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首页> 外文期刊>Studies in History and Philosophy of Science. A >Silent performances:.Are 'repertoires' really post-Kuhnian ?
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Silent performances:.Are 'repertoires' really post-Kuhnian ?

机译：无声表演：。“曲目”真的是后库恩时代的吗？

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摘要

Ankeny and Leonelli (2016) propose "repertoires" as a new way to understand the stability of certain research programs as well as scientific change in general. By bringing a more complete range of social, material, and epistemic elements into one framework, they position their work as a correction to the Kuhnian impulse in philosophy of science and other areas of science studies. I argue that this "postKuhnian" move is not complete, and that repertoires maintain an internalist perspective. Comparison with an alternative framework, the "sociotechnical imaginaries" of Jasanoff and Kim (2015), illustrates precisely which elements of practice are externalized by Ankeny and Leonelli. Specifically, repertoires discount the role of audience, without whom the repertoires of science are unintelligible, and lack an explicit place for ethical and political imagination, which provide meaning for otherwise mechanical promotion of particular research programs. This comparison reveals, I suggest, two distinct modes of scholarship, one internalist and the other critical. While repertoires can be modified to meet the needs of critical STS scholars and to completely reject Kuhn's internalism, whether or not we do so depends on what we want our scholarship to achieve. (C) 2017 Elsevier Ltd. All rights reserved.
机译：Ankeny and Leonelli（2016）提出“剧目”作为理解某些研究计划的稳定性以及总体科学变革的一种新方法。通过将更全面的社会，物质和认知元素整合到一个框架中，他们将自己的工作定位为对科恩式对科学哲学和其他科学研究领域的冲动的修正。我认为这种“后库恩时代”的举动是不完整的，所有曲目都保持着内部主义的观点。 Jasanoff和Kim（2015）的“社会技术假想”与其他框架的比较，准确地说明了Ankeny和Leonelli将实践的哪些要素外部化。具体而言，剧目打折了观众的角色，没有他们，科学的剧目就难以理解，并且在伦理和政治想象力方面缺乏明确的位置，这为其他研究计划的机械推广提供了意义。我认为，这种比较揭示了两种截然不同的学术模式，一种是内部主义者，另一种是批判主义。虽然可以修改曲目以满足STS批判学者的需求并完全拒绝库恩的内部主义，但我们是否这样做取决于我们希望我们的奖学金获得什么。 （C）2017 Elsevier Ltd.保留所有权利。

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