Social Structure part II

1. Social Structure part II Erving Goffman Presentation of Self

2. Erving Goffman • When he was teaching at the University of Chicago, Erving Goffman was known for his strange techniques of observing social interactions • He would schedule a class to meet outside on a warm day, and then not show up himself, instead observing how the students handled the situation through binoculars from a distant window

3. Erving Goffman • The Presentation of the Self in Everyday Life (1956).

4. “The Presentation of Self” • "When an individual plays a part he implicitly requests his observers to take seriously the impression that is fostered before them." – (Goffman,1959)

5. Dramaturgical model • Goffman believed in the dramaturgical model of social life, that is, all social life is theatrical • He determined that in life there are actors, scripts, stages and props

6. Front stage • Goffman revolves his view of the human life around the belief that we are all actors who have both a Front stage behavior and a Back stage behavior • From an early age we have become skilled actors and move in and out of 'roles' with precision • We follow the formal societal rules when we are on the front stage reciting a 'script', playing a 'role‘ • This would include going to work, presenting ourselves as the person we should uphold to take part in society

7. Credibility and the Ethical-Virtuous Front • A front must be convincing - "in-line" with expectations • This is significant in terms of attributing ethical, correct or "inappropriate" (if not quite so clearly unethical) characteristics • The actor transmits information via various channels (a process to be controlled if others are to be convinced that behavior is in line with the role and person they assume). • Such credibility is won by satisfying the expected duties and manners of an attributed role being consistent in communication of activities and traits

8. Credibility and the Ethical-Virtuous Front • An "idealized" front conforms to conventions, mores and rules required by the audience (the team, the gang, the public). The aim is for the performance to be believed. The actor wants it - the audience want it. Credibility is manifested in verbal and non-verbal signifiers used to establish intention to verify the integrity and honesty of what is said or done and how it is said/performed.

9. Signs and Signifiers • Various signs and signifiers are used in projecting the front including: • The Social setting (scenery, props, location)The front incorporates the setting and baggage we bring with us • We enter, reside in perform in and leave settings (home, office, surgery, factory floor, the board room, restaurant, bed, funeral procession) and these may offer protections. Some are relatively fixed - some vary according to time (years or moments) or place. • We assemble "sign-equipment" in our settings of interaction and our projection of impression may be turned on/off according to setting. Some impressions in a particular setting may be seen as profane (girlie pictures on locker room walls) depending on the significance of the symbols to the actors and audience

10. Appearance • Appearance is an element of "front" or "role". Expectations about appearance are often regularized or normative within a culture • Appearance works ritualistically to tell of the performer's status - formal or informal, conformity/individuality. Dress, props (clothes, car, house, food, body posture, facial expressions, gestures) serve to communicate gender, status, occupation, age and personal commitments.

11. Manner • Manner - how we play the role; • The personal touch - works to warn others of how the performer will act or seek to act in role - dominant, aggressive, yielding, receptive etc) • A manner is expected - of the doctor, the sales person, the mother, exposed politician.

12. Inconsistency • Inconsistency with appearance and manner may confuse and upset an audience/observer until enough information is gathered to decide what is coherent or what is not • We may not expect a Prime Minister for example to be playing in a rock and roll band (unless it is for charity and only for a few playful moments in a highly controlled setting)

13. Risk Taking • Definition of the "full" self can also involve performance in voluntary, consequential actions (not always available in standard role settings) • Outside of their normal roles, many seek excitement in recreation • Experience of higher risk action in other, outward oriented performances (outside of home, family, a steady low risk job) becomes more important in defining "strength of character“ • Many high risk and action settings provide occasion and place for expression of moral sensibilities such as bravery, courage, determination, reliability, mastery of valued arts which inspires the confidence of others.

14. A Repertoire of Stereotypical Fronts? • We have a repertoire and vocabulary of manageable fronts (Goffman's term) which we use across a multitude of settings • Others anticipate and base expectations "me/you" from stereotypical, stock traits "we" project (e.g. father, tutor, confidant, banker manager, car dealer)

15. Meanwhile..... in private • The actor may behave differently than when in front of the audience • Workers who can justify theft from their employer or excessive travel expense claims to themselves • An accountant who may correct errors and mistakes before a presentation to senior managers (a performance). The fact of the errors is concealed. An impression of infallibility is maintained - protecting the front. • A car dealer may valet and polish a second hand car - concealing the fact that little or nothing has been done to remedy deeper mechanical faults. The dealer however may safeguard his/her position by offering (at a price) a warranty.

16. Back stage • Back Stage behavior is informal, as we'd act when we are amongst friends • Here the front stage impression may be contradicted elaborating the "truth of the performance“ • Secondary presentations arise • Conflict and difference can be more evident as team members may feel less bound by the exigencies of public role (off-the-record)

17. Off-stage • Outside (off-stage)- individual actors may meet the audience independently of the team performance • Specific performances may be given and the audience segmented

18. Self-concept • In the ancient Greek, "personality" has a dramatic meaning - the "mask" we wear it wherever we go as we present ourselves to ourselves and to others • It reflects our self concept - what we seek to maintain about ourselves - the self (mask) we think we have, the one we think we project and that others perceive etc. • "Self" is socially constructed

19. Principles of Performance • Individuals and audiences are taken in with performances • They become a "reality“ • But the performances may be less than convincing - seen insincere, interpreted as a masquerade of self-interest • The performer may consciously guide the audience for his/her own ends

20. The Drama • Through the drama actors give meaning to themselves, to others (and of others) and their situation • Interactions (performances before observers) deliver impressions to others according to the actors goals • Information is exchanged to confirm identity and the significance of behavior • The actor may have no "intent" and may be unaware or uncertain of their performance • Nonetheless others impute attributes to them

21. Groups and membership • The scope for dissent is minimized as individuals must maintain their front/face in line with expectations of team performance. The team also may project a "proper front" for each audience • This guides the team, actors and audience as they maintain consistent interactions and relationships in "appropriate" settings

22. Goffman's framework of analysis casts light on: • How we shape and control the impression we make on others (audience) in order to influence their reactions. • His terminology and account of relationships/ processes enables us to step back from a subjective reality and symbolise/objectivise instances

23. Goffman's framework • The framework is helpful and facilitates some prediction of processes and outcomes of social interaction • We may anticipate (predict) what may happen in various situations e.g. a business person meeting clients for a difficult negotiation. • Actions associated with "front" are symbolized as routines, standard expectations, rituals and cues - abstractions which take concrete form - a process we call "reification" (attributing concreteness to abstracted generalizations)

24. Quiz # 3 • Actors • Script • Stages (Front, back, and off-stage) • Verbal and non-verbal signifiers • Appearance • Manner