The authors argue that Erving Goffman developed concepts that contribute to an understanding of historical changes in the construction of the self and enable us to see the new forms that self-construction is taking in a society driven by consumption, marketing, and media. These concepts include: commercial realism; dramatic scripting; hyper-ritualization; the glimpse; and the dissolution or undermining of the real, the authentic, and the autonomous. By placing Goffman's under-discussed work, Gender Advertisements, in rapprochement with the work (...) of Guy Debord, Jean Baudrillard, and Fredric Jameson, we draw out shared concerns over the ways that the self becomes externally defined and incoherent in advanced consumer capitalism. We then turn to Goffman's “Territories of the Self” in order to show that Goffman balances his historicist analysis with a theory of a self that can maintain its coherence amidst the fragmenting forces of the media and the consumer society. Thus we document the continuing relevance of Goffman's thought for cultural and media analysis in contemporary consumer society. (shrink)

¿Qué sucede cuando dos o más personas se encuentran en una situación de cara a cara? ¿Cómo se desarrolla la interacción cuando una de ellas comete una torpeza o presenta una discapacidad física o si está considerada como una enferma mental? Erving Goffman , de origen canadiense, ha intentado contestar a ese tipo de preguntas a lo largo de su vida investigadora. Resulta de todo ello una obra abundante, apasionante pero también controvertida, puesto que algunos analistas ven en (...) Goffman el mayor sociólogo de la segunda mitad del siglo XX mientras que otros consideran que sus análisis solo constituyen el reflejo de un punto de vista «pequeño-burgués» sobre la sociedad urbana americana. Este artículo presenta tanto la vida como la genealogía intelectual de ese sociólogo. (shrink)

Series editor's foreword -- Acknowledgements -- Introduction -- The life and times of Erving Goffman -- Reading Goffman "backwards" -- Goffman's "mixed methods" -- Goffman's sociology of everyday life interaction -- Goffman's sociology of deviance -- Goffman and the self -- Goffman on frames, genderisms and talk -- Reading Goffman "forwards" -- The legacy of Erving Goffman -- Further readings.

Erving Goffman’s “Asylums” is a key text in the development of contemporary, community-orientated mental health practice. It has survived as a trenchant critique of the asylum as total institution, and its publication in 1961 in book form marked a further stage in the discrediting of the asylum model of mental health care. In this paper, some responses from a range of disciplines to this text, 50 years on, are presented. A consultant psychiatrist with a special interest in cultural (...) psychiatry and mental health legislation, two collaborating psychotherapists in adult and forensic mental health, a philosopher, and a recent medical graduate, present their varying responses to the text. The editors present these with the hope of encouraging further dialogue and debate from service users, carers, clinicians, and academics and researchers across a range of disciplines. (shrink)

Self-presentation is a term that indicates conscious and unconscious strategies for controlling or managing how one is perceived by others in terms of both appearance and comportment. In this article, I will discuss the phenomenology of self-presentation with respect to the phenomenological insights of Edmund Husserl and Merleau-Ponty regarding the visibility of the body within intercorporeal relations through ‘behaviour’ and ‘expression.’ In doing so, I will turn to the work of the Canadian sociologist and social theorist Erving Goffman. (...) Goffman’s account of self-presentation suggests why embodied subjects adopt certain styles of ordered bodily behaviour as determined by the broader social order, giving existential and social significance to the ontological structures of intercorporeal bodily communication. Following Goffman, I will suggest that the embodied subject is continuously—and constitutionally—engaged in implicit and explicit strategies to manage how the body is presented to others. In articulating self-presentation as a feature of intercorporeality, my aim in this article is to use Goffman’s insights to extend Husserl’s and Merleau-Ponty’s accounts of bodily communication by demonstrating that bodily communication that is instantiated at the level of intercorporeality is always expressed through social life with its various historical, cultural and linguistic dimensions. (shrink)

Si partimos de una definición intuitiva, la conversación ha sido entendida como un tipo de conducta verbal comunicativa que está determinado por un sistema de toma de turno específico, mediado por los intereses y por los propósitos del intercambio comunicativo. Lo anterior trae unas consecuencias de carácter teórico que son abordadas por Erving Goffman y que serán rastreadas en la presente guía bibliográfica en torno al análisis de la conversación, con énfasis en la toma de turnos; esta lista (...) es el resultado de una prolongada lectura de diversos documentos y autores que me permitió organizar una presentación que puede resultar útil al interesado en estudiar estos temas. La primera parte está dedicada a hacer un panorama de las diferentes tendencias y estudiosos sobre el tema. Se intentará hacer una pequeña sinopsis del ambiente teórico donde ha surgido la teorización del problema conversacional. Luego, en la segunda parte, se sintetizarán las principales ideas de nuestro autor sobre el tema del análisis conversacional, a partir de su relación alegórica con el teatro, tratando de presentar las principales ideas del sociolingüista canadiense cuyo trabajo académico ha sido desarrollado fundamentalmente en EE.UU., especialmente en su libro La presentación de la persona en la vida cotidiana (1982). Asimismo, se exhibirán los principales momentos de la investigación de Goffman basadas en la experiencia teatral. (shrink)

This article offers a historical analysis of the relationship between the practice of participant-observation among American sociologists and Erving Goffman’s dramaturgical model of the self. He was a social scientist who privileged ethnography in the field over the laboratory experiment, the survey questionnaire, or the mental test. His goal was a natural history of communication among humans. Rather than rely upon standardizing technologies for measurement, Goffman tried to obtain accurate recordings of human behavior through secretive observations. During (...) the 1950s, he conducted three major studies as a participant-observer, disguised from those studied through insincere performances. As originally presented, his dramaturgical theory did not draw upon the theater as the governing metaphor, but rather the confidence game. It is suggested that Goffman’s writings exemplify what Gerd Gigerenzer calls the tools-to-theories heuristic. Goffman’s depiction of the confidence man’s behavior closely mirrored how he and his fellow sociologists described the practice of participant-observation. Both were represented as embedded and attentive yet coolly detached observers skilled at playing different roles as the situation necessitated. The similarities between his own professional behavior and the activities of the confidence man may have suggested to Goffman the latter as a model for human nature. (shrink)

Metaphorical analogies have been popular in different forms of reasoning, theatre and drama analogy among them. From the semiotic perspective, theatre is arepresentation of reality. Characteristic to theatrical representation is the fact that for creating representations of reality it uses, to a great extent, the materiality andcultural codes that also constitute our everyday life; sometimes the means of representation are even iconically identical to the latter. This likeness has inspirednumerous writers, philosophers and, later, social scientists to look for particular similarities (...) between social life, drama and theatre. In this paper I chose twoparticular approaches from the social sciences that make use of the metaphorical analogy of theatre in quite different, yet, to certain extent, also overlapping ways — Victor Turner’s concept of “social dramas” from anthropology and Erving Goffman’s “dramaturgy” of social interactions from sociology. The former bases hisanalogy more on the structure of the dramatic text and on a key resemblance in the (dramatic) conflict, whereas the latter builds his analogy on the principles ofperforming used in theatre, and regards characters and roles as major resemblances between action on stage and in social space. This paper examines these key resemblances and sheds light on what kind of interpretations of culture and society emerge when theatre analogies are put into action. In the concluding section some general problems, related to extended metaphors and analogical explanations the researcher needs to face with, are discussed. (shrink)

The Boston-Theory about Now-Moments, Moments-of-Meeting and “present moments” up-to-date has not founded this impressive theory in a precise transcript. What are these moments in detail? How to recognize them? There are strong affinities between the microanalytic work of the Boston-Group and social-scientific conversation analysis, but there are deviations, too. In a first part, I will sound out affinities and differences intending to become able to more precisely determine what these moments are and how they can be detected. In a second (...) paper, I will turn to an interview with a holocaust-survivor with the methodological goal to find more methodological precise determinations of what now-moments are. (shrink)

Metaphorical analogies have been popular in different forms of reasoning, theatre and drama analogy among them. From the semiotic perspective, theatre is arepresentation of reality. Characteristic to theatrical representation is the fact that for creating representations of reality it uses, to a great extent, the materiality andcultural codes that also constitute our everyday life; sometimes the means of representation are even iconically identical to the latter. This likeness has inspirednumerous writers, philosophers and, later, social scientists to look for particular similarities (...) between social life, drama and theatre. In this paper I chose twoparticular approaches from the social sciences that make use of the metaphorical analogy of theatre in quite different, yet, to certain extent, also overlapping ways — Victor Turner’s concept of “social dramas” from anthropology and Erving Goffman’s “dramaturgy” of social interactions from sociology. The former bases hisanalogy more on the structure of the dramatic text and on a key resemblance in the (dramatic) conflict, whereas the latter builds his analogy on the principles ofperforming used in theatre, and regards characters and roles as major resemblances between action on stage and in social space. This paper examines these key resemblances and sheds light on what kind of interpretations of culture and society emerge when theatre analogies are put into action. In the concluding section some general problems, related to extended metaphors and analogical explanations the researcher needs to face with, are discussed. (shrink)

Metaphorical analogies have been popular in different forms of reasoning, theatre and drama analogy among them. From the semiotic perspective, theatre is arepresentation of reality. Characteristic to theatrical representation is the fact that for creating representations of reality it uses, to a great extent, the materiality andcultural codes that also constitute our everyday life; sometimes the means of representation are even iconically identical to the latter. This likeness has inspirednumerous writers, philosophers and, later, social scientists to look for particular similarities (...) between social life, drama and theatre. In this paper I chose twoparticular approaches from the social sciences that make use of the metaphorical analogy of theatre in quite different, yet, to certain extent, also overlapping ways — Victor Turner’s concept of “social dramas” from anthropology and Erving Goffman’s “dramaturgy” of social interactions from sociology. The former bases hisanalogy more on the structure of the dramatic text and on a key resemblance in the (dramatic) conflict, whereas the latter builds his analogy on the principles ofperforming used in theatre, and regards characters and roles as major resemblances between action on stage and in social space. This paper examines these key resemblances and sheds light on what kind of interpretations of culture and society emerge when theatre analogies are put into action. In the concluding section some general problems, related to extended metaphors and analogical explanations the researcher needs to face with, are discussed. (shrink)

Erving Goffman's distinctive contribution to an understanding of others was grounded in his information control and ritual models of the interaction process. This contribution centered on the forms of the interaction order rather than self-other relations as traditionally conceived in phenomenology. Goffman came to phenomenology as a sympathetic but critical outsider who sought resources for the sociological mining of the interaction order. His engagement with phenomenological thinkers (principally Gustav Ichheiser, Jean-Paul Sartre and Alfred Schutz) has to be (...) understood in these terms. The article traces basic differences in analytical focus through a range of phenomenological critiques of Goffman and a comparison of salient aspects of Schutz's and Goffman's writings. While the contrasts have perhaps been overplayed, I conclude that Goffman's thinking about others probably owed more to his pragmatist roots than to his later encounters with phenomenology. (shrink)

Erving Goffman's reputation as a cynic stems from his text, The Presentation of Self in Everyday Life, which portrays the self as a manipulative confidence trickster. However, matters are more complicated than they first appear. There are two versions of the text, one published in 1956, the other in 1959, and Goffman's revisions to the latter quietly challenge the cynicism of the former. Focussing on these revisions makes the text look rather different. Goffman has two voices (...) in The Presentation of Self and the aim of this paper is to allow each to be heard. (shrink)

In a talk in 2013, Karin Knorr Cetina referred to ‘the interaction order of algorithms’, a phrase that implicitly invokes Erving Goffman's ‘interaction order’. This paper explores the application of the latter notion to the interaction of automated-trading algorithms, viewing algorithms as material entities and conceiving of the interaction order of algorithms as the ensemble of their effects on each other. The paper identifies the main way in which trading algorithms interact and focuses on two particularly Goffmanesque aspects (...) of algorithmic interaction: queuing and ‘spoofing’, or deliberate deception. Following Goffman's injunction not to ignore the influence on interaction of matters external to it, the paper examines some prominent such matters. Empirically, the paper draws on documentary analysis and 338 interviews conducted by the author with high-frequency traders and others involved in automated trading. (shrink)

Ditton, J. A bibliographic exegesis of Goffman's sociology.--Lofland, J. Early Goffman: syle, structure, substance, soul.--Psathas, G. Early Goffman and the analysis of fact-to-face interaction in Strategic interaction--Hepworth, M. Deviance and control in everyday life.--Rogers, M. F. Goffman on power hierarchy, and status.--Gonos, G. The class position of Goffman's sociology.--Collins, R. Erving Goffman and the development of modern social theory.--Williams, R. Goffman's sociology of talk.--Crook, S. and Taylor, L. Goffman's version of reality.--Manning, (...) P. K. Goffman's framing order: style as structure. (shrink)

Metaphorical analogies have been popular in different forms of reasoning, theatre and drama analogy among them. From the semiotic perspective, theatre is a representation of reality. Characteristic to theatrical representation is the fact that for creating representations of reality it uses, to a great extent, the materiality and cultural codes that also constitute our everyday life; sometimes the means of representation are even iconically identical to the latter. This likeness has inspired numerous writers, philosophers and, later, social scientists to look (...) for particular similarities between social life, drama and theatre. In this paper I chose two particular approaches from the social sciences that make use of the metaphorical analogy of theatre in quite different, yet, to certain extent, also overlapping ways — Victor Turner’s concept of “social dramas” from anthropology and Erving Goffman’s “dramaturgy” of social interactions from sociology. The former bases his analogy more on the structure of the dramatic text and on a key resemblance in the conflict, whereas the latter builds his analogy on the principles of performing used in theatre, and regards characters and roles as major resemblances between action on stage and in social space. This paper examines these key resemblances and sheds light on what kind of interpretations of culture and society emerge when theatre analogies are put into action. In the concluding section some general problems, related to extended metaphors and analogical explanations the researcher needs to face with, are discussed. (shrink)

In this article I will combine Erving Goffman’s sociology with some of the main aspects of Actor-Network Theory in order to outline a theatrical conception of social power. My first aim is to try to summarize the sociological perspective introduced by Kenneth Burke and then improved on by Erving Goffman to understand the face-to-face interactions of everyday life. Secondly, I will try to use the theatrical metaphor underlying this theoretical framework to describe power-over relations in everyday (...) life. Thanks to the combination of the dramaturgical theory proposed by Erving Goffman and the ‘object turn’ given to social theory by Actor-Network Theory, a theatrical conception of power allows the episodic, dispositional and systemic dimensions of power relations to be mapped respectively depending on the actors’ performances, their roles of power and the institutionalized scripts. Moreover, this theatrical representation of power-over relations is a defaced understanding of the phenomenon that enables us to investigate not only its different directional forms (power-to, -over and -with), but also their possible variants (empowerment, resistance, domination and solidarity). (shrink)

It is a philosophical truism that we must think of others as moral agents, not merely as causal or statistical objects. But why? I argue that this follows from the best resolution of an antinomy between our experience of morality as necessarily binding on the will and our knowledge that all moral beliefs originate in contingent histories. We can address this antinomy only by understanding moral deliberation via interpersonal relationships, which simultaneously vindicate and constrains morality’s bind on the will. This (...) means that moral agency is fundamentally social. I model an attitude toward our causal nature on sociologist Erving Goffman’s concept of ‘civil inattention’; our social practice of agency requires that we give minimal attention to the contingent origins of moral judgments in ourselves and others. Understood this way, seeing ourselves as moral agents requires avoiding appeal to causal aetiology to settle substantive moral disagreement. (shrink)

Most patterns of an organism develop reproducibly and predictably. Thus, most biological patterns are largely predetermined by the nature of the zygote and by the nature of the surrounding world. Some ontogenetic patterns can also be considered to be preformed. Eighteenth and nineteenth century definitions of 'preformation' suggested that all aspects of a precursor pattern--its elements and its configuration--are preserved during development. Today, the idea of preformed configurations has been lost. To revive this lost idea, we offer the following biologically (...) contemporary definition for preformed ontogenetic patterns: preformed patterns are those patterns with topologies that have been conserved during their ontogenies. This definition is presented in precise mathematical language, and its application is demonstrated in a system of developing, abstract patterns. (shrink)

Este texto utiliza los análisis sobre la enfermedad mental de Merleau-Ponty para plantearse ciertas preguntas básicas: cuáles son las fronteras entre lo normal y lo patológico, qué tipo de distorsiones introduce la enfermedad mental y en qué ámbitos de la existencia, cómo caracterizar las variaciones de la conducta espaciotemporal a las que nos referimos habitualmente cuando hablamos de enfermedad. Se pone a Merleau-Ponty en diálogo con otros pensadores (señaladamente Erving Goffman) y se articulan sus conceptos respecto de una (...) investigación empírica concreta. (shrink)