Informed by theories of media framing, exemplification, and non-fiction film production, this case study used as its sample for textual analysis the typed transcripts from the final cut of Helen Whitney's (2007) documentary film, The Mormons, and the interview transcripts of the 15 key commentators interviewed for the documentary. These theories suggest that (a) media producers condense topics in the media by selecting information that connects news stories to a larger context and imbues them with symbolic value; (b) verbal and visual examples have been shown to be more easily retrieved in memory than abstract ideas and are consequently judged by audiences to be more common in the real world; and (c) expository non-fiction films are organized in ways that convey objectivity, belying their constructed nature. With the aid of NVivo (2002), the themes in each text were identified and compared in order to evaluate which themes about Mormons were given salience in the film and which themes were de-emphasized in the film. It was found that the themes about Mormons' unusual commitment to their faith, as well as the Mormon Church's historical conflict in the United States and more recently with disaffected church members were accentuated in the film; the film did not equally incorporate the themes of LDS Church officials' self-description of Mormon beliefs and social practices. By coupling a close examination and comparison of the texts with the filmmaker's own personal statements about the making of the film, this thesis suggests that Helen Whitney constructed the film through a process that gave voice to minority viewpoints, challenged institutional or ecclesiastical authority, and favored complexity. As a result of these decisions, for example, the film perpetuated confusion about whether Mormons are Christians, the 19th-century LDS practice of plural marriage, and the current treatment of homosexuals within the LDS Church.

The purpose of this study is to exemplify how the didactic model organized purposes can be used as support for professional experimentation to develop teaching with the working methods of natural science as a content in the primary school. We have done a didactic modeling with the exemplification phase as a research approach. Inspiration has been taken from action research in the research design. With this approach, we have exemplified how the didactic model organized purposes can be used as support in the planning, implementation and evaluation of teaching. To exemplify how organizing purposes provided support in didactic analysis and design of teaching, we completed two complete and started third teaching cycle. In each full cycle, we did an instructional design and then analyzed the outcome using organized objectives. We started the third cycle by making a design proposal. The teaching design was carried out in two different classes in year three at two different schools. Twelve students participated in the first cycle and fourteen students in the second. The content of the scientific method we wanted to teach was the need for control of variables to make fair tests. Implementation was recorded using film recording which was then analyzed using the conceptual apparatus for organizing purposes; overall purpose, proximate purpose, goal-in-sight and continuity. The exemplification shows that organizing purposes provided support for students and for us to teach goal oriented. In the analysis, the conceptual apparatus was a support for seeing parts that can be improved and developed in the teaching design. Our conclusion is that the didactic model organizing purposes can be seen as a successful tool and as a support for teachers to develop their teaching with a science approach as a content in the primary school curriculum. / Syftet med denna studie är att exemplifiera hur den didaktiska modellen organiserande syften kan användas som stöd för lärarprofessionen för att utveckla undervisning med naturvetenskapens arbetssätt som ett innehåll i lågstadiet. Vi har gjort en didaktisk modellering med exemplifieringsfasen som forskningsansats. Inspiration har hämtats från aktionsforskning i forskningsdesignen. Med denna ansats har vi exemplifierat hur den didaktiska modellen organiserande syften kan användas som stöd i planering, genomförande och utvärdering av undervisning. För att exemplifiera hur organiserande syften gav stöd i en didaktisk analys och design av undervisning gjorde vi två hela och påbörjat tredje undervisningscykel. I varje hel cykel gjorde vi en undervisningsdesign och analyserade sedan utfallet med hjälp av organiserande syften. Den tredje cykeln påbörjade vi genom att göra ett förslag på design. Undervisningsdesignen genomfördes i två olika klasser i årskurs tre på två olika skolor. I första cykeln deltog tolv elever och i den andra fjorton elever. Innehållet om det naturvetenskapliga arbetssättet vi ville undervisa var behovet av kontroll av variabler för att göra rättvisa test. Genomförande spelades in med hjälp av filminspelning som sedan analyserades med hjälp av begreppsapparaten i organiserande syften; övergripande syfte, närliggande syfte, mål-i-sikte och kontinuitet. Exemplifieringen visar att organiserande syften gav stöd för att stötta elever och för oss att undervisa målinriktat. I analysen var begreppsapparaten ett stöd för att få syn på delar som kan förbättras och utvecklas i undervisningsdesignen. Vår slutsats är att den didaktiska modellen organiserande syften kan ses som ett framgångsrikt verktyg och som ett stöd för lärare för att utveckla sin undervisning med ett naturvetenskapligt arbetssätt som ett innehåll i lågstadiet.

Beim ersten Teil der Studie handelt es sich um eine Exposition der Symboltheorie Nelson Goodmans, deren Rezeption in der kognitivistischen Analyse der modernen Kunst an Bedeutung gewinnt. Goodmans ÄsthetikKonzeption geht von der philosophischen Problemstellung und vom Beschreiben und Lösen der Ästhetik als Erkenntnistheorie aus, deren kognitive Potentiale auf dem nominalistisch ausgerichteten Standpunkt vor dem Hintergrund seiner Symboltheorie dargestellt werden. Hauptthemen seiner philosophischen Untersuchungen sind die Revision der induktiven Logik und die Theorie der Welterzeugung an vorherrschenden Weltordnungen und pluralistischen Weltauffassungen. Insbesondere wird Goodmans Versuch „Kunstauffassung als ein Symbolsystem“ auf der Basis unserer erkenntnistheoretischen Aktivitäten seinem ästhetischen Anspruch „Erzeugung der Welten durch Kunstwerke“ gerecht, wobei Symbolsysteme ohne Weltbezüge, keineswegs aber Weltbezüge ohne Symbolsysteme behauptet werden. Ziel im zweiten Teil soll der Versuch sein, den abweichenden Sprachgebrauch der Dadaisten zu erläutern und als einen Kunstfaktor hinsichtlich seiner dargebotenen Metapher und ihrer ironischen Züge zu legitimieren. Die Dada-Nonsensprodukte kreieren sich aus skandalösen Vorstellungen von der (literarischen) Kunst, vor allem mit ihrem propagierten Unsinn zu einem signifikanten Bestandteil der Kunst. Der ambivalente Ausdruck „Unsinn“ muss nicht buchstäblich als „unsinnig“ aufgefasst werden; bewusst pocht der Unsinn auf den dadaistischen Status und will sich damit von anderer Kunst absetzen. Für dadaistische Kunstauffassungen gibt es zwei Grundannahmen: Entweder soll Kunst nur anhand des bloß Dargebotenen begriffen werden, unabhängig von allen Begleitumständen, oder, ganz im Gegenteil, Kunst könne nur aus den jeweiligen kontextuellen Gegebenheiten heraus verstanden werden, deren kognitives Potential sie dann wäre. Bei DadaProdukten wird deutlich, dass sie außerhalb ihrer textuell, bildlich oder aktionistisch dargestellten kognitiven Faktoren Bezug nehmen. Unter Bezugnahme auf die Autorität des Dadaismus gerät diese Gestaltung zum Ausbruchsversuch aus herrschenden Denk- und Rezeptionsmustern. So ist der Dada-Nonsens auch als eine Überwindung konventioneller Normierungen zu verstehen, die einen festen Bestandteil jeder Exemplifikation bildet. / The first part of the study is an exposition of the Nelson Goodman’s symbol theory, whose reception in the cognitivistic analysis of the modern art has gained importance. Goodman’s aesthetics conception proceeds with the philosophical problem presentation and from description and release of the aesthetics as an epistemology, whose cognitive potentials on the nominalistic aligned point of view in the context of its symbol theory are represented. Main topics of its philosophical researches are the revision of the inductive logic and the theory of the worldmaking at prevailing world orders and plural views of world. In particular Goodman’s attempt "view of art as a symbol-system" on the basis of our epistemological activities its aesthetic requirement "construction of the worlds by works of art" becomes fairly, whereby symbol-systems without world relations are not maintained by any means, however world relations without symbol-systems. A goal in the second part should be the attempt of describing and of legitimizing as an art factor, regarding its act metaphor and its ironical courses, the deviating linguistic usage of the Dadaists. The products of Dada create themselves from scandalous conceptions of the art, particularly with its publicised nonsense to a significant component of the (literary) art. The ambivalent expression "nonsense" does not have to be understood literally as "nonsensical"; consciously nonsense pounds on the dadaistic status and wants to set off thereby from other art. For dadaistic views of art there are two basic assumptions: Either art is to be understood only on the basis, only the act, independently of all attendant circumstances, or, completely the opposite, art can be understood only from the respective contextual conditions, whose cognitive potential would be it then. With products of Dada, it becomes clear that they can’t be taken out of their textually, pictorially or actionisticly represented cognitive factors. Referring to the authority of the Dadaism this arrangement turns out to the attempt to break through from dominant thinking- and reception-samples. So the Dada-nonsense is to be understood also as an overcoming of conventional standardisations that makes a firm component of each exemplification.

This study was designed to research whether the conditions that give rise to exemplar effects in experimental designs are present in the real world, specifically by conducting a comprehensive content analysis of news articles in weekly U.S. news magazines. Exemplification studies the relationship between examples and the larger population they represent, and how examples effect consumer's perceptions and behaviors (Zillmann & Brosius, 2000). In experimental design several independent variable have been tested and have shown that people's perceptions fall largely in line with the emphasis of the exemplars presented. A stratified random sample of magazines, representative of a whole year, was obtained for TIME and Newsweek. An intercoder reliability test was performed with 11% of the sample. Eighty-seven articles met the coding requirements and generated 873 exemplars. This research developed a significant number of operational definitions and procedures for content analysis of exemplars. A discussion of issues arising in of content analysis that were not manifest in experimental designs is presented such as non-news articles, the presence of bias, and multiple article foci. The concept of primary base rate data, the reasonable reader test, and expanded definitions of visual exemplars are also presented.Several of the conditions that gave rise to exemplification effects in experimental designs were present. Eighty percent of articles had more exemplars than counterexemplars; Sixteen percent of articles contained perceptually enhanced base rate data; Ninety percent of articles contained no ratio data—meaning a judgment of how representative the exemplars were was not possible. The remaining 10% were considered to be non-representative. Some elements considered to give exemplars more influence were not common in weekly U.S. news magazine articles. Direct quotes were used in only 27% of exemplars, with anecdotes comprising 51%. Similarly, the majority of exemplars (52%) came from non-attributed sources or official reports. Vivid emotion was present in only 2% of exemplars. In addition, 31% of articles were judged to be about a single exemplar, with no counterexemplars present. The most common type of image used were innocuous, with threatening images used the least. Fifty-six percent of exemplar sources were not attributed to a gender, 33% of exemplar sources were male and 7% were female. Similarly, 54% of exemplar subjects did not specify a gender, while 25% were about males and 6% were about females.

Cette thèse de doctorat étudie la façon dont Nelson Goodman comprend la correction d’une projection, c’est-à-dire du passage d’un certain ensemble d’items à un ensemble plus large. Une projection est justifiée par sa conformité avec des règles générales de projections et ces règles sont justifiées par leur conformité avec des projections que nous tenons pour valides. Il suffit de décrire pour justifier : une règle est justifiée si elle peut compter comme une description des projections admises. Cette injonction à seulement décrire soulève un dilemme. Si une règle est un standard de la correction de ses cas d’application, comment peut-elle être justifiée par sa seule adéquation descriptive à l’égard de ses cas d’applications ? Si la règle n’est justifiée par rien d’autre, en quoi se distingue-t-elle d’une description de nos comportements réguliers ? Notre objet est de montrer comment Goodman pourrait surmonter ce dilemme. / This PhD dissertation examines how Nelson Goodman understands rightness of projection, i.e. the transition from a set of items to a wider one. A projection is justified by its conformity to general rules of projection and rules are justified by their conformity to some projections we consider valid. To justify, all one needs to do is to describe: a rule is justified if it can count as a description of admitted projections. Yet this call for description faces a dilemma. If a rule is a standard for rightness of its applications, how could it be justified by its sole descriptive adequacy to those cases of application? If a rule is justified by nothing else, what could distinguish it from a mere description of our regular behaviors? Our object is to show how Goodman could resolve this dilemma.

No description available.

This dissertation is a study of a remarkable change that came about in the kind of drawings that architects used to present their work between the decades of 1960 and 1990. Drawings in this period, visually rich and compositionally complex, seemed to mark an entirely new sensibility towards their function; their goal seemed to be not so much to clearly depict the forms of a proposed building, but to instead focus on its conceptual aspects. In fact, in several cases, drawings seemed to be treated as graphic projects in their own right, over and above the work they presented. This trend was accompanied by two other developments. Around the same time, there was a sudden increase in theoretical interest in drawings within the architectural community leading to a flurry of published articles, essays and books on the topic. And all this happened to coincide with the time that the Postmodern movement came to dominate architecture. The study aims to understand the relationship between these trends, and to develop a better understanding of the reasons for these changes to have occurred. It does so by, first, developing a theoretical framework to help understand the nature and impact of the changes in drawings. Next, it presents a detailed historical account of these changes. This is followed by an in-depth study of a single architect, James Stirling, to show how the new types of drawings were not simply a means to present ideas, but played a formative role in design as well. Apart from developing a contextualized historical account of an important development in contemporary architectural history, the study also finds that the change in the drawing practice and the theoretical interests were not simply an outcome of Postmodern cultural theory of the period, but were instigated by concerns that arose from within architecture itself. It thus offers a useful case-study on how changes in disciplinary practice are brought about.