PRESENTATION OF SELF

The Presentation of Self in Everyday Life

The Presentation of Self in Everyday Life

About Erving Goffman

Erving Goffman, born in 1922, in Canada, is studying sociology at Chicago, where he deepened particularly the work of Mead, Freud, Weber, Durkheim and Simmel. He defended his thesis in 1953, "Method of communication within an island community". He taught and focused on research until his death in 1982. Communication is the constant theme of the work of Erving Goffman. He analyzed the social interactions, conversations, rituals of politeness, all that makes the fabric of everyday relationships. The interaction is viewed as a system with standards and regulatory mechanisms.

"The presentation of self in everyday life" was the first work of Erving Goffman. He relates the world to the stage of a theater where people are "actors" who are the role players and social relations are "representations" subject to rules. We will see what those rules are essential to individuals to create an "impression of reality" in others.

Critical Review

The world's a stage

The facts as we prepare to set up interactional constraints faced by the actor and transformed its business in performances. By defining the various terms borrowed from the vocabulary dramatic, we will try to critique some of the concepts of "The presentation of self in everyday life".

Representations

Let's make the various factors that determine the performance of representation. First, we measure the belief of the actor, or rather the faith he has in his role and gives the impression to others. For here it must have faith in his sense of reality. The theatrical production is preceded by a brief assessment of the scope of the drama and the costs of dramatization. The actor then considers ways to invest in the interaction.

The facade embodies the whole apparatus of symbolic and scenic elements. His typology is similar to that of collective representation. Once the actor gives a meaning to things, he learned to integrate his game to the front. It can be identified in two facets of representation. First appearance reveals the social status of the actor and the nature of the rite in which he participated at that time. The other way this indicates the role that the actor intends to play in the interaction. It is also supposed to make work on the relationship between appearance and manner, and the facade in which it operates. This report is more or less coherent. It may be noted as disagreements. This is how the facade plays an undeniable role in the representation (Nash & Calonico, 1996).

To preserve breaks

The representation includes mostly a process of idealization. The actor tries, in fact, to appear better in his eyes and the eyes of his audience. Goffman cites the various stages of completion of this "self improvement". On one hand, some consumers are hidden by the actor; on the other hand, some of the contradictions between appearance and the actual act must be managed flawlessly. Finally, audiences are likely to be separated from each ...