Read the article at this address.
First. Read the abstract and mark the key 4 parts of the text ( numbered and highlighted below by me).

http://www.protosociology.de/Download/Green-Self-Expression.pdf

  Next, Read  

 Abstract:

(1)I provide an overview of the main themes, claims, and arguments in support of those claims that form the substance of my book, Self-Expression (OUP, 2007; paperback issue, 2011). (2)I then summarize some recently published comments upon and challenges to certain of those claims and arguments offered by Bar-On (2010), Eriksson (2010), Martin (2010), and Moore (2010).(3) Next, I reply to those comments and challenges, in some cases by clarification of what is in the book, and in other cases by refinement and elaboration thereof. (4)I close with some glimpses ahead to lines of research that I intend to pursue in further development of the book’s main theses.

Second. Read Part 1 Overview of Self-Expression pages 1-6 of the text  and select themes, claims and arguments into a table - I have done this below.

  

Themes	Claims	Arguments
My focus is instead the various ways in which we express ourselves that may but need not involve conventions ............................... four very general models of communication in order to see whether one of them might be both plausible on its own and well suited to show how self-expression relates to other forms of communication. Code Model (communicating is the encoding and then decod­ing of information), the Inferential Model (in communicating we provide our audience with information from which they can infer the content and force of our message), the Extended Senses Model (in communicating we use one another as if they were prosthetic devices extending the power and range of our own senses), and the Signaling Model (in communicating we convey information by design) ......................... I opt for the Signaling Model due to its generality and, as such, its ability to accommodate what is right about its three rivals .................. The notion of design here is meant to include but not be limited to human intention ......................... Chapter Three (“Showing and Meaning”) defends a new notion of speaker meaning eschewing reflexive communicative intentions .............. Chapter Four (“Meaningful Expression”) develops the relation of self-ex­pression to speaker meaning .......................... Chapter Five (“Facial Expression”) explains the opposition between two major views in this field, which I term the Neurocultural View .................. Chapter Six (“Convention and Idiosyncrasy”) traces the development of self-expression from relatively natural cases, such as pan-cultural facial expres­sions, to expressive behavior modified by local cultural norms or individual peculiarities. ...................... The seventh and final chapter of the book, “Expressive Qualities”, focuses on expressiveness as a development from self-expression proper	I take that relation to be a matter of human convention The core intuition driving the analysis of the book is that in self-expression we designedly manifest, display, show, or “press out” something within, and in particular something about our mental lives ....................... As such the project is not committed to providing a theory of self-expression conforming to all of our intuitive judgments and everyday ways of speaking about that phenomenon. ........................ it is consistent with the position I defend that we could discover that scowling is not, even in general, an expression of anger. This is something we could find out in the way that we could find out that lemons are not fruits ........................... Among the more significant are: A self-expression shows a thought, feeling or experience; a self-expression is not a type of statement; a self-expression may be involuntary, voluntary, or both voluntary and willed; self-expression falls into overt and non–overt varieties; we can express ourselves by means of “sayings in our heart”; dramatic performances, when expressive, need not involve self-expression. ................ I argue that the showing involved in self-expression can take any of these three forms ............. When these activities are also designed to convey the information that they do, they also express what they show ........... On that basis I develop an account of how speech acts that have sincerity conditions (like assertions and promises, and unlike appointings), can express the states that those sincerity conditions mandate. ................ I argue that overt forms of self-expression are also cases of speaker meaning. .......... I argue by appeal to these considerations that a facial expression can make an emotion literally perceptible. ................... Further, I argue that once conventionalized systems of self-expression are in place, an avowal of attitude behaves like a measurement thereof by mapping attitudinal contents into the logical space of propositions	For instance, unless we suspect her of dissimulating, it’s natural to describe Alicia, who is clenching her fist and scowling, as expressing not just anger, but her anger. Later on, Alicia’s lingering gaze might express her love for the gaze’s target. Such behavior can be stylized by individual idiosyncracy or culture-specific display rules, but need not be. Instead, what is important is that in so behaving Alicia manifests her anger and love, respectively. the relevant notions of design, and a relevant member of the cluster: manifest-display-show, .................... it is central to the methodology of Self-Expression that the elucidation of its target notion not be purely a priori. .............................. Accordingly, if as a matter of evolution­ary fact, the bright coloration on a tree frog functions to convey to potential predators that its owner is poisonous, then that coloration is a signal in the relevant sense. At the same time, if I tell you that it’s snowing outside with the intention of informing you about the weather, then my utterance is also a signal. ....................... For all we currently know, developments in the evolutionary biology of facial expression could convince us that scowling is not an information-convey­ing adaptation after all. ................... This claim is defended by appeal to the fact that the so-called basic emo­tions are complexes of components including at least dispositions to behavior, physiological responses, and experiential states. Each of these components is characteristic of the emotion of which it is a part, just as skin of a certain color is a characteristic component of the apple of which it is a part .............. This enables me to explain how certain non-structural aspects of music can have—or be naturally felt to have—certain affective qualities. I extend the approach to expressive qualities of representations, showing how a photo can express admiration or a sculpture a sense of grandeur laid waste.

Themes and claims in the last part of the article

III. Looking Ahead

I hope to have shown how the most significant contentions of Self-Expression withstand the scrutiny of the acute commentators who have generously offered their contributions on that work. Nevertheless, their comments have suggested lines of inquiry and development that I hope to pursue in future research. Here are some of the more significant ones:

A. Voluntary and involuntary are perhaps best thought of as extremes along a continuum of behavior. What factors place an action at one rather than an­other point on that continuum? I hope to investigate the interaction of agency with attentional focus, while placing action in a larger framework of branching time in which modality is temporally sensitive.

B. Intermodal congruence merits fuller investigation. I hope to develop the notion of a quality space in further detail, as well as use this structural­ist conception of experience to explain both expressiveness and the limits of spectrum inversion.

C. An evolutionary perspective on expression and, more broadly, the ori­gins of human and other forms of communication is potentially very rich, particularly as it is informed by evolutionary game theory. I have taken a next step in this line of inquiry with Dorit Bar-On (Bar-On and Green 2010; Green ms), with whom I am now collaborating on further projects concerned with language evolution.

D. Empathy is crucially bound up with our ability to show others how our experiences feel, yet it deserves more attention than I’ve been able to devote to it in the volume under discussion here. I’ve attempted to describe in more detail the relation of empathy to artistic expression, as well as to our ability to learn from fiction, in Green (2008) and Green (2010b) respectively. More work remains to be done, however, on the ways in which engagement with literature enables readers to hone their empathetic skills.I am also developing an argu­ment that knowledge-that reduces to knowledge-how, and if that argument can be made successful, it will provide grounds for elaboration of the kinds of know-how that are mobilized by our engagement with the arts.