Aquino Thomas this was their conscious decision. They not only criticized but replaced the medieval world view with their own. And this quest for identity would culminate in a world view that was scientific, mathematical, methodological and mechanical. However, this revolution was accomplished by utilizing the medieval roots of science which, in turn, meant the science of the classical age of Greece and Rome as well as the refinements to that science made by Islamic scholars. They used what they found at hand to create a new outlook on the cosmos, the natural world and ultimately, the world of man. The antecedents to this revolution in thought are found in the 11th and 12th centuries when most of the ideas of the ancient Greek philosophers were wed together into a new body of beliefs. These beliefs were living and vital. We encounter them in the 12th century Renaissance. We find
through Revolutions’. Here Kuhn questions what it is that makes a science. He comments in an interesting way on what differentiates the branches of science. Thus he suggests that a strong sense of identity within a scientific discipline occurs when there is agreement within the community on past and present accomplishments. He also writes about the progress that occured in the arts as representations became more realistic with refinements in the instruments and techniques of the artist. The relationship between the scientific community and the paradigm is emphasised as well as the debate that occurs between schools. Kuhn also suggests that although science progresses it does not necessarily progress towards any specific goal. He also reiterates the effectiveness of scientific revolutions followed by periods of normal science in developing a body of scientific knowledge. However he leaves the reader to answer the question
opposed to descriptions. Notice that, if the Name Claim were correct, then proper names' only function would be to save breath or ink; they would be just shorthand. Searle insists that, rather than being equivalent to a single description, a name functions as a "peg . . . on which to hang descriptions" (1958: 172), and that is what enables us to get a linguistic handle on the world in the first place. We would need to make some refinements. For example, if one is a Searlean it seems natural to require that a "sufficient number" be at least over half--otherwise two obviously distinct individuals could both be the name's referent. Also, we would surely want to say that some of a person's identifying properties are more important than others in determining his or her identity; some way of weighting the identifying descriptions is involved. This Cluster Theory allows Searle to avoid the two objections we have
joined eagerly in dancing at one end of the room. Mr. Darcy stood near them in silent indignation at such a mode of passing the evening, to the exclusion of all conversation, and was too much engrossed by his thoughts to perceive that Sir William Lucas was his neighbour, till Sir William thus began: "What a charming amusement for young people this is, Mr. Darcy! There is nothing like dancing after all. I consider it as one of the first refinements of polished society." "Certainly, sir; and it has the advantage also of being in vogue amongst the less polished societies of the world. Every savage can dance." Sir William only smiled. "Your friend performs delightfully," he continued after a pause, on seeing Bingley join the group; "and I doubt not that you are an adept in the science yourself, Mr. Darcy." "You saw me dance at Meryton, I believe, sir." "Yes, indeed, and received no inconsiderable pleasure from the sight
who never want to grow up. Particular genres of modern stories have their specialized character types, such as the " W h o r e with the Heart of Gold" or the "Arrogant West Point Lieutenant" in Westerns, the "Good C o p / B a d C o p " pairing in buddy pictures, or the "Tough but Fair Sergeant" in war movies. 26 THE ARCHETYPES However, these are only variants and refinements of the archetypes discussed in the following chapters. T h e archetypes we will discuss are the most basic patterns, from which all others are shaped to fit the needs of specific stories and genres. Two questions are helpful for a writer trying to identify the nature of an archetype: I ) W h a t psychological function or p a r t o f the p e r s o n a l i t y does it represent? and 2 ) W h a t is its dramatic function in a story?
annaabi.ee 
