Exemplification

Dans Langages de l'art, Nelson Goodman propose de penser les phé-nomènes expressifs, qu'ils soient artistiques ou non, comme des cas d'exempli cation métaphorique 1. Catherine Elgin, dans un article récent 2 , applique à la danse ce concept d'exempli cation (littérale ou métapho-rique) en prenant appui sur quelques grands courants représentatifs de l'art chorégraphique (ballet classique, expressionnisme moderne, et postmo-dern dance américaine). Ce cadre goodmanien, reposant sur l'opposition massive entre dénotation et exempli cation, me servira de point de départ pour proposer une théorie alternative de l'expression en danse. Dénotation et exempli cation en danse Qu'est-ce qu'un symbole dénotatif en danse ? La dénotation, en vertu de laquelle un symbole (en l'occurrence gestuel) renvoie directement à un individu ou à une propriété (généralement verbalisable), ne concerne que le cas, relativement marginal au sein de la tradition occidentale, de gestes conventionnels et codés, fonctionnant sur le modèle de la langue et venant se substituer à elle. Ainsi en est-il des gestes de la pantomime au sein du ballet classique, qui semblent mimer directement des mots plutôt que des actions : des gestes pour dire « aimer » (la main sur le coeur), des gestes pour dire « se marier » (l'index de la main droite pointé sur l'annulaire de la main gauche), des gestes pour dire « mourir » (les deux index formant une croix), etc. Ces gestes-signes peuvent même se combiner en phrases,

The book deals with the tension between literary examples and exemplary works in philosophical and theoretical research.
The philosophical, as well as the theoretical discourses, like to give examples to illustrate complex ideas, theses, concepts or intricate metaphysical questions. When the examples are literary works, the problem of their usage becomes part of the field of theory and history of literature. None literary work is once and forever bound to one particular theoretical paradigm. On the contrary, once introduced into the order of the discourses about literature, the relevant work distributes an unexpected vitality in the dispute between the different literary schools and trends, concerning the problem: what exactly is that work of art an example of.
The crucial concept of the present course is the example and method of exemplification. The exemplification as an event is divided into two modes. In the first mode, the meta-discourse is searching for its most appropriate example: the example prepon. The event of the illustration is constructed in the very bonding by this particular theory and that particular example. The example is representative of the concrete philosophical concept or paradigm, so even the philosophical thesis could hardly be constructed without the specific example. The power of the paradigm generates the example and vice versa the example more the philosophical construction more plastic, dense and intensive.
Constitutive for the first mode of exemplification is the case with the "Poetics" by Aristotle and "Oedipus Rex” by Sophocles, or the case of the "The Phenomenology of Spirit” by Hegel and "Antigone". Тhis mode produces exemplary works not just as universal rules, but as an inextricable link between the particular theory and the concrete literary work.
The second mode problematizes and deconstructs the clear distinction between a philosophical argument and a literary work. It is seen as writing and speaking on the very edge of the philosophical and the literary in which the philosophical concepts are contaminated by the figurative potential of their illustrations. Plato and Nietzsche are an exemplification for the second mode. As a third step, the seminar will observe the method how both modes produce and actualize the concept of exemplary and exemplary work.
The general framework of the course is outlined in the intersection between philosophy and literature. In the forming of the separate themes for the classes is used the following pattern: one particular philosopher reads a particular literary work. With the examination of the concrete cases, the point is to be shown both the strength of the exemplification as well as the inevitable lapses, lacuna, gaps and overinterpretations in each illustration.

A metametaphysical perspective in no way signifies a final hegemony of metaphysics, conceived as a discipline at once formal and directive, which would replace the metaphysics of first intention. We undertake to show that we can not reduce the metaphysics of the constituent to that of the relation and vice versa and that a mixed metaphysics is inevitable. In this sense, this brief proposition returns to a new interpretation of the paradigmatic couple Plato / Aristotle and in fact contains a plea for Platonist relationalism, partly within the metaphysics of Van Inwagen and Lowe.

There are philosophers who think that it is possible to imagine the metaphysically impossible. On the one hand, there are philosophers that think that only knowledge limits what one can imagine. Prior to knowledge of certain facts the imagination is unbounded. On the other hand, there are philosophers who think that the imagination is unconstrained whatever. I shall argue that (a) it is not actually possible to imagine what is metaphysically impossible, though (b) it appears to be possible. I take this to be a defence of the Kripkean view. I aim to develop an understanding of the imagination that can accommodate this view.

La « réflexivité » est au centre de toutes les disciplines des sciences humaines, bien que traitée à travers une myriade d’approches et même de dénominations. Cette étude en deux parties se propose la double tâche de montrer, premièrement, qu’une question générale de la réflexivité existe et est incontournable pour rendre compte des faits de sens ; deuxièmement, qu’un certain nombre de distinguos s’impose au sein des phénomènes réflexifs. Un cadre à la fois unique et varié est proposé, où l’on discute plusieurs approches relevant de la linguistique, la philosophie du langage, la sémiotique, la sociologie, l’esthétique et les études des arts, autour de notions telles que signification, représentation, énonciation, comportement, image. Sont mises en cause, entre autres, les théories du « méta- » et les approches figurales, ainsi qu’un attachement abusif aux marques de l’énonciation et à la notion d’autoréflexivité.

Givón’s words “today’s morphology is yesterday’s syntax” have been widely used to describe grammaticalization, a process of linguistic change which implies an increase in the grammatical status of a word or construction. In this paper, the process of grammaticalization of (FOR) EXAMPLE and (FOR) INSTANCE from nouns to example markers will be described. The paper will also address the incipient lexicalization of these expressions. However, this process is still at a very early phase. In light of the corpus material, the lexicalization of for example and for instance can be summarized with the analogous formula “today’s syntax might be tomorrow’s lexis”, a more tentative motto since lexical constructions do not frequently originate in syntax. The examples analysed here show that grammaticalization and lexicalization may at times feed each other.

I defend in this paper the thesis that there is a complex relation between minimalist musical works and the metaphysics of time, involving ontological, epistemological and axiological issues. This relation is explained by means of three sub-theses. The first one is that minimalist musical works literally exemplify-in Goodman's sense-the properties ascribed to time by the metaphysical static view: 1) minimalist works intrinsically possess those properties by being composed according to the technique of minimal repetition; 2) they extrinsically refer to those properties in virtue of pragmatic processes of accommodation of disagreements on what is taken to be common ground in a particular musical context. The second sub-thesis is that, in exemplifying those properties, minimalist musical works are valuable from two perspectives: a formalist one, according to which minimalist works purify the concept of what a musical work is; and a cognitive one, insofar they allow us to obtain phenomenal knowledge of what it is like to experience time as the static view conceives it. The third sub-thesis is that each particular minimalist musical work is valuable insofar it achieves either the formalist or the cognitive goals in an original way.

RESUMEN: El objetivo de este trabajo es definir las diferentes funciones de la ejemplificación discursiva en griego antiguo a partir del estudio de los diferentes contextos ejemplificativos que aparecen en La República de Platón. Se parte de la propuesta de un doble prototipo para la ejemplificación, capaz de asumir funciones reformulativas y argumentativas, y se describen los diferentes procedimientos formales que participan en estas estrategias. Finalmente, la aproximación al fenómeno de la ejemplificación da pie a un análisis más detallado de determinados pasajes concretos.
PALABRAS CLAVE: ejemplificación, reformulación, argumentación, diálogo platónico, griego antiguo.

ABSTRACT: This corpus-study based on Plato’s Republic aims to approach exemplification in Ancient Greek. A complete study of every instance of exemplification in this dialogue allows us to describe a double-faced prototype: exemplification takes part in both reformulative and argumentative strategies in discourse. Formal procedures involved in exemplification processes are also described and illustrated. Finally, the analysis gives cause to a more thorough reading of some specific passages.
KEYWORDS: exemplification, reformulation, argumentation, Platonic Dialogue, Ancient Greek.

Ingarden’s official ontology of states of affairs is by no means reductionist. According to him there are states of affairs, but they are ontologically dependent on other entities. There are certain classical arguments for the introduction of states of affairs as extra entities over and above the nominal objects, that can be labelled “the problem of composition”, “the problem of relation” and “the problem of negation”. To the first two Ingarden proposes rather traditional solutions, while his treatment of negation proves to be original and interesting. Ingarden doesn’t deny the existence of negative states of affairs altogether, but he (i) accepts only a restricted group of them and (ii) ascribes to them an extremely weak mode of being. Negative states of affairs are construed as supervenient entities, and their supervenience-basis involves two factors: on the one hand the appropriate positive states of affairs, and on the other hand certain mental acts of conscious subjects. They enjoy thus a curious “half-subjective” mode of being.

A B S T R A C T Examples that learners generate, and questions they ask while generating examples, are both sources for inferring about learners' thinking. We investigated how inferences derived from each of these sources relate, and how these inferences can inform task design aimed at advancing students' knowledge of scale factor enlargement (i.e. scaling). The study involved students in two secondary schools in England who were individually tasked to generate examples of scale factor enlargements in relation to specifically designed prompts. Students were encouraged to raise questions while generating their examples. We drew inferences about students' thinking from their examples and, where available, from their questions. These inferences informed our design and implementation of a set of follow-up tasks for all students, and an additional personalised task for each student who raised any questions. Students showed increased knowledge of, and confidence with, scale factor enlargement independently of whether they asked questions during the exemplification task.

While technology news has become a major news genre, the coverage of high-tech products has
raised concerns regarding the commercialization of journalism. Drawing on salience transfer
and exemplification theory, this study explores how The New York Times and USA Today
covered Apple products along quantity and quality dimensions. A content analysis documented
a landslide in the amount of coverage on Apple products in both newspapers. Both iPhones and
iPads were disproportionately over-covered in relation to their market share. Over one-third of
the headlines about the iPhone covered the product favorably. The New York Times published
more stories about these gadgets than USA Today did, while USA Today was twice as likely to
portray iPhones in a positive light. These findings have raised questions about the commercialization
of technology news and its impact on journalism.

This article analyses the use of the example markers FOR EXAMPLE and FOR INSTANCE in exemplifying, selective and argumentative constructions. Of these three uses, exemplification—twofold sequences with a first general unit or hyperonym and a second more specific item or hyponym—has received recurrent attention in the literature, whereas selection—constructions where the first element is omitted—and argumentation—the use of example markers to connect whole chunks of discourse—have long been ignored. The present study, using data from ARCHER 3.2, shows that the three uses have coexisted since at least the second half of the seventeenth century and that argumentation prevails in both British and American English. Moreover, example markers are very productive in certain genres, such as science, sermons and advertising. Additionally, even though the primary function of example markers is to introduce their scope domain, they have developed different pragmatic values that bring them closer to the category of discourse markers. Thus, for example, their use as mitigators makes them an optimal tool for smoothing interaction and hence reducing the risk of offending our interlocutor.

The concept of stigma is used to analyse religion and social identity in Japan. After the Pacific War, religion in Japan and the social identity it provided can be said to have been stigmatised. Today, religion is still highly visible and still used as a mark of social identity and, thus, the effects of stigmatisation might still seem to be problematic. It is shown that in order to overcome this stigma a discourse has emerged. The discourse is associated with a typical reaction to the kind of threat to social identity and esteem that stigma can bring. This is made sense of through a conceptualisation of stigma incorporating the work of Link and Phelan, Nelson Goodman, and Tajfel and Turner. The stigmatisation and destigmatisation of religion and analytic tools to investigate it are particularly relevant today given the demonisation of Islam. In the past century, the world was riven by two world wars. The latter ended in two atomic bombs falling on two unprepared Japanese cities with consequences that are as unimaginable as they are horrendous. This event hastened the end of the Pacific War. The Japanese surrendered. The Americans came ashore, put an end to the 'State Shinto' system, had the emperor renounce his divinity, and rewrote the constitution. This very process of restructuring Japan ultimately acted to stigmatise religion in Japan to some significant degree. Yet, it seems, today religion is still deeply embedded in the culture and still provides a social identity. A discourse has thus emerged that aims to destigmatise religion in Japan and the social identity it provides. This, it is argued, is done following patterns similar to those identified by social psychologists like Tajfel and Turner. The stigmatisation and destigmatisation of religion and analytic tools to investigate it are particularly relevant today given the demonisation of Islam.

As a process of developing productive skills, writing essay of exemplification is one of the ways to improve your writing skills. The more you write and read, the more of your auto-input to develop your writing skill. This is one of essays i made for my coursework Argumentative and Expository  Writing.

The topic of this article is the processes of modification of lexical meaning under the influence of the use of words in the precedent texts (as texts of culture). The author treats the concept of precedent texts after J. N. Karaulov, the author of the concept of cultural semantics. Therefore, three types of processes are considered: appellativization, exemplification and reinterpretation. The first process is implemented in the form of deonymization, which has various degrees of severity: one maximal in the event of loss of the proper name status, one minimal in the event of allusions and reminiscences. The exemplification of the general concepts enables an impact on the addressee’s emotions and also affects the pragmatic function of the sentence. Reinterpretation consists in narrowing the lexical concept, which is associated additionally with axiological meaning of the word.

My aim in this paper is to discuss the logical form of exemplification. In order to achieve this goal I analyze three views on the logical form of exemplification, namely logical realism, metalinguistic expressivism, and logical eliminativism. I start by examining the account advanced by Bergmann [1960], according to which the logical form of exemplification is represented by the juxtaposition of logical signs in a sentence. Then I consider two alternatives to Bergmann's realism, namely Sellars' metalinguistic expressivism [1962], according to which exemplification is a quasi-semantical relation that is accounted for at a meta-linguistic level; and Cumpa's molecular theory of exemplification [2014a] – which I will call logical eliminativism – according to which exemplification is an eliminable constituent of facts. I conclude that neither the account advanced by Sellars nor the one provided by Cumpa is preferable to Bergmann's account of the logical form of exemplification, while offering a defense of the latter.

While technology news has become a major news genre, the coverage of high-tech products has raised concerns regarding the commercialization of journalism. Drawing on salience transfer and exemplification theory, this study explores how The New York Times and USA Today covered Apple products along quantity and quality dimensions. A content analysis documented a landslide in the amount of coverage on Apple products in both newspapers. Both iPhones and iPads were disproportionately over-covered in relation to their market share. Over one-third of the headlines about the iPhone covered the product favorably. The New York Times published more stories about these gadgets than USA Today did, while USA Today was twice as likely to
portray iPhones in a positive light. These findings have raised questions about the commercialization of technology news and its impact on journalism.

Der Begriff des Paradigmas (griech. paradeigma; lat. exemplar) ist sehr weit. Dem seit der Antike bestehenden Verständnis nach können als Paradigmen partikulare, konkrete Instanzen aber auch allgemeine, modellhafte, abstrakte und apriorische Muster, Ur- und Vorbilder oder Maße bezeichnet werden.  In der letzten Bedeutung ist der Paradigmenbegriff als wissenschaftstheoretischer Grundbegriff maßgeblich geworden. Er umschreibt vor allem eine Funktion: Im Kontext der Wissenschaftstheorie werden Paradigmen als apriori bestehende (Denk-)Formen verstanden, die eine gemeinsame Praxis ermöglichen, indem sie diese konstituieren und orientieren. Dieses Verständnis von Paradigmatizität lässt sich von Platon über Ludwig Wittgenstein bis Thomas S. Kuhn nachzeichnen.
Die sich aus dieser Konzeptualisierung ergebende Erläuterung der Funktionsweise von Paradigmen führt jedoch zu einem gravierenden Problem. So werde ich in einem ersten Schritt mit Rekurs auf Thomas S. Kuhns Theorie zeigen, dass apriori geltende Paradigmen zwar eine intelligible Funktion haben, insofern sie orientieren, was sowohl als Problem- und Gegenstandsbereich als auch als mögliche Lösung in einer Theorie gelten kann, dass sie aber aufgrund ihrer Apriorität zu einem für die Theorie problematischen Rationalitätsdefizit führen. Das Rationalitätsdefizit besteht darin, dass die der Theoriepraxis zugrundeliegenden Paradigmen nicht oder nur schwer identifiziert werden können. Entsprechend lassen sie sich nicht explizieren, reflektieren und kritisieren. Da Paradigmen apriori geltende Ermöglichungsbedingungen sind, hängt ihr Funktionieren auch gar nicht von der Identifizier-, Explizier-, Reflektier- und Kritisierbarkeit ab. Dadurch ist allerdings nicht überprüfbar, ob Paradigmen den Anspruch, Erkenntnis zu ermöglichen, erfüllen. Das führt zu einem Dilemma: Paradigmen ermöglichen Theoriepraxis, gefährden diese aber durch die Weise, wie sie sie ermöglichen. Zugleich sind alle Ergebnisse einer Theoriepraxis in Bezug auf die sie leitenden Paradigmen geltungsrelativ. Um dieser Aporie zu begegnen, brauchen wir Ressourcen, die helfen, Paradigmen zu identifizieren, so dass wir sie anschließend explizieren und reflektieren können; diese müssen zugleich so beschaffen sein, dass sie Paradigmen als geltend oder nicht-geltend ausweisen. Diese Ressourcen können aufgrund der eben bezeichneten Funktionslogik von Paradigmen nicht innerhalb einer paradigmengestützten Theoriepraxis liegen. Theodor W. Adorno hat dieses Problem sehr deutlich gesehen. Auf der Suche nach Instanzen, die das Paradigma des sogenannten ›identifizierenden Denkens‹ zu brechen vermögen, stößt er auf Kunstwerke. Nach ihm reagieren Kunstwerke kritisch auf die problematischen Aspekte von paradigmengestützter Wissenschaftspraxis, d.h. ihre Unreflektierbarkeit und Unkritisierbarkeit, ideologische Tendenz, Apriorität, (de-)formative Kraft. Sie decken das heteronomische Moment paradigmengestützten Begreifens auf, und wandeln es in ein ihrer Autonomie angemessenes Begreifen. Somit werden zwei Auffassungen von Paradigmatizität miteinander konfrontiert: eine apriorische, die der Sache notwendigerweise – da vorgängig – äußerlich und folglich heteronom ist, und eine sich aus der Sache (hier: dem Kunstwerk) heraus generierende und funktionierende, autonome Paradigmatizität. Ergänzend zeigen Nelson Goodmans Ausführungen zur Exemplifikation, dass einige Kunstwerke die Funktion eines Paradigmas einnehmen, weil sie eine besondere Intelligibilität nicht nur im Hinblick auf sich selbst, sondern auch ihnen ähnliche Kunstwerke, ausweisen. Mit Überlegungen Giorgio Agambens, die an die aristotelische Definition des Paradigmas anschließen, werde ich erläutern, dass sich eine solche auf anderes ausgreifende Intelligibilität in einer suchenden Reflexionsbewegung vollzieht. So wird verständlich, dass der (Kunst-)Gegenstand die Gesetze, nach denen er bestimmt und begriffen werden will, selbst bestimmt.

Bir örgütte çalışanlar ile yöneticiler örgütün ve çalışanların amaçlarını gerçekleştirmek üzere işbirliği ve etkileşim içerisinde bulunurlar. Lider ve üye arasındaki etkileşim, üyenin gruba dâhil olup çeşitli süreçlerden geçmesiyle ortaya çıkar. Lider ve üye arasındaki etkileşim sürecinde, lider her astla farklı düzeyde ve farklı boyutlarda etkileşim kurduğu için performans ve rollerin etkisi önem arz etmektedir. Örgüt çalışanları, performanslarını göstermek üzere özveri, fedakârlık, adanmışlık davranışlarıyla amirlerini etkilemeye çalışırlar ve bunun sonucunda da iyi rolleri elde etme beklentileri vardır. İyi rollerin elde edilebilmesi için sergilenecek davranışlar bireyleri kendi çıkarları doğrultusunda cesaretlendirerek diğerlerinin çıkarlarının göz ardı edilmesini sağlayan egoist iklimler yaratılmasında etkili olabilir. Bu çalışmanın amacı lider ile kurulacak etkileşimde çalışanının sergilediği örnek davranışların lider üye etkileşiminin hangi boyutunu nasıl etkilediğinin tespiti bu etkide örgütsel bir değişken olarak egoist iklim algısının aracılık rolünün olup olmadığının araştırılmasıdır.

Cette étude est consacrée au marqueur d'exemplification comme et aux valeurs sémantico-pragmatiques et argumentatives que véhiculent et imposent son emploi et son insertion dans le discours. Comme, nous le savons bien, est polyfonctionnel et susceptible d'apparaître dans des contextes syntaxiques fort divers. Selon Riegel, Pellat & Rioul (2009 [1994]), comme peut être répertorié en tant qu'adverbe, pronom ou conjonction. Halmøy (1998), aussi bien que Fuchs et Le Goffic (2005), estiment que, dans certains cas, comme est aussi une préposition (ex. Il y a comme un défaut). Nous considérons, à la suite de Robert (2003 : 9), que comme est un morphème transcatégoriel puisqu'il fonctionne « à différentes échelles syntaxiques et présent[e] donc une polysémie remarquable s'accompagnant d'un changement de catégorie syntaxique ». Les valeurs sémantiques associées aux segments introduits par comme, aussi variées qu'elles soient, ont été traditionnellement répertoriées sous trois grandes catégories. Voici, par exemple, un résumé de la description que proposent Riegel, Pellat & Rioul (2009) du morphème comme 1 :

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content-related views of aesthetic experience, and on Goodman's and Elgin's concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. Attention to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences.

Examples can be defined as pragmatic insertions in the body of a text which serve a communicative (and sometimes also an ornamental) function. They are useful for making general abstractions easier to follow, or for defending a given standpoint. This paper examines the use of FOR EXAMPLE and FOR INSTANCE to introduce examples, following Eggs & McElholm’s (2013) typology of exemplifying, selective and argumentative uses. Of these, the latter are especially common in both British and American English in the early twenty-first century. The study also reveals that the different positions occupied by the example markers may bring about various pragmatic nuances, such as focus or mitigation. Central to this article is a textual analysis based on the text type within which the selected example markers are used. Overall, whereas FOR EXAMPLE and FOR INSTANCE are rarely used in imaginative prose, they are very frequent in some formal text types, especially in science.

It is not unnatural for theories of art to be explained by the imagination. In this essay a theory of art explains the imagination. This allows one to make sense of an interpretation of Saul Kripke called textbook Kripkeanism. Textbook Kripkeanism interprets Kripke as making the following claim: conceptual modality is equivalent to metaphysical modality. The basic problem with this thesis is that what we think is conceptually possible is sometimes metaphysically impossible. Textbook Kripkeanism explains this as an error of conceivability. This essay uses a theory of art and representation to explain how this view can be accommodated in a theory of the imagination. A problem that Stephen Yablo raises for the version of textbook Kripkeanism outlined here is also sidestepped.

The aim of this study is to analyse the structural features of examples which textbook located and lecturers’ choosed in teaching of engineering calculus. The study had interpretivist paradigm in qualitative research approach and the data collection process was conducted through content analysis method. The course content of calculus, which are lectured by different instructors in engineering departments, are followed during a semester within the context of the study. Examples in the textbooks and the lecture notes are analyzed with document analysis method based on their structural features of representation, language and knowledge. Besides, data are presented with descriptive statistics method. Semi-structured interviews are conducted to detect any possible components affecting lecturers’ exemplification behavior, and the records are interpreted by using the inferential content analysis. The findings show that the examples of both textbooks and lecture notes have a formal language and procedural knowledge. It is also found that lecturers, unlike the content of textbooks, use more algebric representations than graphical ones. The results of the study indicate that the structural features of examples which were choosed by lecturers and which were located in textbook are similar. Besides epistemological belief, the components of the teaching environment and the type of used sources have a significant role affecting the choices of the lecturers. It has been made some suggestions for authors and researchers, which may contribute to the teaching practice for further studies.

Este artigo visa proporcionar ao professor uma perspectiva diferente sobre um recurso que quotidianamente se utiliza no ensino e na aprendizagem de conceitos: os exemplos. Ao material bibliográfico que existe sobre o ensino e aprendizagem de conceitos matemáticos quisemos, no caso particular do conceito de função, acrescentar dois aspectos oriundos de uma linha de investigação emergente, que é a exemplificação de conceitos matemáticos. São eles a transparência e a variação, e podemos encontrá-los nos exemplos que se utilizam numa aula de matemática. Todo exemplo ou coleções de exemplos que utilizamos incorporam estes dois aspectos que, por vezes, utilizamos de forma mecânica e não intencionada. Contudo, tomando consciência das funções da transparência e da variação, estas poderão maximizar a efetividade da exemplificação que usamos no ensino de conceitos matemáticos.

Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content-related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. Attention to these properties make percipients better able to spot them in other entities and scenes as well. The upshot is that an aesthetic commerce with artworks enlarges the scope of what we are able to see and has therefore momentous epistemic consequences.

The purpose of this paper is to understand the relationship between emotional-expressions and tactics of impression-management in the Indian context. There is a need for this paper as there is an absence of Indian contextual paper and differences in inter-country culture. The study includes the hypothesis that says the employees’ expressions vary with the use of different tactics for impression-management and for data collection, the structured questionnaire is being used. The data after the analysis said that there is a negative correlation between the intimidation. The self-promotion tactic has its relationship with the positive emotionalexpression in a negative form. Other tactics are better positively correlated with positive expressions and intimacy. The results of this study will have foremost implications for the salesperson or subordinates because, through this, they will be able to get an idea of choosing a better impression tactic to influence the behavior of customers. Also, it has its implications on managers as they can use the correct bundle of tactics to ensure the work assigned to the sub-ordinates done on time. This paper contains the investigation of the relation between emotional-expressions and the tactics of impression-management which has implications for the managers and their subordinates because it will help them to understand the tactics of impression-management that will be useful to make effective use of them.

The presumed underlying mechanism of exemplification effects is that people generalize single-case media depictions and overestimate their position of social relevance, while at the same time neglecting more valid base-rate information. A 2 × 2 between-subjects experiment with n = 112 participants explored whether these exemplification effects can be explained by presumptions of strong media influences on others. Participants were shown a " rate my professor "-type website stimulus in which a single user had commented on a university course. Results show that fundamental assumptions of exemplification research interact with presumed media influences: exemplification effects can be amplified by third-person perceptions, particularly when people assess public opinion.