scholarly journals The Presentation of Self in Everyday Life: biografia de um livro

2021 ◽  
Vol 28 (3) ◽  
pp. 761-774
Author(s):  
Everardo Duarte Nunes
Keyword(s):  
Everyday Life ◽  
Presentation Of Self ◽  
Erving Goffman

Resumo Na marca dos 60 anos de sua publicação, este artigo reconstrói a biografia do livro The presentation of self in everyday life , de Erving Goffman, de 1959. Utiliza-se, de forma adaptada, a perspectiva de Robert Darnton, original e revisitada pelo autor em seus estudos sobre a história dos livros. Além desse referencial, o artigo faz uso de textos originais de Goffman, da tradução brasileira, de estudos bibliográficos, artigos críticos, resenhas, coletâneas, e de entrevistas e informações que fazem parte do Erving Goffman Archives. Na análise da obra, procura-se acompanhar a trajetória do autor, enfatizando a importância e o impacto do texto, com dados quantitativos e qualitativos, cuja importância estende-se além da academia.

Erving Goffman, The Presentation of Self in Everyday Life (1959)

2020 ◽  
Vol 32 (2) ◽  
pp. 397-404 ◽  
Author(s):  
Shamus Khan
Keyword(s):  
Everyday Life ◽  
Presentation Of Self ◽  
Erving Goffman

The classic “Undead text” of sociology is Erving Goffman’s The Presentation of Self in Everyday Life. This article argues that what helps make Presentation Undead is that its key point is obvious. Yet this is only the case after someone shows that point to you. Undead texts are ones that live in us, because reading them awakens us to what we feel we have always seen and known, but did not quite know until we read them.

scholarly journals Dramatugi Penyiar Radio

2009 ◽  
Vol 1 (1) ◽  
pp. 60
Author(s):  
Hastika Yanti Nora
Keyword(s):  
Everyday Life ◽  
Presentation Of Self ◽  
Erving Goffman ◽  
Front Stage ◽  
Back Stage

<p><em>Dramaturgy is the work of Erving Goffman. He wrote </em><em>"</em><em>Presentation of Self in Everyday Life" in '1959. Following the theatrical analogy, Goffman spoke of a front stage and back stage. The front stage is that part of the performance that generally functions in rather fixed and general ways to define the situation for those who observed the performance. The back stage is situation where facts suppressed in the front or various kinds of informal actions may appear. A back stage is usually adjacent to the front stage, but it also cut off from it. Everyone in this world have to run his role in their everyday life. It also a radio announcer. As an actor, they have to be a nice and friendy person when they perform to make air personality, that is  a good  impression, from their audience</em><em>. </em><em>But before their perform in the front stage, there so much to do to prepare in the backstage. The front and back stage is radio announcer dramaturgy.</em></p>

scholarly journals The Place of Performance – Editorial

2015 ◽  
Vol 1 ◽  
Author(s):  
Sophie Berrebi ◽  
Hendrik Folkerts
Keyword(s):  
Everyday Life ◽  
Public Space ◽  
Presentation Of Self ◽  
Teenage Girl ◽  
Erving Goffman ◽  
Record Player ◽  
Acoustic Guitar ◽  
The Way

I remember Anne Teresa De Keersmaeker walking casually onto a dark, almost empty stage, save for an old-fashioned record player. I remember distinctly her gesture of lifting the tone arm and putting it down, the distinct sound of the needle hitting the grooves of the vinyl record, audible even to an audience sitting several meters away. Suddenly, the clear voice of Joan Baez, accompanied by an acoustic guitar, fills the theater. De Keersmaeker kicks off her shoes and begins to dance, like a teenage girl would do in her bedroom, absorbed in the peace songs of the musician and activist, oblivious to us, or so it seems. And yet, I remember (but perhaps this is only a trick of my memory) that she briefly looked up at us when she walked in, registering our presence as one does entering a busy public space. I always remember De Keersmaeker’s 2002 solo piece, Once, as a landmark of performance: the absence of acting, the subtle distinction between her space and our space, the way it made me think of everyday gestures as performance—something that would impress me so much, years later, when I discovered it in the work of sociologist Erving Goffman and his book, The Presentation of Self in Everyday Life (1956).

scholarly journals En teoretisk utdyping av rom og materialitet som pedagogisk ressurs i barnehagen

2015 ◽  
Vol 10 ◽  
Author(s):  
Solveig Nordtømme
Keyword(s):  
Everyday Life ◽  
Network Theory ◽  
Methodological Approach ◽  
Actor Network Theory ◽  
Erving Goffman ◽  
Bodily Experience ◽  
Phenomenology Of Perception ◽  
Kindergarten Teaching ◽  
Shed Light ◽  
Empirical Material

Abstract: This article is a theoretical exploration with the aim of discussing an ontological basis for space and materiality as educational resources in kindergarten. Attention is directed on children’s play experiences interacting with space and materiality, and how children use and create space. The metaphors front stage, space in between, and backstage (inspired from Erving Goffman, 1969), which form the study's main findings, are used as the backdrop for the issue and analyzes. The empirical material used in this exploration has been collected with an ethnographic methodological approach in two kindergartens. Maurice Merleau-Ponty’s (1962) focus on bodily experience and presence in space, along with concepts from Latour’s (2005) actor-network theory, is used to explore the data. The article contributes with theoretical tools for professionals in kindergarten teaching, to shed light on the importance of space, materiality and play in children's everyday life in kindergarten.Sammendrag: Denne artikkelen diskuterer et ontologisk grunnlag og er en teoretisk utforskning av rom og materialitet som en pedagogisk ressurs i barnehagen. Oppmerksomheten er rettet mot barns lekeerfaringer i samspill med rom og materialitet, og hvordan barn bruker og skaper rom. Metaforene hovedrom, mellomrom, og bakrom (inspirert fra Erving Goffman, 1969), som danner studiens hovedfunn, blir brukt som et bakteppe for problemstilling og analyser av det empiriske materialet fra to barnehager. Maurice Merleau-Ponty publikasjoner The Phenomenology of Perception (Merleau-Ponty, 1962) med sitt fokus på kroppslig erfaring i levd rom, blir brukt sammen med begreper fra Latours aktør-nettverksteori (Latour 2005) til å utforske hvordan rom og materialitet kan være pedagogiske ressurser. Artikkelens kunnskapsbidrag er å presentere et teoretisk verktøy for barnehageprofesjonen og kunnskaper om lekens betydning i barns hverdag i barnehagen.

scholarly journals Goffman’s front stage and backstage behaviors in online education

2014 ◽  
Vol 1 (3) ◽  
pp. 187-190 ◽  
Author(s):  
Dawn Marie Gilmore
Keyword(s):  
Mixed Methods ◽  
Online Education ◽  
Everyday Life ◽  
Student Participation ◽  
Presentation Of Self ◽  
Front Stage

This research applies Goffman’s Presentation of Self in Everyday Life to analyze online and offline student participation in two online subjects. Mixed-methods will be used to produce a fuller account of students’ experiences.

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