scholarly journals Louie, Louis: The Fictional, Stage, and Auteur Personas of Louis C.K. in Louie

2015 ◽  
Vol 1 (1) ◽  
Author(s):  
Melanie Piper
Keyword(s):  
Television Series ◽  
Simultaneous Observation ◽  
The Public ◽  
Private Lives ◽  
Stand Up Comedy ◽  
Public Persona ◽  
Public Work ◽  
Front Stage ◽  
Back Stage ◽  
Authorial Voice

This paper examines stand-up comedy in light of the persona studies idea of the proliferation of the public self to consider the ways comedians are represented and self-presented. Stand-up comedy as a performance mode deploys a literal version of Goffman’s front-stage and back-stage personas, raising questions about who comedians “really” are. Where the simultaneous observation of the on- and off-stage personas of comedy performers was previously only afforded in representational fiction, the diversification of what constitutes on-stage space for comedians has provided opportunities for comedians to perform versions of their back-stage selves in a broader variety of public, front-stage spaces. In the case of American comedian Louis C.K., his television series, Louie, has proven to be a liminal entity that operates in the spirit of presentational media, while produced, constructed, and distributed as representational media. This paper uses Louie to examine the front-stage and back-stage personas of personal, confessional comedians like C.K. who present aspects of their private lives in their public work. In addition, I look at how C.K. asserts his public persona as a self-presentational meta-presence within the representational depiction of his fictionalised self on television. The result is a step toward understanding the nature of self-performance in the front- and back-stage personas of stand-up comedians and how representational media with a distinct authorial voice can act in the spirit of presentational media.

Magic, Secrets, and Grim Reality: Death Work and Boundary Management in the Role of the Funeral Director

2007 ◽  
Vol 15 (3) ◽  
pp. 233-243 ◽  
Author(s):  
Ruth Bartlett ◽  
Gordon Riches
Keyword(s):  
Professional Role ◽  
Boundary Management ◽  
Funeral Directors ◽  
Life And Death ◽  
The Public ◽  
Funeral Director ◽  
Front Stage ◽  
Role Based ◽  
Back Stage

This article examines the performances that funeral directors undertake in protecting the public from the disorder of death and in creating the “magic” of a funeral. Goffman's (1959) concepts of back-stage/front-stage performances are used to illustrate the tension that arises as funeral workers switch between these two elements of their professional role. Based on fieldwork study in a number of funeral establishments, we present examples of the stress that they may experience in their management of the boundary between life and death.

scholarly journals STUDI DRAMATURGI PENYIAR RADIO DALAM MENYEBARKAN INFORMASI KEPADA PUBLIK DI CIREBON RADIO KOTA CIREBON

Jurnal Signal ◽  
2018 ◽  
Vol 6 (2) ◽  
Author(s):  
Vaika Putri Andini ◽  
Nurudin Siraj ◽  
Abdul Jalil Hermawan
Keyword(s):  
Sampling Technique ◽  
Literature Study ◽  
Online Data ◽  
Purposive Sampling ◽  
The Public ◽  
Whole Person ◽  
Front Stage ◽  
Back Stage ◽  
The City ◽  
Depth Interviews

ABSTRAK Penelitian ini bertujuan untuk mengetahui Dramaturgi Penyiar Radio dalam Menyebarkan Informasi kepada Publik dengan sub fokus pada front stage (panggung depan) dan back stage (panggung belakang) dari Penyiar Cirebon Radio di Kota Cirebon. Penelitian ini menggunakan pendekatan kualitatif dengan studi dramaturgi dan objek penelitiannya adalah penyiar radio. Pemilihan informan menggunakan teknik purposive sampling. Perolehan data penelitian ini berasal dari wawancara mendalam, observasi, dokumentasi, penelusuran data online dan studi pustaka. Hasil penelitian menunjukan bahwa front stage (panggung depan) penyiar radio menggunakan sebuah topeng dan diperankan diatas panggung pertunjukkan dengan latar panggung pertunjukan mereka adalah ruang siaran Cirebon Radio. Back stage (panggung belakang) penyiar radio adalah menampilkan sosok seutuhnya pada kehidupan sehari-hari, seperti sebagai anak dalam keluarga. Kesimpulan dari penelitian ini adalah bahwa setiap penyiar radio melakukan pengelolaan kesan dan cara menyampaikan informasi pada panggung depan dan panggung belakang. Terlihat perbedaan disetiap panggungnya, baik itu penampilan maupun perilaku. Kata kunci : Dramaturgi, Penyiar Radio, Cirebon Radio ABSTRACT This study aims to determine the Dramaturgy of Radio Broadcasters in Disseminating Information to the Public with a sub-focus on the front stage (front stage) and back stage (stage rear) of the Broadcaster Cirebon Radio in the City of Cirebon. This research uses qualitative approach with the study of dramaturgy and the object of research is the radio announcer. The selection of informants using purposive sampling technique. The acquisition of the data of this study derived from in-depth interviews, observation, documentation, search the online data and literature study. The results showed that the front stage radio announcer using a mask and played on the stage show with the backdrop of the stage performances they are broadcast space Cirebon Radio. Back stage radio broadcaster is showing the figure of a whole person in daily life, such as children in the family. The conclusion from this study is that each of the radio announcer doing the management of the impression and how to convey information on the stage front and stage back. Visible differences in every stage, be it appearance or behavior. Keywords : Dramaturgy, Radio Announcer, Cirebon Radio

Female Professionals and (Neo-)Victorianism: The Case ofThe Good Wife

2016 ◽  
Vol 6 (1) ◽  
pp. 5-24
Author(s):  
Isabel Santaularia i Capdevila
Keyword(s):  
Television Series ◽  
The Public ◽  
Bleak House ◽  
Professional Success ◽  
The Law ◽  
Good Wife ◽  
Woman In White ◽  
The Public Sphere ◽  
Female Professionals ◽  
Nineteenth Century Novels

The article examines The Good Wife (CBS 2009–), as well as other recent television series with female professionals as protagonists, alongside nineteenth-century novels such as Wilkie Collins's The Woman in White and The Law and the Lady, Charles Dickens's Bleak House, or Bram Stoker's Dracula, which, like The Good Wife, place ‘the law’ and ‘the lady’ in direct confrontation. This comparative analysis reveals that current television series, even those that showcase women's professional success, articulate a discourse that valorises domestic stability and motherhood above professional achievements and, therefore, resonate with Victorian ideologies about the conflicted relation between women and the public sphere. Contemporary television series are not so different from Victorian texts that grant their heroines freedom to move outside home-boundaries, while treating women's public ascendancy as a transgression of normative femininity and using a number of strategies devised to guarantee women's return home and/or an appreciation of what they have to sacrifice in order to advance in their careers.

Chains of Freedom

2017 ◽  
Author(s):  
Diane-Laure Arjaliès ◽  
Philip Grant ◽  
Iain Hardie ◽  
Donald MacKenzie ◽  
Ekaterina Svetlova
Keyword(s):  
Detailed Examination ◽  
Investment Performance ◽  
Front Stage ◽  
Back Stage ◽  
Investment Process ◽  
The Way

Chapter 2 begins the detailed examination of the investment chain. It introduces some of the main sets of intermediaries and what their jobs are. The chapter also sketches how those intermediaries enable and constrain each other and form audiences for each other’s presentations of self. Behind the pervasive ‘front-stage’ presentations of an orderly, rigorous investment process, suggests Chapter 2, there lies a normally hidden, more messy, Goffmanesque ‘back stage’ of failures, uncertainties, and sometimes dissent. The chapter also highlights the way in which the numbers that measure investment performance obscure the ethical-political, labour, and legal conditions that make them possible.

Public and Private: The Late Medieval Wall Paintings of Haddon Hall Chapel, Derbyshire

2006 ◽  
Vol 86 ◽  
pp. 179-205
Author(s):  
Mellie Naydenova
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Wall Paintings ◽  
Public And Private ◽  
Late Medieval ◽  
Public Statement ◽  
The Public ◽  
Parish Church ◽  
Public Persona ◽  
Private Devotion

This paper focuses on the mural scheme executed in Haddon Hall Chapel shortly after 1427 for Sir Richard Vernon. It argues that at that time the chapel was also being used as a parish church, and that the paintings were therefore both an expression of private devotion and a public statement. This is reflected in their subject matter, which combines themes associated with popular beliefs, the public persona of the Hall's owner and the Vernon family's personal devotions. The remarkable inventiveness and complexity of the iconography is matched by the exceptionally sophisticated style of the paintings. Attention is also given to part of the decoration previously thought to be contemporary with this fifteenth-century scheme but for which an early sixteenth-century date is now proposed on the basis of stylistic and other evidence.

A Report on the Published and Unpublished Letters of Elizabeth Barrett Browning to Mary Russell Mitford 1836-1854

1973 ◽  
Vol 1 ◽  
pp. 37-62 ◽  
Author(s):  
Meredith B. Raymond
Keyword(s):  
Good Health ◽  
Robert Browning ◽  
Elizabeth Barrett Browning ◽  
Only Child ◽  
Public And Private ◽  
The Public ◽  
Private Lives ◽  
Financial Uncertainty ◽  
Low Visibility ◽  
Sick Room

Florence and Swallowfield. The very names symbolize the high and the low visibility now associated with Elizabeth Barrett Browning and Mary Russell Mitford. Other contrasts could be drawn. The stifling sick-room and the garden of geraniums, the “poetess” and wife of Robert Browning and the “authoress” of Our Village who was the only child of Dr. Mitford, country gentleman. Or, to mention a point on which Miss Mitford showed some sensitivity, a life of financial freedom versus one of financial uncertainty. What was the attraction which insured the constant and copious interchange of letters, a record which can only be labelled remarkable in a century of remarkable letter-writers? The answer is a multiple one, as whoever reads Elizabeth's side of this correspondence will discover. But such a reader will also discover a whole host of subjects and figures which will give him fresh insights into the public and private lives of the correspondents, their families, and their literary circles. The excerpt which follows indicates the ease with which Elizabeth Barrett shared her thoughts with Miss Mitford whether on topics creative or critical, domestic or political, and whether uttered in sickness or in relatively good health.

scholarly journals Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta

Koneksi ◽  
2020 ◽  
Vol 3 (2) ◽  
pp. 351
Author(s):  
Dwi Sabrina ◽  
Lusia Savitri Retno Utami
Keyword(s):  
Popular Culture ◽  
Data Collection ◽  
Identity Formation ◽  
Rapid Development ◽  
Family Experience ◽  
Self Identity ◽  
The World ◽  
Front Stage ◽  
Back Stage ◽  
Collection Methods

No doubt the development of popular culture is very fast in the world, especially the K-Pop industry. Due to rapid development of K-Pop and more fans, innovations have begun to emerge in showing the love of fans towards K-Pop. One of them is K-Pop cover dance activities. This study discusses "The Formation of the Identity of K-Pop Cover Dance Performers in Jakarta" and uses observation and interview data collection methods to find out more about how the formation of K-Pop cover actors' self-identity formation. The theory used is their dramatism on the front stage and also the backstage. In this study the authors can see that each individual communicates themselves in different ways and not all cover dance performers perform their front stage roles up to their backstage life. The formation of the identity of the cover dance actors can change to follow the environment where they are and with whom they communicate. However, not a few also feel that his life as a cover dance on stage imitates and becomes someone else's figure carried to their   daily from various aspects such as family, experience and also the community.Tidak dipungkiri perkembangan budaya populer sangat pesat di dunia terutama K-Pop. Akibat perkembangan K-Pop yang pesat dan penggemarnya yang semakin banyak, mulai bermunculan inovasi dalam menunjukkan kecintaan dari penggemar terhadap K-Pop. Salah satunya adalah kegiatan cover dance K-Pop. Penelitian ini membahas tentang “Pembentukan Identitas Diri Para Pelaku Cover Dance K-Pop di Jakarta” dengan menggunakan teori dramatisme mereka pada front stage dan juga back stage. Dalam penelitian ini penulis dapat melihat bahwa setiap individu mengkomunikasikan diri mereka dengan cara yang berbeda-beda dan tidak semua pelaku cover dance melakukan peran front stage mereka hingga ke kehidupan backstage mereka. Peneliti menggunakan metode pengumpulan data observasi dan wawancara untuk mengetahui lebih dalam mengenai bagaimana pembentukan identitas diri para pelaku cover dance K-Pop. Pembentukan identitas diri para pelaku cover dance dapat berubah mengikuti lingkungan dimana mereka berada dan dengan siapa mereka berkomunikasi. Namun, tidak sedikit juga yang merasa bahwa kehidupannya sebagai seorang cover dance di atas panggung yang meniru dan menjadi sosok orang lain terbawa hingga ke kehidupan sehari-hari mereka dari berbagai macam aspek seperti keluarga, pengalaman dan juga komunitas. 

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