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Erving Goffman (SOC2) - Coggle Diagram

- - - - Impression Management
        
        Encounters - focused encounters (direct interactions) and unfocused encounters (peripheral awareness of others)
        
        Performances - the act of presenting oneself in a way that aligns with social expectations
      - Theatre Metaphor in Social Interaction
        
        Back stage - a private space where individuals can relax and be themselves, away from audience's scrutiny
        
        Personal front - Specific attributes (appearance, mannerisms etc.) that contribute to the performance
        
        Front stage - where individuals perform their roles, adhering to social norms and expectations
      - Team Performance and Cooperation
        
        social performances rarely solo
        
        involve team that collaborate to project a collective identity
        
        individual perception influences group's performance, highlights interconnectedness of social roles
    - - Role of Tech/Social Media
        
        rise of social media transformed impression management, leads to questions about oversharing and authenticity
        
        can normalise deception, such as digital manipulation of images, complicating the distinction between virtual and actual identities
        
        explore rise of AI, parody accounts and deepfakes
        
        issues like catfishing illustrate potential for deception in online interactions
      - arises from discrepanices between 'virtual' social identity and 'actual' social identity
      - discredited traits are immediately obvious, discreditable traits aren't immediately visible - leads to strategies of concealment for self-betterment or survival
        
        could explore this through the lens of sexuality (butch lesbians, camp gays), drag queens (i.e 'fish' queens), and trans people
        
        could explore through lens of race (concept of 'white-passing') e.g. the TV series "Queen" (1993) starring Halle Berry, Queen passes as white to escape stigma and gain societal acceptance. This concealment reflects a form of coping with the intense prejudice and rejection she faces. However, this concealment also brings internal conflict and complicates her sense of self.
    - - studies a large hospital in Washington, DC revealing how total institutions control every aspect of life incl, sleep, work, and play
      - total institutions impose rigid schedules and eliminate personal routines - leads to significant psychological effects
      - Disculturation: the process of un-training individuals, making them incapable of functioning outside the institution
      - Role-Dispossession: the removal of personal identity and routines, leading to a loss of self
      - individuals may withdraw/adapt to retain some dignity amidst humiliation and surveillance
- - - - e.g. gun symbol often associated w violence, but others may associate different feelings to it; for a terrorist, it is a means to spread terrorism, for a child its a toy
  - - - 'role taking' key to success of the drama
        
        roles given provide more meaning to life
- - - - To a degree, Goffman's answer would be yes. In a late essay he kinda gets around this problem ("The Interaction Order") claims that race/gender/class/age are part of a coding system that transcends individual parts, so they are always there, part of discrepencies we have to deal with.
      - Goffman doesn't do a good job in explaining that the way we perform race/gender/age/sexuality are fundamentally tied to history and social/geographic location i.e. being Black in England is fundamentally different to being Black in Nigeria per se or being White in rural Arkansas in 1950 is fundamentally different to being white in Mineappolis in 2020. History and social location matter, so the coding and social system evolves and changes.