Hipocrisia: arte do engano, arte do ator. Um olhar sobre a criação de si em Nietzsche

• Autor(a) principal: Costa, Gustavo Bezerra do Nascimento
• Data de Publicação: 2013
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/12174
• topic: Hypocrisy; Self-creation; Deceiving; Self-deceiving; Character; Mask; Hipocrisia; Criação de si; Engano; Autoengano; Caráter; Máscara; Nietzsche, Friedrich Wilhelm, 1844-1900.; Filosofia alemã; CNPQ::CIENCIAS HUMANAS::FILOSOFIA

The aim of this thesis is to propose a way of interpreting and a possible meaning to the ethical-aesthetical or ethical- poiēthical problem of self-creating by formulating a concept of hypocrisy. From a spectrum of analysis about the deceiting practices, it is built an initial scenario in the form of prolegomena, which outlines a distinction between hypocrisy and self-deception, under two biases: formal, with the distinction of perspectives between deceiving and being deceived, based on the recognition of the deceiving; and processual, where the hypocrisy, as an intentional incorporation of characters, stands of self-deceiving, as an unrecognized process of incorporating beliefs. The first chapter is dedicated to understanding how the practice of deceit and hypocrisy happen to become moral issues. Dating back the problem to the Greeks, beyond that condemnation, it is opened pathways to a reassessment of the forms of cunning intelligence named mêtis. The second chapter aims at drawing up a concept of hypocrisy as a meaning to the ethical-aesthetical problem of self-creation. The opposition between the ethical forms of: friendship and flattery, having in common the attention to kairós, the right time, is the motto to consider two forms of discourse: the rhetorical, ruled by mêtis, and the philosophical, guided by parrēsía; and to propose a kind of care of the self, distinct from that which is constituted by the parrēsiástic speech and poured into ḗthos by the áskēsis. That would be the self-creation by attempting to hazards and instincts, and it would have the work of incorporation and artistic handling due to the art of the actor as reference. Here emerges the concept of hypocrisy as the art of interpreting a knowledgement from dóxa by the mastery of kairós, and setting it by mímēsis in order to creat itself as author and piece of art of self. In the third chapter, in an interpretive approach, that concept is token as leitmotif for a linkage between three aspects of Nietzsche s thought: i) the extramoral understanding about deceiving practices, having the will to appearing what underlies them; ii) the epistemic perspective of processes without subject, taking the concepts of mask and interpretation to consider hypocrisy as an artistic handling aiming at creating a hypocrite self; and iii) the ethical-aesthetical proposal of self-creating and establishment of a character, where the hypocrisy could be understood as an ethics-aesthetics of the free spirit, which by the incessant changing of roles, creates itself as a piece of art and becomes what he is.