Dramaturgy (sociology)

1027:(1974), Goffman writes, "What is important is the sense he provides them through his dealing with them of what sort of person he is behind the role he is in." The dramaturgical perspective can be seen as an anchor to this perspective, wherein the individual's identity is performed through role(s) and consensus between the actor and the audience. Because of this dependence on consensus to define social situations, the perspective argues that there is no concrete meaning to any interaction that could not be redefined. Dramaturgy emphasizes expressiveness as the main component of interactions; it is thus termed as the "fully two-sided view of human interaction." 998:, meaning 'a mask worn by actors'. One behaves differently (plays different roles) in front of different people (audiences). A person picks out clothing (a costume) that is consistent with the image they wish to project. They enlist the help of friends, caterers, and decorators (fellow actors and stage crew) to help them successfully “stage” a dinner for a friend, a birthday party for a relative, or a gala for a fundraiser. If they need to adjust their clothing or wish to say something unflattering about one of their guests, they are careful to do so out of sight of others (backstage). One's presentation of oneself to others is known as 47: 1290:

actions are not to please anyone but the self. Back stage is where performers are present but audience is not, hence the performers can step out of character without fear of disrupting the performance. It is where various kinds of informal actions, or facts suppressed in the front stage, may appear. Simply put, the back stage is completely separate from the front stage, and it is where the performance of a routine is prepared. No members of the audience may appear in the back, and the actor takes many methods to ensure this.

3201: 3251: 1673: 843: 3237: 3225: 936:. The fundamental difference between Burke's and Goffman's view, however, is that Burke believed that life was in fact theatre, whereas Goffman viewed theatre as a metaphor. If people imagine themselves as directors observing what goes on in the theatre of everyday life, they are doing what Goffman called dramaturgical analysis, the study of social interaction in terms of theatrical performance. 1086:. Inopportune intrusions may occur in which a backstage performance is interrupted by someone who is not meant to see it. In addition, there are examples of how the audience for any personal performance plays a part in determining the course it takes: how typically people ignore many performance flaws out of tact, such as if someone trips or spits as they speak. 1647:

right") as part of their job responsibilities. They speak differently when going out to the break room: they may complain, mimic and discuss with their fellow peers how irritating and rude the customer is. In this example, the waiter acts a certain way when dealing with customers and acts a completely different way when with her/his fellow employees.

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be relatively unprepossessing...front regions where a particular performance is or may be in progress, and back regions where action occurs that is related to the performance but inconsistent with the appearance fostered by the performance...a third region...namely, all places other than the two already identified... called 'the outside.'

1658:“authoritative performance” of ones lifestyle. A dynamic is created between the user and their followers where the user is in control of how and what represents them, while the followers are spectators to this presentation of the user's self but they themselves are also presenting themselves in the same way. 2034:

The line dividing front and back regions is illustrated everywhere in our society…in all classes in our society there is a tendency to make a division between the front and back parts of residential exteriors. The front tends to be relatively well decorated, well repaired, and tidy; the rear tends to

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refers to work on maintaining the desired impression, and is composed of defensive and protective techniques. Protective techniques are used in order to cover mistakes, only once the interaction begins. For example, relying on audience to use tact and overlook mistakes of the performers. In contrast,

959:, and beliefs. Performances can have disruptions (actors are aware of such), but most are successful. The goal of this presentation of self is acceptance from the audience through carefully conducted performance. If the actor succeeds, the audience will view the actor as he or she wants to be viewed. 2319:

A region may be defined as any place that is bounded to some degree by barriers to perception... back region tends to be defined as all places where the camera is not focused at the moment or all places out of range of 'live' microphones... impression management is the moment when a performer leaves

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During the front stage, the actor formally performs and adheres to conventions that have meaning to the audience. It is a part of the dramaturgical performance that is consistent and contains generalized ways to explain the situation or role the actor is playing to the audience that observes it. The

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The notion of an outside region that is neither front nor back with respect to a particular performance conforms to our common-sense notion of social establishments...most buildings... rooms that are regularly or temporarily used as back regions and front regions...the outer walls of a building cut

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Perinbanayagam (1985, pp. 9-10, 39-52, 84-100) offers the most advanced dramaturgical theory of those human social acts that produce meaning. ...Drawing on Mead ...Incorporating elements of Chomsky's theory of syntax ...incorporates Kenneth Burke's pentad (act, scene, agent, agency, and purpose) is

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is where "the performer can relax; he can drop his front, forgo speaking in his lines, and step out of character." When the individual returns to the back stage, they feel a sense of relief knowing the actions that would not be condoned in the front stage are free to be expressed. In the backstage,

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Within society, individuals are expected to present themselves in a certain way; however, when a person goes against the norm, society tends to notice. Therefore, individuals are expected to put on a costume and act differently when in front of the 'audience'. Goffman noticed this habit of society

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can be described as dramas in which protagonists and antagonists compete to affect audiences' interpretations of power relations in a variety of domains." The people seeking power present their front stage self in order to captivate attention. However, the back stage self is still present, though

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A useful, and everyday way of understanding dramaturgy (specifically front stage and back stage) is to think of a waiter or waitress at a restaurant. The main avenue of concern for the waiter is "customer service." Even if a customer is rude, one is expected to be polite ("the customer is always

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behavior, which are actions that people engage in when no audience is present. For example, a server in a restaurant is likely to perform one way in front of customers but might be much more casual in the kitchen. It is likely that he or she does things in the kitchen that might seem unseemly in

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as "that part of the individual's performance which regularly functions in a general and fixed fashion we define the situation for those who observe the performance. Front, then, is the expressive equipment of a standard kind intentionally or unwittingly employed by the individual during his

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A 'performance' may be defined as all the activity of a given participant on a given occasion which serves to influence in any way any of the other participants. Taking a particular participant and his performance as a basic point of reference, we may refer to those who contribute the other

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In terms of social media profiles, users and their followers share a social space online. Social media users create profiles and post things that are specifically curated to portray a certain image that they want their followers to see. Often times this curated image is a facade. This is an

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view of the situation to avoid confusion (misrepresentation) and strengthen other elements (e.g., fronts, dramatic realization). Audiences often have an 'idea' of what a given situation (performance) should look like, and performers will try to carry out the performance according to that

1053:, which serves as a script, supplying dialogue and action for the characters. Just as on the stage, people in their everyday lives manage settings, clothing, words, and nonverbal actions to give a particular impression to others. Goffman described each individual's "performance" as the 1427:

There are three basic roles in Goffman's scheme, each centered on who has access to what information: performers are most knowledgeable; audiences know only what the performers disclosed and what they have observed themselves; and outsiders have little if any relevant information.

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A back region or backstage may be defined as a place, relative to a given performance, where the impression fostered by the performance is knowingly contradicted as a matter of course...Here the performer can relax; he can drop his front, forgo speaking his lines, and step out of

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are not involved in the performance (although they may not be aware of it). The off-stage is where individual actors meet the audience members independently of the team performance on the front stage. Specific performances may be given when the audience is segmented as such.

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there is the 'setting,' involving furniture, decor, physical layout, and other background items which supply the scenery and stage props for the spate of human action played out before, within, or upon it…we take the term 'setting' to refer to the scenic parts of expressive

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Borders, or boundaries, are important as they prevent or restrict movement of individuals between various regions. Performers need to be able to maneuver boundaries to manage who has the access to the performance, when and how. The border phenomenon is highlighted by

1168:: a portrayal of aspects of the performer that they want the audience to know. When the performer wants to stress something, they will carry on the dramatic realization, e.g. showing how accomplished one is when going on a date to make a good first impression. 1496:: individuals who are present during the performance, may even be allowed in the back stage but are not part of the 'show'. Their role is usually obvious and thus they are usually ignored by the performers and the audience. Example: a waiter, cleaning lady. 1093:

are groups of individuals who cooperate with each other in order to share the 'party line.' Team members must share information as mistakes reflect on everyone. Team members also have inside knowledge and are not fooled by one another's performances.

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If we take the term 'setting' to refer to the scenic parts of expressive equipment, one may take the term 'personal front' to refer to the other items of expressive equipment, the items that we most intimately identify with the performer

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consists of items or equipment needed in order to perform. These items are usually identifiable by the audience as a constant representation of the performance and actor. The personal front is divided into two different aspects:

1192:: the danger of conveying a wrong message. The audience tends to think of a performance as genuine or false, and performers generally wish to avoid having an audience disbelieve them (whether they are being truly genuine or not). 1186:: the need to stay 'in character'. The performance has to make sure that they send out the correct signals, as well as silencing the occasional compulsion to convey misleading ones that might detract from the performance. 1503:: individuals whose specialized services are required, usually by the performers. They are often invited by the performers to the back region. Example: hairdresser, plumbers, bankers with tax knowledge. 1790:

performances as the audience, observers, or co-participants...When an individual or performer plays the same part to the same audience on different occasions, a social relationship is likely to arise.

1595:: minimizing risk by preparing for expected problems. Being careful to avoid situations where a mistake or a potential problem can occur, choosing the right audience, length and venue of performance. 1360:

seem to reflect this as the enactments of exclusion, and dissociation seem to be an essential feature of such. The enactment of exclusion from a society seem to be essential for the formation of an

1484:: usually acts with the permission of both sides, acting as a mediator and/or messenger, facilitating communication between various teams. Go-between learn many secrets, and may not be neutral. 1162:"): a standardized, generalizable, and transferable technique for the performer to control the manner in which the audience perceives them. People put on different masks throughout their lives. 1200:: the concealment of certain information from the audience, whether to increase the audience's interest in the user or to avoid divulging information which could be damaging to the performer. 1604:

Believing that theories should not be applied where they have not been tested, it has been argued that dramaturgy should only be applied in instances that involve people associated with a

1457:: this role is an opposite of the informer; the shill pretends to be a member of the audience but is a member of the performing team. His role is to manipulate the audience reactions. 1209:

Stages or regions refer to the three distinct areas where different individuals with different roles and information can be found. There are three stages: front, back, and outside.

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Before interaction with another, an individual prepares a role, or impression, that he or she wants to make on the other. These roles are subject to what is, in theater, termed

1464:: a member of the audience who has much information about the performance in general. The spotter analyzes the performers and may reveal information to the audience. Example: 1151:

in the part that one is playing: Belief is important, even if it cannot be judged by others; the audience can only try to guess whether the performer is sincere or cynical.

1442:: a pretender to the role of a team member who gains teams trust, is allowed backstage, but then joins the audience and discloses information on the performance. Example: 2205:'Manner' may be taken to refer to those stimuli which function at the time to warn us of the interaction role the performer will expect to play in the oncoming situation. 1418:: the secrets of another, unrelated to oneself, that can be disclosed while still maintaining the role. Disclosure of such secrets should not affect the performance. 1296:

is a relative term, in that it exists only in regards to a specific audience: where two or more people are present, there will almost never be a true 'back region'.

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he audience, in their turn, often assume that the character projected before them is all there is to the individual who acts out the projection for them.

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is not a stable and independent psychological entity, but rather, it is constantly remade as the person interacts with others. In a dramaturgical model,

1400:: represent the team's goals, capabilities and know-hows which allows the team to control the audience and lead it in the direction the team desires. 2390: 1929: 1588:: dedicating oneself to the performance but without losing oneself in it. Self-control, making sure one can play the part properly, rehearsal. 426: 1379:

Many performances need to prevent the audience from getting some information (secrets). For that, several specialized roles are created.

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both types of rooms off from the outside world. Those individuals who are on the outside of the establishment we may call 'outsiders.'

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In addition to this, it also has been said that dramaturgy does not contribute to sociology's goal of understanding the legitimacy of

1406:: represent information known by the team and are seen as something that is shared only with other teammates to increase team bonding. 2409: 2089: 1638:

For one, dramaturgy has been used to depict how social movements communicate power. Robert D. Benford and Scott A. Hunt argued that "

1281: 1227: 1054: 918: 1270:, which refers to the way an actor conducts themselves. The actor's manner tells the audience what to expect from their performance. 17: 2424: 1356:

central issue. Thus the study of liminality in sociology, ritual and theatre reveals the fictional elements underpinning society.

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In general…the back region will be the place where the performer can reliably expect that no member of the audience will intrude.

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then put forth. Perinbanayagam's view of the sign and the signifying act may be diagrammed as follows: Signifying Act: Sign:

451: 2177:'Appearance' may be taken to refer to those stimuli which function at the time to tell us of the performer's social statuses. 1552:: between team members, during the performance but not endangering it. Example: staging cues, kicking a friend under a table. 1352:

conglomerate, rather such than a unitary or arborescent whole. Border-control, so to speak, becomes in a paradoxical fashion

3276: 2458: 2312: 2283: 2255: 2226: 2198: 2170: 2141: 2112: 2027: 1811: 1782: 1394:: represent information about the performing team which could contradict the image the team is presenting to the audience. 947:

is a sense of who one is, a dramatic effect emerging from the immediate scene being presented. Goffman forms a theatrical

873: 470: 2063: 1412:: secrets have to be kept in order to maintain the role and team integrity; keeping them demonstrates trustworthiness. 2795: 2360:

Benford, S.; Hunt, S. (1992). "Dramaturgy and Social Movements: The Social Construction and Communication of Power".

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Performers may communicate out of character on purpose, in order to signal to others on their team, or by accident.

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appearance, which refers to the items of the personal front that are a reflection of the actor's social status; and

261: 1059:; a person's efforts to create specific impressions in the minds of others. This process is also sometimes called 3241: 3122: 3043: 2745: 1512:: individuals who are similar to the performers but are not members of the team in question. Example: coworkers. 561: 346: 97: 2503: 1555: 1255:

is the scene that must be present in order for the actor to perform; if it is gone, the actor cannot perform.

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Treatment of the absent: derogatory discussion of the absent audience or performers affecting team cohesion.

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Dramaturgy has also been applied to the emerging interdisciplinary domain of scholarly research known as

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behaviour, which are actions that are visible to the audience and are part of the performance; and

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in defining the method in which one human being presents itself to another based on cultural

926:, whom Goffman would later acknowledge as an influence, had earlier presented his notions of 822: 647: 576: 551: 456: 381: 341: 301: 286: 251: 224: 151: 3068: 3038: 2820: 2765: 2705: 2695: 2625: 2483: 2478: 817: 619: 586: 556: 391: 361: 351: 281: 266: 61: 56: 2885: 671: 8: 3186: 2910: 2790: 2740: 2645: 2635: 2526: 2444: 2425:

The Presentation of Self in Everyday Life: The Main Argument, and the Starting Assumption

1010: 691: 436: 336: 174: 161: 1843: 1581:: work to keep the team members loyal to the team members and to the performance itself. 1038:

is analyzed in terms of how people live their lives, like actors performing on a stage.

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There are seven important elements Goffman identifies with respect to the performance:

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Adler, Patricia A.; Adler, Peter; Fontana, Andrea (1987). "Everyday Life Sociology".

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There are different types of secrets that have to be concealed for various reasons:

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The Glamour of Motives: Applications of Kenneth Burke within the Sociological Field

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Social Exchange, Dramaturgy and Ethnomethodology: Toward a Paradigmatic Synthesis.

1251:, two concepts that are necessary for the actor to have a successful performance. 3161: 3015: 3010: 2990: 2965: 2880: 2865: 2815: 2665: 2650: 2640: 2554: 2516: 1696: 1368: 1361: 779: 775: 759: 739: 667: 655: 544: 516: 461: 421: 186: 136: 1932:." Classical Sociological Theory . OH: Ohio State University. Archived from the 1340:

The management of thresholds may be operated on several axes; the most crude is

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defensive techniques are employed before an interaction begins, and involves:

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are dependent upon time, place, and audience. In other words, to Goffman, the

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undetectable. This is a competition of power, a prime example of dramaturgy.

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Staging talk: discussion of technical aspects of the performance, gossip.

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Goffman explains that the front stage involves a differentiation between

1020:, it analyzes the context. This is, however, debatable within sociology. 743: 715: 687: 571: 526: 256: 231: 2278:. New York: Anchor Books: A Division of Random House, Inc. p. 135. 2250:. New York: Anchor Books: A Division of Random House, Inc. p. 113. 2221:. New York: Anchor Books: A Division of Random House, Inc. p. 112. 3146: 2620: 2564: 2193:. New York: Anchor Books: A Division of Random House, Inc. p. 24. 2165:. New York: Anchor Books: A Division of Random House, Inc. p. 24. 1806:. New York: Anchor Books: A Division of Random House, Inc. p. 48. 1651: 1616: 1585: 1558:: between members of opposing teams. For example: unofficial grumbling. 1519:: individuals to whom the performer reveals details of the performance. 1326: 971: 902: 276: 196: 121: 2320:

the back region and enters the place where the audience is to be found

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Roles dealing with facilitating interactions between two other teams:

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or theoretical frameworks because, rather than examining the cause of

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Contemporary Sociological Theory and Its Classical Roots: The Basics.

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Dramaturgy can also be applied to all aspects of theatre performers.

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studies, which deals with human identity in a technological society.

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that is designed to be seen by others and to improve one's public

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Classical and Contemporary Sociological Theory: Text and Readings

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accounts of everyday social interactions through the analogy of

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The theatrical metaphor can be seen in the origins of the word

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Roles dealing with manipulation information and team borders:

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actor knows that they are being watched and acts accordingly.

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In dramaturgical sociology, it is argued that the elements of

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The term was first adapted into sociology from the theatre by

909:", "audience" members, and various "front" and "back" stages. 2430: 906: 2436: 1544:

Common frontstage communications out of character include:

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Frame Analysis: An Essay on the Organization of Experience

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Common backstage out-of-character communications include:

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Dramaturgical perspective is one of several sociological

1097: 974:. In addition to Goffman, this concept has been used by 1307:, or off-stage, is the place where individuals who are 1668: 2402:The Drama of Social Life: A Dramaturgical Handbook 2051: 1930:Goffman: The Presentation of Self in Everyday Life 2391:Role Distance: On Stage and On the Merry-Go-Round 2382:Brissett, Dennis, and Charles Edgley, eds. 1990. 1829: 1525: 3268: 1744:(7th Canadian ed.). Toronto: Pearson Canada Inc. 2050:Appelrouth, Scott; Edles, Laura Desfor (2008). 2049: 1068:Goffman makes an important distinction between 1041:This analysis offers a look at the concepts of 1740:Macionis, John J., and Linda M. Gerber. 2010. 1431:These roles can be divided into three groups: 1329:, and thus prolonged in the imaginable field: 1030:Dramaturgical theory suggests that a person's 2452: 1881: 1879: 867: 2384:Life as Theater: A Dramaturgical Source Book 2345:Dramaturgical Analysis and Societal Critique 2334:. 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Piscataway, NJ: Transaction Publishers. 2305:The Presentation of Self in Everyday Life 2276:The Presentation of Self in Everyday Life 2248:The Presentation of Self in Everyday Life 2219:The Presentation of Self in Everyday Life 2191:The Presentation of Self in Everyday Life 2163:The Presentation of Self in Everyday Life 2134:The Presentation of Self in Everyday Life 2105:The Presentation of Self in Everyday Life 2090:The Presentation of Self in Everyday Life 2020:The Presentation of Self in Everyday Life 1804:The Presentation of Self in Everyday Life 1775:The Presentation of Self in Everyday Life 1489:Roles that mix front and back region up: 1282:The Presentation of Self in Everyday Life 1228:The Presentation of Self in Everyday Life 919:The Presentation of Self in Everyday Life 2395:Journal of Dramatic Theory and Criticism 1562: 2386:(2nd ed.). New York: Walter de Gruyter. 2302: 2273: 2245: 2216: 2188: 2160: 2131: 2102: 2083: 2081: 2079: 2077: 2075: 2017: 1924: 1922: 1920: 1918: 1916: 1914: 1912: 1910: 1908: 1801: 1772: 14: 3269: 1945: 1885: 1752: 1750: 1047:, which is like a part in a play; and 905:, dividing such interactions between " 2440: 2355: 2353: 2045: 2043: 1736: 1734: 1732: 1730: 1608:, for which the theory was designed. 1098:Perinbanayagam's dramaturgical theory 3224: 2072: 2058:(First ed.). Pine Forge Press. 1905: 932:in 1945, which in turn derives from 3236: 1873:. Cambridge, MA: Harvard University 1844:10.1146/annurev.so.13.080187.001245 1747: 1374: 24: 2376: 2350: 2040: 1727: 1615:. It is claimed to be drafting on 1315: 1174:: a performance often presents an 25: 3303: 2417: 1886:Mathur, Dr. Vinita (2014-08-17). 3249: 3235: 3223: 3200: 3199: 2332:Contemporary Sociological Theory 1671: 841: 2337: 2325: 2296: 2267: 2239: 2210: 2182: 2154: 2125: 2096: 2011: 1939: 1344:, similar to the basic digital 427:Peace, war, and social conflict 1863: 1850: 1823: 1795: 1766: 1714: 1622: 1526:Communication out of character 1212: 1139: 13: 1: 2466: 1707: 1274: 994:, which comes from the Latin 2404:. UK: Ashgate Publishing Co. 1599: 1299: 1285:, Goffman explains that the 1089:Within dramaturgy analysis, 7: 3277:Interpersonal relationships 2400:Edgley, Charles, ed. 2013. 1664: 1362:imaginary central governing 985: 10: 3308: 3123:Human environmental impact 1946:Denzin, Norman K. (1987). 1888:"Retreat To The Backstage" 1382: 1218:and developed the idea of 893:perspective that analyzes 98:Human environmental impact 3196: 3099: 3024: 2833: 2590: 2540: 2502: 2474: 2303:Goffman, Erving (1980) . 2274:Goffman, Erving (1980) . 2246:Goffman, Erving (1980) . 2217:Goffman, Erving (1980) . 2189:Goffman, Erving (1980) . 2161:Goffman, Erving (1980) . 2132:Goffman, Erving (1980) . 2103:Goffman, Erving (1980) . 2018:Goffman, Erving (1980) . 1858:The Production of Reality 1802:Goffman, Erving (1980) . 1773:Goffman, Erving (1980) . 1204: 2560:Structural functionalism 1928:Moody, James. c. 2003. " 1422: 192:Structural functionalism 27:Sociological perspective 18:Idealization (sociology) 3282:Symbolic interactionism 3132:Industrial revolutions 2580:Symbolic interactionism 2407:Goffman, Erving. 1959. 2087:Goffman, Erving. 1956. 1869:Goffman, Erving. 1974. 1633:participant observation 212:Symbolic interactionism 107:Industrial revolutions 2570:Social constructionism 2413:. New York: Doubleday. 2389:Cohen, Robert. 2004. " 2093:. New York: Doubleday. 1972:10.1525/si.1987.10.1.1 1964:10.1525/si.1987.10.1.1 1763:New York: McGraw-Hill. 1720:Mitchell, J. N. 1978. 1137: 202:Social constructionism 3177:Social stratification 3059:Conversation analysis 2616:Cultural anthropology 2606:Comparative sociology 2532:Sociological practice 1569:Impression management 1563:Impression management 1134:Robert Perinbanayagam 1101: 1062:impression management 1009:separated from other 577:Conversation analysis 152:Social stratification 2626:Historical sociology 2362:Sociological Inquiry 1952:Symbolic Interaction 1166:Dramatic realization 1077:front of customers. 1056:presentation of self 964:dramaturgical action 3187:Social cycle theory 2646:Social anthropology 2636:Political sociology 2527:Sociological theory 2343:Welsh, John. 1990. 1724:New York: Elsevier. 1342:exclusion-inclusion 162:Social cycle theory 33:Part of a series on 3256:Society portal 3157:Social environment 2781:race and ethnicity 2631:Industrial society 2423:Goffman, Erving. " 1556:Realigning actions 1501:service specialist 1231:, Goffman defines 1184:expressive control 1083:breaking character 1036:social interaction 941:human interactions 895:micro-sociological 848:Society portal 471:History of science 452:Race and ethnicity 132:Social environment 3264: 3263: 3152:Social complexity 3084:Social experiment 2829: 2828: 2656:Social psychology 1860:(6th ed.). p. 350 1702:Signalling theory 1606:total institution 1410:Entrusted secrets 1398:Strategic secrets 1190:Misrepresentation 884: 883: 602:Social experiment 482:Social psychology 127:Social complexity 16:(Redirected from 3299: 3254: 3253: 3239: 3238: 3227: 3226: 3203: 3202: 3182:Social structure 3079:Network analysis 2671: 2670: 2661:Sociolinguistics 2651:Social movements 2575:Social darwinism 2512:Public sociology 2461: 2454: 2447: 2438: 2437: 2370: 2369: 2357: 2348: 2341: 2335: 2329: 2323: 2322: 2314:978-0-385-094023 2300: 2294: 2293: 2285:978-0-385-094023 2271: 2265: 2264: 2257:978-0-385-094023 2243: 2237: 2236: 2228:978-0-385-094023 2214: 2208: 2207: 2200:978-0-385-094023 2186: 2180: 2179: 2172:978-0-385-094023 2158: 2152: 2151: 2143:978-0-385-094023 2129: 2123: 2122: 2114:978-0-385-094023 2100: 2094: 2085: 2070: 2069: 2057: 2047: 2038: 2037: 2029:978-0-385-094023 2015: 2009: 2008: 2006: 2005: 2001: 1995: 1994: 1990: 1988:Symbolic Meaning 1980: 1978: 1943: 1937: 1926: 1903: 1902: 1900: 1898: 1883: 1874: 1867: 1861: 1854: 1848: 1847: 1827: 1821: 1820: 1813:978-0-385-094023 1799: 1793: 1792: 1784:978-0-385-094023 1770: 1764: 1754: 1745: 1738: 1725: 1718: 1692:Epistemic virtue 1681: 1676: 1675: 1640:social movements 1468:in a restaurant. 1375:Discrepant roles 1358:Rites of passage 1135: 1129: 1128: 1124: 1118: 1117: 1113: 1111:Symbolic Meaning 1103:Signifying Act: 982:, among others. 980:Harold Garfinkel 876: 869: 862: 846: 845: 597:Network analysis 487:Sociocybernetics 477:Social movements 207:Social darwinism 157:Social structure 49: 30: 29: 21: 3307: 3306: 3302: 3301: 3300: 3298: 3297: 3296: 3267: 3266: 3265: 3260: 3248: 3192: 3191: 3190: 3162:Social equality 3095: 3094: 3093: 3020: 2834:Major theorists 2825: 2669: 2666:Urban sociology 2641:Rural sociology 2593: 2586: 2585: 2584: 2555:Critical theory 2550:Conflict theory 2536: 2517:Social research 2504:General aspects 2498: 2470: 2465: 2420: 2379: 2377:Further reading 2374: 2373: 2358: 2351: 2342: 2338: 2330: 2326: 2315: 2301: 2297: 2286: 2272: 2268: 2258: 2244: 2240: 2229: 2215: 2211: 2201: 2187: 2183: 2173: 2159: 2155: 2144: 2130: 2126: 2115: 2101: 2097: 2086: 2073: 2066: 2048: 2041: 2030: 2016: 2012: 2003: 1997: 1996: 1992: 1986: 1985: 1976: 1974: 1944: 1940: 1927: 1906: 1896: 1894: 1892:humanenrich.com 1884: 1877: 1868: 1864: 1856:O'Brien, Jodi. 1855: 1851: 1832:Annu Rev Sociol 1828: 1824: 1814: 1800: 1796: 1785: 1771: 1767: 1755: 1748: 1739: 1728: 1719: 1715: 1710: 1697:Role engulfment 1677: 1670: 1667: 1625: 1602: 1565: 1528: 1425: 1385: 1377: 1369:Michel Foucault 1318: 1316:Borders/regions 1302: 1277: 1215: 1207: 1182:Maintenance of 1142: 1136: 1133: 1126: 1120: 1119: 1115: 1109: 1108: 1100: 988: 976:Jürgen Habermas 901:and theatrical 880: 840: 833: 832: 793: 783: 782: 710: 636: 622: 620:Major theorists 612: 611: 547: 537: 536: 227: 217: 216: 187:Critical theory 182:Conflict theory 177: 167: 166: 137:Social equality 78: 28: 23: 22: 15: 12: 11: 5: 3305: 3295: 3294: 3289: 3287:Erving Goffman 3284: 3279: 3262: 3261: 3259: 3245: 3233: 3221: 3220: 3219: 3214: 3197: 3194: 3193: 3189: 3184: 3179: 3174: 3169: 3164: 3159: 3154: 3149: 3144: 3130: 3125: 3120: 3118:Human behavior 3115: 3110: 3105: 3104: 3103: 3101: 3097: 3096: 3092: 3091: 3086: 3081: 3076: 3071: 3066: 3061: 3056: 3051: 3046: 3041: 3036: 3030: 3029: 3028: 3026: 3022: 3021: 3019: 3018: 3013: 3008: 3003: 2998: 2993: 2988: 2983: 2978: 2973: 2968: 2963: 2958: 2953: 2948: 2943: 2938: 2933: 2928: 2923: 2918: 2913: 2908: 2903: 2898: 2893: 2888: 2883: 2878: 2873: 2868: 2863: 2858: 2853: 2848: 2843: 2837: 2835: 2831: 2830: 2827: 2826: 2824: 2823: 2818: 2813: 2811:stratification 2808: 2803: 2798: 2793: 2788: 2783: 2778: 2773: 2768: 2763: 2758: 2753: 2748: 2743: 2738: 2733: 2728: 2723: 2718: 2713: 2708: 2703: 2698: 2693: 2688: 2683: 2677: 2675: 2668: 2663: 2658: 2653: 2648: 2643: 2638: 2633: 2628: 2623: 2618: 2613: 2608: 2603: 2598: 2596: 2592:Related fields 2588: 2587: 2583: 2582: 2577: 2572: 2567: 2562: 2557: 2552: 2546: 2545: 2544: 2542: 2538: 2537: 2535: 2534: 2529: 2524: 2519: 2514: 2508: 2506: 2500: 2499: 2497: 2496: 2491: 2486: 2481: 2475: 2472: 2471: 2464: 2463: 2456: 2449: 2441: 2435: 2434: 2428: 2419: 2418:External links 2416: 2415: 2414: 2405: 2398: 2387: 2378: 2375: 2372: 2371: 2349: 2336: 2324: 2313: 2295: 2284: 2266: 2256: 2238: 2227: 2209: 2199: 2181: 2171: 2153: 2142: 2124: 2113: 2095: 2071: 2065:978-0761927938 2064: 2039: 2028: 2010: 1938: 1936:on 2007-05-20. 1904: 1875: 1862: 1849: 1822: 1812: 1794: 1783: 1765: 1757:Ritzer, George 1746: 1726: 1712: 1711: 1709: 1706: 1705: 1704: 1699: 1694: 1689: 1687:Character mask 1683: 1682: 1679:Society portal 1666: 1663: 1624: 1621: 1601: 1598: 1597: 1596: 1593:circumspection 1591:Dramaturgical 1589: 1584:Dramaturgical 1582: 1577:Dramaturgical 1564: 1561: 1560: 1559: 1553: 1542: 1541: 1538: 1527: 1524: 1523: 1522: 1521: 1520: 1506: 1505: 1504: 1497: 1487: 1486: 1485: 1471: 1470: 1469: 1458: 1451: 1424: 1421: 1420: 1419: 1413: 1407: 1404:Inside secrets 1401: 1395: 1384: 1381: 1376: 1373: 1325:'s concept of 1317: 1314: 1301: 1298: 1276: 1273: 1272: 1271: 1265: 1257:Personal front 1249:personal front 1236:performance." 1214: 1211: 1206: 1203: 1202: 1201: 1193: 1187: 1180: 1169: 1163: 1152: 1141: 1138: 1131: 1099: 1096: 1025:Frame Analysis 1018:human behavior 987: 984: 914:Erving Goffman 899:performativity 882: 881: 879: 878: 871: 864: 856: 853: 852: 851: 850: 835: 834: 831: 830: 825: 820: 815: 810: 805: 800: 794: 789: 788: 785: 784: 638: 637: 623: 618: 617: 614: 613: 610: 609: 604: 599: 594: 589: 584: 579: 574: 569: 564: 559: 554: 548: 543: 542: 539: 538: 535: 534: 529: 524: 519: 514: 509: 504: 499: 494: 489: 484: 479: 474: 464: 459: 454: 449: 444: 439: 434: 429: 424: 419: 414: 409: 404: 399: 394: 389: 384: 379: 374: 369: 364: 359: 354: 349: 344: 339: 334: 329: 324: 319: 314: 309: 299: 294: 289: 284: 279: 274: 269: 264: 259: 254: 249: 247:Astrosociology 244: 239: 234: 228: 223: 222: 219: 218: 215: 214: 209: 204: 199: 194: 189: 184: 178: 173: 172: 169: 168: 165: 164: 159: 154: 149: 144: 139: 134: 129: 124: 119: 105: 100: 95: 93:Human behavior 90: 85: 79: 76: 75: 72: 71: 70: 69: 64: 59: 51: 50: 42: 41: 35: 34: 26: 9: 6: 4: 3: 2: 3304: 3293: 3292:Everyday life 3290: 3288: 3285: 3283: 3280: 3278: 3275: 3274: 3272: 3258: 3257: 3252: 3246: 3244: 3243: 3234: 3232: 3231: 3222: 3218: 3215: 3213: 3210: 3209: 3208: 3207: 3198: 3195: 3188: 3185: 3183: 3180: 3178: 3175: 3173: 3170: 3168: 3167:Social equity 3165: 3163: 3160: 3158: 3155: 3153: 3150: 3148: 3145: 3143: 3139: 3135: 3131: 3129: 3126: 3124: 3121: 3119: 3116: 3114: 3113:Globalization 3111: 3109: 3106: 3102: 3098: 3090: 3087: 3085: 3082: 3080: 3077: 3075: 3072: 3070: 3067: 3065: 3062: 3060: 3057: 3055: 3052: 3050: 3049:Computational 3047: 3045: 3042: 3040: 3037: 3035: 3032: 3031: 3027: 3023: 3017: 3014: 3012: 3009: 3007: 3004: 3002: 2999: 2997: 2994: 2992: 2989: 2987: 2984: 2982: 2979: 2977: 2974: 2972: 2969: 2967: 2964: 2962: 2959: 2957: 2954: 2952: 2949: 2947: 2944: 2942: 2939: 2937: 2934: 2932: 2929: 2927: 2924: 2922: 2919: 2917: 2914: 2912: 2909: 2907: 2904: 2902: 2899: 2897: 2894: 2892: 2889: 2887: 2884: 2882: 2879: 2877: 2874: 2872: 2869: 2867: 2864: 2862: 2859: 2857: 2854: 2852: 2849: 2847: 2844: 2842: 2839: 2838: 2836: 2832: 2822: 2819: 2817: 2814: 2812: 2809: 2807: 2804: 2802: 2799: 2797: 2794: 2792: 2789: 2787: 2784: 2782: 2779: 2777: 2774: 2772: 2769: 2767: 2764: 2762: 2759: 2757: 2754: 2752: 2749: 2747: 2744: 2742: 2739: 2737: 2734: 2732: 2729: 2727: 2724: 2722: 2719: 2717: 2714: 2712: 2709: 2707: 2704: 2702: 2699: 2697: 2694: 2692: 2691:consciousness 2689: 2687: 2684: 2682: 2679: 2678: 2676: 2672: 2667: 2664: 2662: 2659: 2657: 2654: 2652: 2649: 2647: 2644: 2642: 2639: 2637: 2634: 2632: 2629: 2627: 2624: 2622: 2619: 2617: 2614: 2612: 2609: 2607: 2604: 2602: 2599: 2597: 2595: 2594:and subfields 2589: 2581: 2578: 2576: 2573: 2571: 2568: 2566: 2563: 2561: 2558: 2556: 2553: 2551: 2548: 2547: 2543: 2539: 2533: 2530: 2528: 2525: 2523: 2522:Social theory 2520: 2518: 2515: 2513: 2510: 2509: 2507: 2505: 2501: 2495: 2492: 2490: 2487: 2485: 2482: 2480: 2477: 2476: 2473: 2469: 2462: 2457: 2455: 2450: 2448: 2443: 2442: 2439: 2432: 2429: 2426: 2422: 2421: 2412: 2411: 2406: 2403: 2399: 2396: 2392: 2388: 2385: 2381: 2380: 2367: 2363: 2356: 2354: 2346: 2340: 2333: 2328: 2321: 2316: 2310: 2306: 2299: 2292: 2287: 2281: 2277: 2270: 2263: 2259: 2253: 2249: 2242: 2235: 2230: 2224: 2220: 2213: 2206: 2202: 2196: 2192: 2185: 2178: 2174: 2168: 2164: 2157: 2150: 2145: 2139: 2135: 2128: 2121: 2116: 2110: 2106: 2099: 2092: 2091: 2084: 2082: 2080: 2078: 2076: 2067: 2061: 2056: 2055: 2046: 2044: 2036: 2031: 2025: 2021: 2014: 2007: 2000: 1993:Vocal Gesture 1989: 1973: 1969: 1965: 1961: 1957: 1953: 1949: 1942: 1935: 1931: 1925: 1923: 1921: 1919: 1917: 1915: 1913: 1911: 1909: 1893: 1889: 1882: 1880: 1872: 1866: 1859: 1853: 1845: 1841: 1837: 1833: 1826: 1819: 1815: 1809: 1805: 1798: 1791: 1786: 1780: 1776: 1769: 1762: 1758: 1753: 1751: 1743: 1737: 1735: 1733: 1731: 1723: 1717: 1713: 1703: 1700: 1698: 1695: 1693: 1690: 1688: 1685: 1684: 1680: 1674: 1669: 1662: 1659: 1655: 1653: 1648: 1644: 1641: 1636: 1634: 1630: 1620: 1618: 1614: 1609: 1607: 1594: 1590: 1587: 1583: 1580: 1576: 1575: 1574: 1571: 1570: 1557: 1554: 1551: 1547: 1546: 1545: 1539: 1536: 1535: 1534: 1531: 1518: 1514: 1513: 1511: 1507: 1502: 1498: 1495: 1491: 1490: 1488: 1483: 1479: 1475: 1474: 1472: 1467: 1463: 1459: 1456: 1452: 1449: 1445: 1441: 1437: 1436: 1434: 1433: 1432: 1429: 1417: 1414: 1411: 1408: 1405: 1402: 1399: 1396: 1393: 1390: 1389: 1388: 1380: 1372: 1370: 1367: 1363: 1359: 1355: 1351: 1347: 1343: 1338: 1336: 1332: 1328: 1324: 1323:Victor Turner 1313: 1310: 1306: 1297: 1295: 1291: 1288: 1284: 1283: 1269: 1266: 1263: 1262: 1261: 1258: 1254: 1250: 1246: 1241: 1237: 1234: 1230: 1229: 1223: 1221: 1210: 1199: 1198: 1197:Mystification 1194: 1191: 1188: 1185: 1181: 1177: 1173: 1170: 1167: 1164: 1161: 1157: 1153: 1150: 1147: 1146: 1145: 1130: 1123: 1116:Vocal Gesture 1112: 1106: 1095: 1092: 1087: 1085: 1084: 1078: 1075: 1071: 1066: 1064: 1063: 1058: 1057: 1052: 1051: 1046: 1045: 1039: 1037: 1033: 1028: 1026: 1021: 1019: 1015: 1014: 1011:sociological 1008: 1003: 1001: 997: 993: 983: 981: 977: 973: 969: 968:social action 965: 960: 958: 954: 950: 946: 942: 937: 935: 931: 930: 925: 924:Kenneth Burke 921: 920: 915: 910: 908: 904: 900: 896: 892: 888: 877: 872: 870: 865: 863: 858: 857: 855: 854: 849: 844: 839: 838: 837: 836: 829: 826: 824: 821: 819: 816: 814: 813:Organizations 811: 809: 806: 804: 801: 799: 796: 795: 792: 787: 786: 781: 777: 773: 769: 765: 762: · 761: 758: · 757: 753: 749: 745: 741: 737: 733: 729: 725: 721: 718: · 717: 714: 711: 709: 705: 701: 697: 693: 689: 685: 681: 677: 673: 669: 665: 661: 657: 653: 650: · 649: 645: 642: 635: 631: 628: 625: 624: 621: 616: 615: 608: 605: 603: 600: 598: 595: 593: 590: 588: 585: 583: 580: 578: 575: 573: 570: 568: 567:Computational 565: 563: 560: 558: 555: 553: 550: 549: 546: 541: 540: 533: 530: 528: 525: 523: 520: 518: 515: 513: 510: 508: 505: 503: 500: 498: 495: 493: 490: 488: 485: 483: 480: 478: 475: 472: 468: 465: 463: 460: 458: 455: 453: 450: 448: 445: 443: 440: 438: 435: 433: 430: 428: 425: 423: 420: 418: 415: 413: 410: 408: 405: 403: 400: 398: 395: 393: 390: 388: 385: 383: 380: 378: 375: 373: 370: 368: 365: 363: 360: 358: 355: 353: 350: 348: 345: 343: 340: 338: 335: 333: 330: 328: 325: 323: 320: 318: 315: 313: 312:Environmental 310: 307: 303: 300: 298: 295: 293: 290: 288: 285: 283: 280: 278: 275: 273: 270: 268: 265: 263: 262:Consciousness 260: 258: 255: 253: 250: 248: 245: 243: 240: 238: 235: 233: 230: 229: 226: 221: 220: 213: 210: 208: 205: 203: 200: 198: 195: 193: 190: 188: 185: 183: 180: 179: 176: 171: 170: 163: 160: 158: 155: 153: 150: 148: 145: 143: 142:Social equity 140: 138: 135: 133: 130: 128: 125: 123: 120: 118: 114: 110: 106: 104: 101: 99: 96: 94: 91: 89: 88:Globalization 86: 84: 81: 80: 74: 73: 68: 65: 63: 60: 58: 55: 54: 53: 52: 48: 44: 43: 40: 37: 36: 32: 31: 19: 3247: 3240: 3228: 3204: 3172:Social power 3074:Mathematical 3054:Ethnographic 3034:Quantitative 2801:small groups 2674:Sociology of 2601:Anthropology 2541:Perspectives 2408: 2401: 2394: 2383: 2365: 2361: 2344: 2339: 2331: 2327: 2318: 2304: 2298: 2289: 2275: 2269: 2261: 2247: 2241: 2232: 2218: 2212: 2204: 2190: 2184: 2176: 2162: 2156: 2147: 2133: 2127: 2118: 2104: 2098: 2088: 2053: 2033: 2019: 2013: 1998: 1987: 1982: 1975:. Retrieved 1955: 1951: 1941: 1895:. Retrieved 1891: 1870: 1865: 1857: 1852: 1835: 1831: 1825: 1817: 1803: 1797: 1788: 1774: 1768: 1760: 1741: 1721: 1716: 1660: 1656: 1649: 1645: 1637: 1626: 1610: 1603: 1567: 1566: 1543: 1532: 1529: 1516: 1509: 1500: 1493: 1481: 1477: 1461: 1454: 1439: 1430: 1426: 1416:Free secrets 1415: 1409: 1403: 1397: 1392:Dark secrets 1391: 1386: 1378: 1353: 1339: 1319: 1308: 1304: 1303: 1293: 1292: 1286: 1280: 1278: 1256: 1252: 1248: 1244: 1242: 1238: 1232: 1226: 1225:In his book 1224: 1219: 1216: 1208: 1196: 1189: 1183: 1172:Idealization 1171: 1165: 1159: 1155: 1148: 1143: 1121: 1110: 1102: 1090: 1088: 1081: 1079: 1073: 1069: 1067: 1060: 1055: 1048: 1043: 1040: 1029: 1024: 1022: 1012: 1006: 1004: 999: 995: 991: 989: 963: 961: 938: 927: 917: 911: 891:sociological 886: 885: 798:Bibliography 712: 640: 639: 626: 592:Mathematical 572:Ethnographic 552:Quantitative 237:Architecture 175:Perspectives 147:Social power 3242:WikiProject 3044:Comparative 3039:Qualitative 3006:Baudrillard 2856:Tocqueville 2751:immigration 2726:environment 2611:Criminology 1958:(1): 1–19. 1623:Application 1466:food critic 1294:Back region 1220:front stage 1213:Front stage 1140:Performance 1070:front stage 934:Shakespeare 803:Terminology 772:Baudrillard 648:Tocqueville 562:Comparative 557:Qualitative 527:Victimology 357:Immigration 342:Generations 257:Criminology 3271:Categories 3206:Categories 3147:Popularity 3100:Key themes 3064:Historical 2816:technology 2621:Demography 2565:Positivism 2234:character. 1897:August 29, 1838:: 217–35. 1708:References 1652:technoself 1617:positivism 1586:discipline 1494:non-person 1478:go-between 1350:rhizomatic 1327:liminality 1287:back stage 1275:Back stage 1074:back stage 1000:dramaturgy 972:self-image 903:dramaturgy 887:Dramaturgy 828:By country 582:Historical 507:Technology 447:Punishment 432:Philosophy 407:Mathematic 397:Literature 362:Industrial 352:Historical 277:Demography 197:Positivism 122:Popularity 77:Key themes 3069:Interview 2851:Martineau 2756:knowledge 2716:education 2711:economics 2468:Sociology 2120:equipment 1742:Sociology 1629:fieldwork 1600:Criticism 1550:collusion 1517:confidant 1510:colleague 1331:semiotics 1309:outsiders 1300:Off-stage 1176:idealized 1007:paradigms 929:dramatism 644:Martineau 587:Interview 512:Terrorism 492:Sociology 437:Political 377:Knowledge 297:Education 39:Sociology 3217:Journals 3128:Identity 3011:Bourdieu 3001:Habermas 2996:Luhmann 2991:Foucault 2926:Mannheim 2901:Durkheim 2786:religion 2776:military 2771:medicine 2721:emotions 2706:deviance 2489:Timeline 1934:original 1759:. 2007. 1665:See also 1631:such as 1482:mediator 1448:traitors 1440:informer 1132:— 1032:identity 1013:theories 986:Overview 949:metaphor 823:Timeline 808:Journals 776:Bourdieu 768:Habermas 764:Luhmann 760:Foucault 704:Mannheim 684:Durkheim 457:Religion 417:Military 382:Language 367:Internet 322:Feminist 306:Jealousy 292:Economic 287:Disaster 282:Deviance 225:Branches 103:Identity 3230:Commons 3108:Society 3025:Methods 3016:Giddens 2981:Goffman 2976:Schoeck 2921:Du Bois 2886:Tönnies 2866:Spencer 2796:science 2766:leisure 2696:culture 2484:History 2479:Outline 2149:himself 2002:⁄ 1999:Meaning 1991:⁄ 1613:society 1579:loyalty 1462:spotter 1383:Secrets 1305:Outside 1268:manners 1253:Setting 1245:setting 1125:⁄ 1122:Meaning 1114:⁄ 996:persona 780:Giddens 778:· 774:· 766:· 754:· 752:Goffman 748:Schoeck 734:· 726:· 702:· 700:Du Bois 698:· 690:· 686:· 678:· 672:Tönnies 670:· 656:Spencer 654:· 632:· 545:Methods 522:Utopian 467:Science 412:Medical 402:Marxist 392:Leisure 302:Emotion 267:Culture 83:Society 62:Outline 57:History 3089:Survey 2986:Bauman 2961:Nisbet 2956:Merton 2946:Gehlen 2941:Adorno 2906:Addams 2896:Simmel 2891:Veblen 2881:Pareto 2871:Le Bon 2846:Sieyès 2746:health 2741:gender 2731:family 2311: 2282: 2254: 2225: 2197: 2169: 2140: 2111: 2062: 2026: 2004:Object 1977:25 May 1970: 1810: 1781: 1346:on-off 1335:ritual 1205:Stages 1149:Belief 1127:Object 1044:status 992:person 953:values 907:actors 818:People 756:Bauman 736:Nisbet 732:Merton 724:Gehlen 720:Adorno 713:1900s: 688:Addams 680:Simmel 676:Veblen 668:Pareto 660:Le Bon 641:1800s: 634:Sieyès 627:1700s: 607:Survey 532:Visual 442:Public 347:Health 337:Gender 327:Fiscal 317:Family 3212:lists 2966:Mills 2936:Fromm 2931:Elias 2916:Weber 2841:Comte 2806:space 2791:sport 2701:death 2494:Index 1968:JSTOR 1548:Team 1508:"The 1455:shill 1444:spies 1423:Roles 1233:front 1179:idea. 1158:(or " 1156:front 1091:teams 966:is a 957:norms 889:is a 791:Lists 740:Mills 716:Fromm 708:Elias 696:Weber 630:Comte 517:Urban 502:Sport 497:Space 462:Rural 422:Music 372:Jewry 272:Death 232:Aging 67:Index 2971:Bell 2951:Aron 2911:Mead 2876:Ward 2861:Marx 2821:work 2736:food 2686:body 2368:: 1. 2309:ISBN 2280:ISBN 2252:ISBN 2223:ISBN 2195:ISBN 2167:ISBN 2138:ISBN 2109:ISBN 2060:ISBN 2024:ISBN 1979:2021 1899:2014 1808:ISBN 1779:ISBN 1515:The 1499:The 1492:The 1476:The 1460:The 1453:The 1438:The 1247:and 1160:mask 1154:The 1105:Sign 1050:role 978:and 945:self 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