Marcos Wagner Da Cunha

Romanzo filosofico sui generis, la cui struttura narrativa viene tessuta da racconti interconnessi, sempre pieni di intense passioni da mettere in discussione non solo i limiti tra fantasia e fatto, ma la nozione stessa di realtà. Suo denso tessuto psicologico è vividamente simbolico e tocca aspetti davvero profondi dell'esistenza umana. Il titolo è un riferimento alla "Civetta di Minerva" del filosofo tedesco GW Hegel, su cui lui afferma che solo quando le civiltà si avvicinano al loro decadimento finale, alla loro agonia, può la filosofia dire qualcosa di sostanziale sulla loro storia, dal fatto che loro più profonde verità solo si lasciono catturare durante l'uscita da scena quando viene il loro "crepuscolo", cioè solo come tarda retrospettiva.

Romance sui generis, sua estrutura narrativa se tece a partir de contos interconectados, sempre eivados de paixões intensas a ponto de pôr em cheque não só os limites entre fantasia e fato, como também a própria noção de realidade. Sua densa trama psicológica, exuberantemente simbólica, toca aspectos profundos da existência humana. Seu título é uma referência à menção de G.W. Hegel à 'Coruja de Minerva', em que afirma que apenas quando as civilizações aproximam-se de sua decadência final, de sua derradeira agonia, pode a Filosofia expressar algo de substancial conteíudo acerca de sua história, pois tais verdades mais profundas a respeito só poderiam ser capturadas ao saírem de cena ao sobrevir do "crepúsculo", ou seja, apenas em retrospecto. Portanto, a reflexão dos filósofos abordaria a história humana de maneira análoga ao olhar da coruja de caça ao sobrevoar os campos ao cair da noite. Estaria uma última 'Coruja de Minerva' já pairando sobre a humanidade neste século 21, tão obscurecido por temores e sinais apocalípticos?  

'The Last Owl' is a very singular novel built from interconnected poetic tales, culminating in an apocalyptic love. Its dense psychological symbolic plot intends to touch deep realms of the human condition. As for the title it relates to Hegel's phrase mentioning the Owl of Minerva, stating that only when civilizations are nearing their ultimate decay, their final throes, is philosophy able to utter something substantial on them, since deepest truths about history may be caught only during their agony, as they leave scene during "dusk". Accordingly, Philosophers' ponderings approach human history in a analogous way to the hunting owl's gaze while flying over fields at nightfall. Would a last 'Owl of Minerva' be already flying over humankind in this 21st century so obscured by dooming signs ?

Why did human beings throughout the millennia so often think about a doomsday? Could there be a profit to our inner pleasure and pain equilibrium, when believing that doomsday is nearing, an idea suggested by Sigmund Freud? An analogous instinctive dynamics was thought by Nietzsche who wrote that human beings do prefer to want the nothingness rather than not to want anything at all. In this essay, 'Melancholia', a movie by Lars von Trier, is taken as an exquisite masterpiece, a grandiose exposition of Schopenhauer and Nietzsche Philosophies..

Lars von Trier's works give us allways plenty of exquisite philosophical food for thought, mostly in very dense and hermetic language. 'Melancholia' , a 2011 movie, has been seen by us as a brilliant dramatization of Schopenhauer's and Nietzsche's philosophy, also available on PhilArchives. 'Antichrist', another movies of his from 2009, deploys a similar doom perspective regarding our times, now focusing the perpetual struggle between men and women as a leitomotiv. This brief review, however, does not intend to go beyond an exposition of the mental structures which grounds both so different reactions: the husband's, and the wife's.

The different approaches of the mind-body problem a fortiori have implications on the foundations of Psychology, Psychopathology and Psychiatry, leading to many clashing theories about the determinants of "normal" human behavior, as well of the mental illnesses. These schools of research on the human mind may on a first approach be divided in two main branches: 1) the neurogenetic ones; 2) the psychogenetic ones. This paper sprang up from a lifelong pondering on its subject by its author, while working as a Clinical Psychiatrist and conducting a Ph D in Philosophy.

The Fermi Paradox has been intriguing scientists as it states that odds are indeed there must be some alien technologically advanced civilization capable of reaching Earth, or at least sending here unequivocal signs of intelligent life out there. Nonetheless, paradoxically, the more knowledge growth about exoplanets, stars and galaxies, the bigger is the frustration while searching something the like. In this brief essay, a possible explanation for Fermi's paradox gets grounded on Kant's Critique of Pure Reason.

Starting from a critique of the Kantian condemnation of any and all lies, an analysis is made of the relationship between the decision to reveal the truth and the instances of power in which the subject is inserted. Given the introjection of power structures and their role in the deliberations of the Conscious Self, we conclude that lying implies a recognition of the power of the figure to whom one lies. The light act of lying results in irreparable damage to the reality test of the person who lies

The Myth of the Forbidden Fruit as Allegory on The Limits of Human Knowledge. The history of science points out to the fact that all theories are born to be surmonted by yet to come better ones. Notwithstanding this, paradigmatic developments stay for us as truth as if ultimate, absolute ones. What a fake news! We are allowed to infere that in a coming future, impossible to know how far from now, even Einstein's great theoretical achievements will sound as a rough approximation of a deeper insight on Physics. Might this unreachable character of ultimate, absolute truths be the deepest meaning of the genesis myth of the forbidden fruit?