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In the early 1970s, Hilary Putnam began to have doubts about functionalism, and in his masterwork 'Representation and Reality' (1988) he advanced four powerful arguments against his own doctrine of computational functionalism. In this book, Jeff Buechner systematically examines Putnam's arguments against functionalism.

This article serves as the general introduction by the guest editors to the first of two thematic issues of Archival Science that will explore the theme, ''archives, records, and power.'' Archives as institutions and records as documents are generally seen by academic and other users, and by society generally, as passive resources to be exploited for various historical and cultural purposes. Historians since the mid-nineteenth century, in pursuing the new scientific history, needed an archive that was a neutral repositories of facts. Until very recently, archivists obliged by extolling their own professional myth of impartiality, neutrality, and objectivity. Yet archives are established by the powerful to protect or enhance their position in society. Through archives, the past is controlled. Certain stories are privileged and others marginalized. And archivists are an integral part of this story-telling. In the design of record-keeping systems, in the appraisal and selection of a tiny fragment of all possible records to enter the archive, in approaches to subsequent and ever-changing description and preservation of the archive, and in its patterns of communication and use, archivists continually reshape, reinterpret, and reinvent the archive. This represents enormous power over memory and identity, over the fundamental ways in which society seeks evidence of what its core values are and have been, where it has come from, and where it is going. Archives, then, are not passive storehouses of old stuff, but active sites where social power is negotiated, contested, confirmed. The power of archives, records, and archivists should no longer remain naturalized or denied, but opened to vital debate and transparent accountability. [PUBLICATION ABSTRACT]

Frederic Jameson and Film Theory is the first collection of its kind, it assesses and critically responds to Fredric Jameson's remarkable contribution to film theory. The essays assembled explore key Jamesonian concepts-such as totality, national allegory, geopolitics, globalization, representation, and pastiche-and his historical schema of realism, modernism, and postmodernism, considering, in both cases, how these can be applied, revised, expanded and challenged within film studies. Featuring essays by leading and emerging voices in the field, the volume probes the contours and complexities of neoliberal capitalism across the globe and explores world cinema's situation within these forces by deploying and adapting Jamesonian concepts, and placing them in dialogue with other theoretical paradigms. The result is an innovative and rigorously analytical effort that offers a range of Marxist-inspired approaches towards cinemas from Asia, Latin America, Europe, and North America in the spirit of Jameson's famous rallying cry: 'always historicize!'.  

To what extent did the Greeks expect a plausible representation in poetry ? The answer depends on at least two things : the period in Greek history we have in mind, also on what we understand by ‘plausible’. Here we shall attempt a general presentation of the issue in view of establishing a history of the plausible in Antiquity. We shall chiefly attempt to establish a few distinctions in order to grasp what the ‘plausible’ is in Greek literature. Taking a few instances of the different ways in which the Greeks posed the issue of the relationship between literature and reality, we shall show that the demand for the plausible in literature is historically determined, that it has an origin and an evolution, which means that it was not there from the outset.

اشتهر ابن رشد بدعوته إلى الارتقاء بالقول الفلسفي عن حيثيات التاريخي وملابسات الجزئي جاعلا من البرهان خطابه، ومن الإنسان بما هو إنسان مخاطبه. ومهمتنا في هذه الدراسة هي أن نذهب في اتجاه آخر، لإثبات وجه آخر لفلسفة ابن رشد يكشف عن بعض مواقفه الدينية والسياسية والاجتماعية؛ من قبيل مقارنة الأديان واستعادته لبعض الأحداث المؤسسة في تاريخ الحضارة الإسلامية، وفي تاريخ الدولة المغربية والحكم بالأندلس، وتدوينه لبعض التمثلات الاجتماعية السائدة في زمنه بخصوص العلاقات بين العرب والبربر. الغرض من البحث هو تتبع هذه التفاصيل التاريخية لفلسفة ابن رشد باعتبارها مدخلا لفهم طريقة تمثله وقراءته لبعض القضايا الدينية والأحداث التاريخية والظواهر الثقافية وطريقة استعادته لها في نصوصه.

This article uses a concept of “organizational historiography” as a way of critical reading the business past, including the literary representations of this past. The author analyzes – as a particular example – some historical contexts of narrations about workplace flexibility as a human challenge. Article refers to a psychological narrative about flexibility accumulated in the early 90s. in Protean Self-concept by Robert Jay Lifton and followed by the contemporary concepts of Resiliency. As the main themes the text outlines the selected literary antecedents of struggle with workplace flexibility on the example of belles-lettres. The author focuses on the intercultural, yet provincial, myths of “Lozdremensch” and “Silesian fate” that was developed in the belles-lettres, which focus of the experiences of the people who were living on Polish territory at the turn of nineteenth and twentieth century and later. According to the author, these myths carries the narrative of a cultural heritage, valid also (or even especially) regarding psychological problems of workplace flexibility today. Such reading of the novels, poetic essays and stories seems to be consistent with the Deirdre McCloskey’s idea that nothing like the work of writers helps to understand and “calibrate” economic reality.

Virtual reality, since being a new form of architectural representation; when compared to traditional forms of representations, is a medium of representation which the narrative techniques are still in the process of developing. In traditional forms of representation, the viewer is actively directed in both the navigation and view, while in the architectural representations in the virtual reality medium, the viewer who now becomes the user, is left to her/his own personal decisions. Hence, the examples produced in the field of virtual reality are less successful in conveying spatial narratives than in traditional types of representation. In this study, a method has been proposed to develop the representation possibilities of the virtual reality environment by using the denotative and connotative meaning creation techniques of cinema. In the proposed method, meaning creation techniques of the cinema were used together with the interaction element of virtual reality, which is its most unique facility. By using the lighting technique between the denotative and connotative meaning creation methods of the cinema dynamically in the virtual reality medium according to the user interaction, introducing a spatial narrative to the user is directed. The discovery of the narrative possibilities of the virtual reality environment will enable it to be used more effectively as an architectural representation and moreover it will ensure this medium to be accepted as a new genre of art production.

Generating a range of concepts is often a significant challenge for novice designers given their limited design experience and domain knowledge. This article develops a tool to support novice designers in formulating a design strategy for converting existing artifacts or mechanical objects into abstract representations. The app-based tool is aimed at supporting novice designers in (1) archiving existing artifacts, (2) converting artifacts into abstract representations for divergent activities, and (3) observing the kinematic movements of three-dimensional mechanical objects through augmented reality. An experiment conducted in 2014 investigated how the tool’s augmented reality function and the proposed strategy supported novice designers. A total of 13 second-year industrial design students generated 88 separate ideas. From 12 possible mechanical movements, four participants generated between 11 and 22 ideas each, while another five participants generated 1 or 2 ideas each. Each participant successfully proposed a concept that adapted the selected mechanism in response to a given problem in a given environment. Comparing pre- and posttest scores of each participant, 11 of 13 participants improved their knowledge of kinematic mechanisms. The results suggested that the use of the proposed tool and strategy has potential to help some novice designers explore new concepts and acquire related design knowledge.

Dans quelle mesure les Grecs attendaient-ils une représentation vraisemblable dans la poésie ? La réponse dépend au moins de deux choses : de la période de l’histoire grecque à laquelle nous pensons, et aussi de ce que nous comprenons par ‘vraisemblable’. Ici, nous tenterons une présentation générale du problème en vue de la construction d’une histoire du vraisemblable dans l’antiquité. Nous essaierons surtout d’établir quelques distinctions pour cerner ce qu’est le « vraisemblable » dans la littérature grecque. En prenant quelques exemples des manières différentes dont les Grecs se sont posé le problème du rapport entre la littérature et la réalité, nous montrerons aussi que l’exigence de vraisemblable dans la littérature est historiquement déterminée, qu’elle a une naissance et une évolution, ce qui veut dire qu’elle n’était pas là dès le début.

Due to its powerful influence as a cultural massive industry, the cinema is one of the most important media used by pedagogues and investigators, as an essential tool to rebel the ideology of a society. However, the one who tries to investigate the philosophic roots of a film, will have to ask himself about the different aspects that take place around the movie, such as the film reception context, its influence and the polemics performed. Bearing in mind the genre to which each film belongs to and the investigator’s followed aims, the use of the Critical analysis, as a study system, is appropriate to locate the film between the creator base and the public. In this way, it is possible to discover the meaning that lies behind the cinematographic work, and its effects. The official story is a movie that shows the different ways in which the political and historical reality representation is done