Seems like it needs a new, less casually racist edition, but otherwise a classic, solid introduction to works in the sociological field. ( )

https://nwhyte.livejournal.com/2897998.html

Goffman takes the theatre as his metaphor and calls attention to how, in their social interactions, human beings are often consciously (or sub-consciously) playing a role, using props such as clothes, tools, buildings, and performing to different audiences in different characters. It would be going too far to say that he has discovered the secret to understanding why everyone does everything, but the concept I think is a useful tool for unlocking particular situations and conversations in terms of their setting and format as much as (or even instead of) their content. His observations of how the staff behave in Scottish hotels - very differently depending on whether they are in front of guests or not - were particularly interesting for any client-facing workers. The style is of course a bit dated now, but the material is very interesting. ( )

The thesis of this little book came close to "No shit, Sherlock" territory for me. We perform our roles in life to convince the people around us that we are who we say we are. What makes the book valuable is how Goffman broadens this simple concept by showing how broadly this observation can be applied and how deep we can take the concept into the human psyche. The book draws on ethnographies from various places in the world to show just how the basic theories play out within cultural contexts.

You might not find this book changing your behavior any, but it just might change how you interpret the behavior of those around you. ( )

If you’re a Martian, or in the far end of the autism spectrum, or a cockroach archeologist from the future, you need to read this book. It's the best description I’ve ever seen of human beings—how they go about living, and why. Ever had the inkling that everyone is faking it all the time—at such a fundamental level that the moral charge of “faking” stops making sense? Then read this book. It’s one of those Weltanschauung-changing treatises that manage to single out and name, with seemingly magical explanatory powers, dozens of important phenomena that you always knew were there, but couldn’t think about clearly because they had no names. By the end of the book you’ll have neck pain, because you’ll be nodding the entire time. A path to knowledge this clear and enlightening could only be created by the author’s commendable commitment to honesty: he isn’t here to judge, recommend, or lecture; his one unwavering desire is to find out what _is_.

Goffman’s prose is not obscure as some have claimed, but it’s dense—often enough, a single paragraph or sentence is heavy with meaning, and you’ll find yourself coming back to ruminate. It’s the kind of book that requires one to climb the walls of words with icepicks—but every meter climbed opens new, fascinating vistas. Totally worth it. ( )

A generally engaging and broad exploration of the ways in which we attempt to define the situations we live in by how we present ourselves and by how we treat others' presentations of themselves to us. ( )

How we rehearse and perform in all jobs.

The self's presentation is analyzed in largely dramatic terms: stage, backstage, audience, including the various threats to and supports of the performance. This analysis raises some interesting questions in my mind about language theory, the status of the self (almost in a Buddhist sense of this issue) and the strength of will (almost in the Nietzchean sense of this issue). ( )

An interesting view, a type of formalization and definition, of the many components involved in ordinary social interactions, including those of teams (work places, homes, etc). Also included are all the numerous ways that these presentations can go wrong. Written in a scholarly manner, readable but dense. ( )

I picked this up as material for a 2nd year Social Psychology course instructed by Professor R. Prus at the University of Waterloo. It is an essential text, along with Mead, Simmel, and Blumer, for understanding the groundworks of the Symbolic Interactionist approach to ethnographic research and the study of human interaction and lived experience in everyday life.

How we rehearse and perform in all jobs.

Goffman takes an inductive approach to a form of symbolic interactionism. He examines the ways in which people present themselves and exhibit their activities to the world around them. He talks of impression management in which the individual is able to manage and manipulate their own impressions in order to extract a desired response from others. He analyses the individual and the self, viewing these as a product of social interaction. Goffman’s theory of identity uses ‘dramaturgy’ as a metaphor to suggest that we are all participants in some kind of great theatrical performance. We have roles, routines, and representations that we portray to our audience in the ‘front’, ‘back’, and ‘outside’ regions of the stage; the stage being the arena in which social interaction takes place, and the audience refers to others with whom we communicate. According to Goffman, people in the presence of others typically ‘dramatize’ their actions whilst highlighting and emphasizing those aspects of what they are doing, that they wish to convey the most. His ‘dramaturgical’ analysis provides a theatrical analogy to the social interaction of people. Roseneil and Seymour’s (1999) claim, that the range of identity options available to the individual is limited, is somewhat substantiated in Goffman’s work as he refers to the self as being restricted to contextual circumstances with a flexibility that occurs during social interaction. However, Goffman’s definition of the self proposes that it is a product of social construction. Therefore, it may be feasible to suggest that in Goffman’s view, identity may be unlimited in the sense that it can be constructed in many different ways within the myriad of contextual social interaction. ( )

http://rivkat.livejournal.com/123816.html ( )

100 GOF 1