RESUMO Esboça-se neste artigo uma possível via de interpretação ao problema ético-estético, ou ainda ético-poiêtico da criação de si, a partir de uma reavaliação da noção de hipocrisia, enquanto arte do engano e arte do ator, reaproximando-a da hypókrisis [ὑπόκρισις] grega. Para tanto, procura-se estabelecer um diálogo, ou mesmo um contraponto, com aqueles pensadores que, nas preleções de Foucault, conformaram na antiguidade clássica e helenística os elementos para se pensar, por meio do discurso parrêsiástico e da prática da áskêsis, a (...) criação de si enquanto estética da existência. O lastro para essa compreensão vem de uma reavaliação das formas de inteligência estocástica e astuciosa que comandam a lida com a inconstância, a multiplicidade e os acasos - formas às quais os gregos atribuíram o nome da deusa Mêtis [Μήτις]. Mais afeitas a estas inconstâncias, práticas tais como: a simulação, a dissimulação e a ênfase - próprias da arte do engano - ganham sob essa ótica uma feição de virtuosidade que o pensamento filosófico hegemônico, afeito à retidão e ao enfrentamento heroico diante do real, dificilmente se disporia a reconhecer. ABSTRACT This paper outlines a possible way of interpreting the ethical-aesthetic or ethical-poiêthical problem of the creation of self, from a re-evaluation of the concept of hypocrisy, while art of deception and the art of the actor, reconnecting it with the greek hypókrisis [ὑπόκρισις]. For it aims to establish a dialogue, or even a counterpoint, with those thinkers who, in Foucault's lectures, conformed in classical and Hellenistic antiquity elements to think, through the parhêsiástic discourse and the practice of áskêsis, the creation of self while an aesthetics of existence. The ballast for this understanding comes from a re-evaluation of forms of stochastic and astute intelligence who command the dealings with the fickleness, the multiplicity and the accidents - which forms the Greeks attributed the name of the goddess Mêtis [Μήτις]. More related to these uncertainties, practices such as: the simulation, dissimulation and the emphasis - related to some art of deception - win under this optics a feature of virtuosity that the hegemonic philosophical thought, wont to the righteousness and the heroic confrontation facing the real, would hardly accept. (shrink)

In this article, we discuss the question about how the practices of deceiving become a matter of discussion on moral philosophy and how they could be thought beyond the sieve of this conviction. As we intend to defend, an answer to this question should refer to the Greek thought, particularly, the Platonic thought in dialogues: Hippias minor and The republic, taking as horizon the problem of the disambiguation of Alêtheia, and the exclusion, by philosophical thought, of the forms of clever (...) and astute intelligence that the Greeks named in honor to the goddess Mêntis. On the other hand, should also imply a distinction of perspectives inherent to what we call by deceiving, which put on opposite sides of the deceiver and the deceived, according to the acknowledgement, or not, of the deceiving. Under this bias, we argue that, for the Greeks, the problem wouldn't be mainly the mistake itself – although platonic thought points that – but being deceived, and mainly, self-deceived. (shrink)

Since a reading of young Nietzsche’s criticism of the desire of knowledge that guides modernity – particularly regarding to the distinctions he operated between: a) two postures facing reality: the theoretical optimism and the tragic pessimism ; and b) two types of man: the theoretical and the artist ones; and c) two kinds of philosophy and philosophers: the one of the desperate knowledge and the other, of the tragic knowledge – we aim to defend, as an access-key to nietzschean’s thought (...) from the period of The Birth of Tragedy , the presence of a larger, gnosiological distinction between two forms of access to real: via knowledge [ Erkenntni ? ] and via understanding [ Verständnis ] – ???????? [ epistéme ] and ?????? [ gnôsis ] –, leading respectively to the targets of science and wisdom. (shrink)

La imaginación o "fantasia" de la que habla Vico no tiene un valor puramente estético-literario, sino que inviste también otros componentes fundamentales del mundo humano, como la religión o la magia, la cual -ésta última- Vico relacionó con la poesía primitiva, considerando que la magia diabólica era efecto de la fantasía. El presente estudio aborda un importante aspecto en la historia de esta idea.The imagination or "fantasia" that Vico talks about does not only have an aesthetic-literary value, but rather also (...) takes the form of other fundamental components of the human world, like religion or magic. Vico related the latter with primitive poetry, considering that diabolic magic was an effect of fantasy. This study deals with an important aspect in the history of this idea. (shrink)

Este artigo visa a matizar alguns aspectos relativos às noções de cinismo ehipocrisia que habitam a esfera da ética, buscando elementos para uma análise do cenário político contemporâneo, marcado, dentre outros aspectos, por um recrudescimento das pautas conservadoras e pela ascensão dos partidos de direita ultraconservadora. Tal análise sugere uma aproximação entre elementos próprios ao cinismo e as formas políticas de manipulação e engano, confluindo para discursos que, embora se mostrem factualmente inverossímeis, e portanto, diretamente conflitantes com a referência inercialmente (...) constituída pela tradição e comumente denominado verdade, ainda assim, pautam-se pela franqueza no modo de transmissão. A ascensão desse tipo de discurso na política contemporânea enseja um retorno aos gregos no sentido de indicar, por um lado, sua aproximação com as condutas éticas da cólera e da lisonja, e por outro, sua falha estratégica ao perder de vista o momento oportuno em que o cinismo deve ceder lugar à hipocrisia. (shrink)

This article deals with Nietzsche’s ethical problem of the constitution of an exceptional character, under two fronts: first, under a negative bias, as opposed to the morality of the herd. Later, on its constructive or affirmative time, properly as creation of self . The leitmotif of this double presentation is the defense of aspects from what we associate with the concept of hypocrisy as a key to an interpretation of that constitution. First, as an art of dissimulation, in the form (...) of an individual's refuge amidst the morality of the herd. Later, as the actor's art, in the practices which Nietzsche associates to the self-constitution. (shrink)