Search Results for T. S. Kuhn

... Knowledge , in whose twenty-fifth anniversary issue this essay appears. Copyright © 1997 1997 T. S. Kuhn Kuhnianism irrationalism scientific method positivism philosophy of science ...

... A. “ Science as a Weapon in Kulturkämpfe in the United States during and after World War II .” Isis 86 , no. 3 ( 1995 ): 440 – 54 . Hufbauer Karl . “ From Student of Physics to Historian of Science: T. S. Kuhn's Education and Early Career, 1940–1958 .” Physics in Perspective 14 , no. 4...

..., in the military and in business, a cliché about transcending clichés (routine beliefs and practices), but the provenance of these ideas is aca- demic. They derive most directly from T. S. Kuhn and his paradigm shifts but more generally from contextualists and their hard-to-shift contexts. I prefer...

... Butterfield supervised Pocock's doctoral dissertation at Cambridge; paradigm shifts and their inventor, T. S. Kuhn, were recurring subjects in Pocock's writing, “and Kuhn in turn acknowledged the effect on his thinking of Butterfield's work on the history of science.” 8 Meanwhile, the author of “folded...

... .  .   David A. Hollinger, “T. S. Kuhn’s Theory of Science Science of Theory “T.Kuhn’s S. Hollinger, A. David Horst W. Blanke and Jörn Rüsen, eds.,Auf­ der Von...

.... Gombrich), chap. 5; and Pocock, Politics, Language, and Time, chap. 1. 3. Kuhn, Structure of Scientific Revolutions, 111. 4. Gombrich, Art and Illusion, 5 6. P er l C o n te xt u al is m : P ar t 1 4 4 3 5. Fish, Professional Correctness, lecture 4, 71ff. 6. Pocock, Political Economy of Burke s...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...

... is more like a wall being knocked out. His subject is Rembrandt and the act of portrayal—self-portrayal, as in the topos attributed to Cosimo di’ Medici: “Every painter paints himself” (ogni dipintore digigne s Does he really? How can a painter paint himself if his self-image is formed in the eyes...