Word: paradigmed
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...when he still cared about human affairs), is one of the most unillusioned films about war made in this or any other country. Derived from the French soldier mutinies in the Vimy Ridge in World War I, the screenplay by Calder Willingham and Jim Thompson is a paradigm of military disfunction. An ambitious general, intrigued by an offer of promotion, leads an already battle-weary battalion on a suicide mission. But the battalion falls back from their advance. Enraged, the general orders three men shot for cowardice as examples for his entire army. During the battle and the trial, Kubrick...
...Many scientists, in fact, see very drastic changes on the horizon. They frequently invoke a model of scientific advance proposed by Historian Thomas Kuhn, who argues in The Structure of Scientific Revolutions that science is not cumulative, but that it collapses and is rebuilt after each major conceptual shift. Paradigms is the word he uses for those overreaching models and theories according to which each new era of science conducts its normal, day-to-day operations. Copernicus, for example, established a new paradigm of science with his heliocentric universe, overthrowing the old. Newton did likewise, and so did Einstein. Following...
...another (telepathy), predict events (precognition) or control an object by their mental powers (psychokinesis), scientists would still ask, How did they do it? What mysterious powers lurk inside them? In short, says Gunther Stent in a recent article in Scientific American, there would have to be some revolutionary new paradigm to explain what now seems to be a complete breach of elementary physical laws...
...times) are attracted by its non-conformist and more Utopian aspects. Yet there are other models (e.g. Weber) by which to approach these issues and it would be ironic to launch the search for a broader and more complex view of economics by matching the overly narrow neo-classical paradigm (to use the language of this debate) with another which in its own way is as narrow and indeed less tolerant of alternative perspectives...
Bertolucci, like Borges, deliberately omits any explanation for the hero's initial treachery. Author and director both are interested not so much in the act itself as in its effects. The measures taken to mask the incident become a paradigm of the process of myth. Bertolucci suggests the perpetual, inexorable influence of the past by the ingenious expedient of having the characters-the mistress, the father's comrades-look in flashback as they do in the present: the same age, the same aspect, even, at times, a suggestion of the same costume. It gives a disquieting, eerie sensation...