susmentionné, les représentations des raisons de la joie et de la pauvreté et la présence du motif de la croix; elle culmine avec l’herméneutique de ces motifs dans les fresques du cycle: François écoute le crucifix de saint Damien, Noël en Greccio et la réception des stigmates.
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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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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/8592244270861493
All 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.
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Biopolítica em Michel Foucault: da individualização do sujeito à governamentalidade da população
(Universidade Federal do Pará, 2019-08-29) FREITAS, Felipe Sampaio de; BARROS, Roberto de Almeida Pereira de; http://lattes.cnpq.br/4521253027948817
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Os "bons europeus" e a "nova síntese" no pensamento nietzschiano
(Universidade Federal do Pará, 2021-04-26) FEITOSA, Wesley Leite; CHAVES, Ernani Pinheiro; http://lattes.cnpq.br/5741253213910825; https://orcid.org/0000-0002-8988-1910
This paper consists in a philological – hermeneutics analysis about the philosophical oustpread from Nietzsche’s concepts of “good european” as a fundamental question in his task of overcoming moral. The term “good- european” occurs in two specific parts in Nietzsche’s work. The first mention is in his intermediate texts (1876 – 1882), in which the author talks about culture, language and metaphysical issues. At this period the philosopher argues about subject formation and the cultural processes of coercion on the subject that condionate human thought and behavior. This approach evokes the necessity of a manner to elaborate a task in order to overcome the morality about the concept of free spirit. The concepts of “good european” and free spirit are associated as synonyms in his intermediate work phase, being the first term a manner to enphasize the necessity of overcoming and detaching the nations issue and talks about German nationalism in the 1900s. In his late work (1883-1889) the term “good european” is reintroduced in a new contexto through that the author develops his critics on moral and the overcoming an ethnocentric concept in modern european thought. Thus, Nietzsche stablishes hierarchic and overcome levels: 1. European; 2. Supraeuropean; 3. Asian; 4. Greek. Supraeuropean concept designates a perspective that the Europe itself must be exceed. In this perspective the being needs to be not only supranational but supraeuropean intending to overcome an european vision and the reach of a wider vision about the Western culture. Nietzsche tries to extinguish his western partiality and propounds an Asian perspective in Europe via the concept of Supraasiatic. The supraasiatic level represents a moral overcome in comparison to an european moral, relating this idea to the supraeuropean concept. This concept characterizes a radical objection to the Western and its values as a cultural consequence from Europe. Finally, the author highlightsa greek theoretical foundation as a model to the so called “Europeans from the future” in a denominated greek ideal. This ideal represents a higher view in comparison to the previous ideals and characterizes his cosmopolitan idea about europe culture, in terms of its cultural synthesis. From that perspective Nietzsche describes a non-stop process according to atavistic procedures and diferentiation processes in which a “new synthesis” of philological, linguistics and culture can be possible.
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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/8592244270861493
The 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.
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Confissão, sujeito e verdade em Michel Foucault
(Universidade Federal do Pará, 2020-06-22) MONTEIRO, Rafael Siqueira; CHAVES, Ernani Pinheiro; http://lattes.cnpq.br/5741253213910825; https://orcid.org/0000-0002-8988-1910
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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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A “Cultura de Si” em Foucault
(Universidade Federal do Pará, 2018-03-26) FREITAS, Frank Alexandre Rosa; CHAVES, Ernani Pinheiro; http://lattes.cnpq.br/5741253213910825
Based on the recent works of Michel Foucault, we face a significant turning point in his philosophy, through the study of the Greek notion of care of the self. That notion, according to Pierre Hadot, would have been attracted by some aspects of his approach to ancient philosophy as spiritual exercises. From this new perspective Foucault thinks the subject who builds himself with exercises, practices and techniques of himself. Consequently, this dissertation aims to analyze “The Culture of the Self”, that is extensively worked and researched by Foucault, in his last works and mainly from The Hermeneutics of The Subject, a 1982 course; besides the History of Sexuality II and III, and other related texts to the aspects of old ethics. Thus, we start from the Foucault’s analysis of The Culture of the Self to the convergences and divergences critically undertaken by Hadot. Finally, we can arrive in chapter III of our dissertation, to understand how Foucault analyzes The Culture of the Self after the course of 1982. What changes in the later courses. What changes in the last two volumes of the History of Sexuality in relation to the Hermeneutics of the Subject. Also, the question of the actuality of The Culture of the Self and its relation to the current social practices for the possibility of an aesthetic of existence is another object of investigation. We then turn to the question of whether or not Foucault would propose to re-evaluate an ancient ethic, in order to reflect about the ways in which is possible to understand, through the look he has given to antiquity, an art of living.
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Estética e Política nas Cartas de Friedrich Schiller
(Universidade Federal do Pará, 2020-11-26) SOUSA, Alcione Santos de; CORÔA, Pedro Paulo da Costa; http://lattes.cnpq.br/3785172545288511
The purpose of our research is to analyze the combination of the elements of aesthetics and the elements that are proper to morals or politics, as this is done by Friedrich Schiller in his Letters on aesthetics, translated in Brazil, in a more recent version as: The Aesthetic education of man in a series of letters. In order to realize our intention, we will initially make an exhibition trying to show how we can recognize in the philosophical tradition the concern with this type of theme, which makes us go back to the Greeks. In this way, it is with the tragedyographers that we recognize the association of tragedy with polis, in a horizon that links art and politics as the founder of the moral formation of the Greek man, later promoting, in the Letters of Schiller, the debate about the condition of our knowledge in the field of aesthetics and morals. As we can see, when analyzing the question of compatibility or complementarity between the domains of art and moral (political), from the perspective of the author of the Letters, proposing that the reciprocity between the two impulses - the sensitive and the rational, is unified in the man. We will notice that this possibility is what makes Schiller propose the primacy of aesthetic education for a moral formation with a view to the most natural politics, or without leaps, of humanity. According to Schiller, it is up to aesthetic culture to promote the ennoblement of character, since the attempts of reason alone do not present such satisfactory results for modern man. What causes the formation of the aesthetic state, through which we can find the idea of perfect humanity - as it was once present among the Greeks. In such a way, the educated man, aesthetically, manages to overcome the condition of his nature, by the demand of reason, but without completely losing sight of it, since it only gives way to the moral law, as a kind of game between these two domains. Beauty as freedom in the phenomenon is what sustains and shows that morality is a symbol of good - according to nature - freedom. It is in this sense that the Schiller Letters are founded on the idea that beauty seeks to promote the agreement between reason and the sensitive, unified in man, and makes them a complete being, like their mixed nature. Thus, Schiller establishes a moral education for man initiated by the freedom of art, hence serving the political purpose.
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Estoicismo imperial e estética da existência em a Hermenêutica do sujeito, de Michel Foucault
(Universidade Federal do Pará, 2022-12-21) SAMPAIO, Ronald Valentim Gomes; CHAVES, Ernani Pinheiro; http://lattes.cnpq.br/5741253213910825; https://orcid.org/0000-0002-8988-1910
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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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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/8592244270861493
This 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.
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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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Heidegger e a metafísica do Dasein: o acontecimento irruptivo da transcendência em meio ao ente na totalidade
(Universidade Federal do Pará, 2014-12-04) SOUZA, Charleston Silva de; SOUZA JÚNIOR, Nelson José de; http://lattes.cnpq.br/7150345624593204
The present study aims to delineate the moments in which the problem of transcendence gets a more precise characterization inside the thought of Martin Heidegger. The idea of surpassing of beings towards Being that continually follows the Dasein in its relations with the beings, that is, transcendence, does not serve to qualify what surpasses the man (God, for example), but really a surpassing of the man himself. When Heidegger, exposing his interpretation of Aristotle's concept of time, says that "time is what is beside-of, it is similarly gives an interpretation and meaning corresponding to the meaning of Being, that is, a transcendental characterization, where it is understood as a "besides". The analytical accompaniment of the concept of transcendence will be exposed in two central moments. First, it will be exposed how this problem appears by the light of the themes of temporality. Heidegger outlines a connection between temporality and transcendence, in that the being-in-the-world is the phenomenon in which originally it is announced how the Dasein is, in essence, besides themselves. Moreover, if we aim to show the rise of the metaphysics of Dasein inside Heidegger's philosophical project, it becomes necessary to understand that the protagonism of the problem of transcendence shows up as one of the keys of this project. In the end, it will be showed up how this "phenomenology of transcendence", finally, it is constituted through the ways of the problems of the foundation and the freedom, trying to show how the metaphysics is a fundamental event in the Dasein.
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O lugar do poeta Eurípides na primeira estética de Nietzsche: tensões e ambiguidades na recepção da Tragédia grega
(Universidade Federal do Pará, 2017-05-22) REIS, Ronney Alano Pinto dos; PITTELOUD, Luca Jean; http://lattes.cnpq.br/0887702139830510
In his first book, Nietzsche attempted to touch on the most burning themes of his time, among which there is the problem of science as a model of appreciation of life, whose most significant reflection is expressed by the figure of the theoretical man - the fruit of rationalism from the Socratic-Platonic metaphysics. Balanced by his hopes for the renewal of the Germanic arts, the philosopher sought in Greece a kind of counter-model. This undertaking required a study of the origin and decline of the tragic art in which Euripides occupies a prominent role. Thus, we seek to retake this path around the “Birth of the Tragedy” in order to think the poet, beyond the common place (almost always linked to a closed critic), also as a possible and important reference for that moment, putting in evidence the tensions and ambiguities surrounding Nietzsche interpretation for tragedy. In this sense, our research intends to present the theoretical displacements operated by the tragic philosophy of the young Nietzsche, in order to point to the bases with which he launches his own aesthetic proposal based on the metaphysics of an artist. In the sequence, we argue that Euripides occupies a place within Nietzsche’s project of an anti-Platonism. Finally, we analyze the masks or facets of the tragedy with and beyond Nietzsche's critique.
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A máquina antropológica entre antropogênese e antropocentrismo : uma leitura crítica de Giorgio Agamben a partir de uma perspectiva multiespecífica da biopolític
(Universidade Federal do Pará, 2020-10-07) COSTA FILHO, Maurício Sérgio Borba.; BARROS, Roberto de Almeida Pereira de; http://lattes.cnpq.br/4521253027948817
The aim of this work is to investigate the relevance of the concept anthropological machine of humanism, as proposed by Giorgio Agamben in L'aperto: l’uomo and l'animale, to our understanding of current politics. This concept, which comprises the set of discourses and practices that compose our ideas of what constitutes the human (and humanity) in opposition to the animal (and animality) in a dual logic of inclusion and exclusion, produces anthropogenic narratives that gravely resonate in the political life of western societies. Even though we think that such terminology successfully synthesizes this heterogeneous set of practices, we will argue that, in order for it to be a useful conceptual tool, we need to go beyond a critique of humanism, and place it within the context of non-anthropocentric critiques of politics. In this sense, we will turn the anthropological machine against Agamben's own political thought and writing, a movement that bears a double consequence. The first consequence is ethical and political in nature: in opposition to Agamben’s deeply anthropocentric politics, we sugest alternative modes of thinking possible politics of the living; the second consequence, on the other hand, is critical and descriptive: in oppositon to the scope of Agamben's biopolitical analysis (which is focused exclusively on the human body – be it the individualized body, be it the social body), we sugest a multispecies approach to biopolitical studies. This critical reading is situated within the larger picture of current discussions about the Anthropocene – or rather, the Capitalocene – and its consequences to the Humanities.
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Nietzsche e a Metaforicidade da Linguagem em “verdade e mentira no sentido extramoral”
(Universidade Federal do Pará, 2020-06-01) MIRANDA JUNIOR, Edilson; CHAVES, Ernani Pinheiro; http://lattes.cnpq.br/5741253213910825; https://orcid.org/0000-0002-8988-1910
This dissertation aims to discuss the metaphoricity of language in the text "Truth and Lie in the Extra-Moral Sense", by Friedrich Nietzsche. On the one hand, it presents the perspective that language is absolutely metaphorical, with the consequence that it is impossible to speak about itself without falling into a self-destructive discourse. On the other hand, there is the perspective that language is only relatively metaphorical and that it is possible, therefore, find an internal coherence in the text. To take stock of the two perspectives, it is necessary to bibliographically analyze the influences on Nietzsche in the making of the text, as well as to situate the relevance of itself in nietzschean philosophy as a whole.
Acesso aberto (Open Access)
A noção de poder no curso A coragem da verdade, de Foucault
(Universidade Federal do Pará, 2019-05-27) MORAES, Elias de Nazaré; CHAVES, Ernani Pinheiro; http://lattes.cnpq.br/5741253213910825
In the course The Courage of Truth, Michel Foucault present us a notion of power that is identified by the practices of parresía and ―self-care‖ (epiméleia heautoû), which is dislocated of the genealogic conception where the power appears as force relations, pass through the confession and attend the parresía. In that way, the philosopher analyses the subject who say his truth, constitute himself from beyond and in the relation with the other, which expose parresiasticaly may in the democracy, in the autocracy or through the cynic style of life and search change his practices and values through selftecnologies, making of his life aesthetic of existence. The problematization of self-practices in the ethic-politics campus permiss a self-opening as resistance of modern power assubjectments and the elaboration of a ethic from own self. As that, the dissertation have as objective to understand the notion of power in that course and its possible dislocations in relation of his genealogic period.
Acesso aberto (Open Access)
A Parresia nos cursos de Foucault de 1982-1984: ética, politica e estética
(Universidade Federal do Pará, 2021-09-01) CORDEIRO FILHO, Flávio de Lima; CHAVES, Ernani Pinheiro; http://lattes.cnpq.br/5741253213910825; https://orcid.org/0000-0002-8988-1910
Michel Foucault's work (1926-1984) has a great conceptual scope, covering topics such as Madness, Power and even his debate on Truth. The focus of this dissertation will be his final writings, referring to the years 1982 to 1984, as it is within the courses given at the Collège de France where Foucault will work more specifically on notions of ethics, aesthetics and truth. Michel Foucault makes a return to classical antiquity, however such return has a specific concept in mind: parresia. Parresía is translated by Foucault as “courage of the truth”, “speakout”, “saying everything”, but the focus of the analysis of the French philosopher will be how such concept is deeply linked with the philosophical practice of antiquity, going through since from the political consequences of the use of parresia, the construction of an ethos, which in turn is linked with an aesthetic of the “true-tell”. Foucault will show that the concern with Truth is not only related to the epistemological debate between truth versus falsehood, that is, it is not in the French philosopher's interest to enter into the discussion of what makes a discourse and/or knowledge true. Foucault wants to investigate what makes the subject someone who tells the truth and how he is recognized as one who carries a true discourse. We realize that there is in Foucault a concern for the truth as the subject's trainer, how is frank speaking an influence in the formation of a subject? With that, Foucault claims that he will leave aside the “epistemological structures” to be concerned with the analysis of the “alleturgical forms” of the act of uttering the truth. Foucault will differentiate between “know yourself” and “take care of yourself” both Socratic formulations, however as each will develop and formulate distinct doctrines in the history of philosophy, while the former will hold a In the more epistemological/ metaphysical development of Socratic philosophy, the second will stick to a way of life, that is, a Socratic ethics. However, Foucault points out conditions for effecting parresia, in addition to the need to say everything, there is an urgent need to be a discourse totally linked to the thought of the one who speaks, so it is not merely an artificial speech. That is why the French philosopher says that parresia is not a mere adequacy of speech and thought, as the masters do, it is necessary to take a kind of vital risk, which will hurt and irritate the other, reaching the point of extreme violence, as soon as at the risk of losing the bond with the other. That is why it is important to emphasize the essential difference between rhetoric and parresia, placing the two attitudes in diametrically opposite ways, while one is a speech without any link with the interlocutor and with what is being said, parresia is a connection between the interlocutors , a bond so strong that it sets precedents for the rejection, punishment and revenge of the one who told the truth.