Answer the question at the end by quoting:

Jerry Alan Fodor (; April 22, 1935 - November 29, 2017) was an American philosopher and cognitive scientist. He held the position of State of New Jersey Professor of Philosophy, Emeritus, at Rutgers University and was the author of many works in the fields of philosophy of mind and cognitive science, in which he laid the groundwork for the modularity of mind and the language of thought hypotheses, among other ideas. He was known for his provocative and sometimes polemical style of argumentation and as "one of the principal philosophers of mind of the late twentieth and early twenty-first century. In addition to having exerted an enormous influence on virtually every portion of the philosophy of mind literature since 1960, Fodor's work has had a significant impact on the development of the cognitive sciences."
In his article "Propositional Attitudes" (1978), Fodor introduced the idea that mental states are relations between individuals and mental representations. Despite the changes in many of his positions over the years, the idea that intentional attitudes are relational has remained unchanged from its original formulation up to the present time.  In that article, he attempted to show how mental representations, specifically sentences in the language of thought, are necessary to explain this relational nature of mental states. Fodor considers two alternative hypotheses. The first completely denies the relational character of mental states and the second considers mental states as two-place relations. The latter position can be further subdivided into the Carnapian view that such relations are between individuals and sentences of natural languages and the Fregean view that they are between individuals and the propositions expressed by such sentences. Fodor's own position, instead, is that to properly account for the nature of intentional attitudes, it is necessary to employ a three-place relation between individuals, representations and propositional contents.  Considering mental states as three-place relations in this way, representative realism makes it possible to hold together all of the elements necessary to the solution of this problem. Further, mental representations are not only the objects of beliefs and desires, but are also the domain over which mental processes operate. They can be considered the ideal link between the syntactic notion of mental content and the computational notion of functional architecture. These notions are, according to Fodor, our best explanation of mental processes.

Did he teach anywhere?



IN: Stephen Russell Davies was born on 27 April 1963 at Mount Pleasant Hospital in Swansea. His father, Vivian Davies (1925-2015), and his mother, Barbara (1929-1999), were teachers. Davies was the youngest of three children and their only son. Because he was born by C-section, his mother was placed on a morphine drip and was institutionalised after an overdose resulted in a psychotic episode.

During his production tenure on Children's Ward, Davies continued to seek other freelance writing jobs, particularly for soap operas; his intention was to eventually work on the popular and long-running Granada soap Coronation Street. In pursuit of this career plan, he storylined soaps such as Families and wrote scripts for shows such as Cluedo, a game show based on the board game of the same name, and Do the Right Thing, a localised version of the Brazilian panel show Voce Decide with Terry Wogan as presenter and Frank Skinner as a regular panellist. One writing job, for The House of Windsor, a soap opera about footmen in Buckingham Palace, was so poorly received that his other scripts for the show would be written under the pseudonym Leo Vaughn.  In 1994, Davies quit all of his producing jobs, and was offered a scriptwriting role on the late-night soap opera Revelations, created by him, Tony Wood, and Brian B. Thompson. The series was a tongue-in-cheek deconstruction of organised religion, and featured his first overtly homosexual character: a lesbian vicar portrayed by Sue Holderness, who came out of the closet in a two-hander episode with Carole Nimmons.  Davies attributes the revelation about Holderness's character as a consequence of both the "pressure cooker nature" of the show and the recent ordination of female vicars in the Church of England. He let his contract with Granada expire and pitched a new early-evening soap opera to Channel 4, RU, with its creator Bill Moffat, Sandra Hastie, a producer on Moffat's previous series Press Gang, and co-writer Paul Cornell. Although the slot was eventually taken by Hollyoaks, he and Cornell mutually benefited from the pitch: Davies introduced Cornell to the Children's Ward producers and established contact with Moffat's son Steven, and Cornell introduced Davies to Virgin Publishing. Davies wrote one Doctor Who Virgin New Adventures novel, Damaged Goods, in which the Doctor tracks a Class A drug tainted by Time Lord technology across several galaxies. The book includes several themes that Davies would intersperse in his later works--including a family called "Tyler" and companion Chris Cwej participating in casual homosexual sex-- and a subplot formed the inspiration for The Mother War, a proposed but never produced thriller for Granada about a woman, Eva Jericho, and a calcified foetus in her uterus.  Davies continued to propose dramas to Channel 4, including Springhill, an apocalyptic soap-opera, co-created by Frank Cottrell Boyce and Paul Abbott, which aired simultaneously on Sky One and Channel 4 in 1996-1997. Set in suburban Liverpool, the series focuses on the devoutly Catholic Freeman family and their encounter and conflict with Eva Morrigan (Katharine Rogers).  He storylined for the second series, but submitted fewer scripts; Granada had commissioned him to write for their soap The Grand, temporarily storyline for Coronation Street, and write the straight-to-video special, Coronation Street: Viva Las Vegas!. The second series of Springhill continued his penchant for symbolism; in particular, it depicted Marion Freeman (Judy Holt) and Eva as personifications of good and evil, and climaxed with a finale set in an ultra-liberal dystopian future where premarital sex and homosexuality are embraced by the Church. Boyce later commented that without Davies' input, the show would have been a "dry run" for Abbott's hit show Shameless.

what happened after 1994

OUT: