No description available.

Thesis (M.S.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Inaug. Diss. rer. polit. Bern, 1970.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

In his Essay "On Face-Work" Erving Goffman identifies the rules for a number of face-to-face interaction rituals. Among these rituals are two ways of correcting participants within an interaction. The first correction ritual, the interchange, allows offending interactants a chance to save face. The second ritual, the points making game, is a way for interactants to cause other participants to lose face. This thesis analyzes the content of a random sample of blogs to see if the rituals described above are employed in online interaction, specifically looking at blogs and how the context of the rituals is modified, including whether and how they are modified. It was found that the ritual of the interchange was modified. The ritual of the points making game though left unmodified occurred with greater frequency.

Universiẗat, Diss.--Mainz, 1995.

Orientador : Profª. Drª. Jane Mendes Ferreira / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Sociais Aplicadas, Programa de Pós-Graduação em Administração. Defesa: Curitiba, 29/02/2016 / Inclui referências : f.127-135 / Resumo: A identidade do empreendedor é normalmente estudada de forma a atribuir a este indivíduo características tidas como desejáveis às suas funções, promovendo, assim, a noção de perfil empreendedor. Abordagens alternativas à identidade deste indivíduo são pouco utilizadas e, entre elas, a metáfora dramatúrgica de Goffman (1959) pode opção, vez que relaciona a ação humana à representação de papeis socialmente construídos, como o de empreendedor. A presente dissertação tem como objetivo compreender como o papel de empreendedor constitui a identidade do indivíduo, ou seja, a concepção do indivíduo sobre ele próprio. Servem a este propósito a metáfora dramatúrgica e a micro-análise, de forma complementar à análise qualitativa proposta, possibilitando maior entendimento do conteúdo latente, agregando as nuances particulares do estudo das interações e auto-representações à análise da comunicação verbal. Os resultados revelam que o entendimento do indivíduo acerca do papel, as expectativas sociais percebidas para o papel de empreendedor e a representação em resposta a estas expectativas resultam na interiorização de valores e condutas deste papel, constituindo a identidade desse indivíduo. Mostram ainda os resultados que o indivíduo assume o papel de empreendedor visando a aprovação de seu empreendimento, o aumento da própria auto-estima e a auto-afirmação de sua identidade desejada frente ao público. Palavras-chave: Identidade pessoal; empreendedorismo; papel de empreendedor; interacionismo simbólico; Erving Goffman; metáfora dramatúrgica. / Abstract: The entrepreneur's identity is usually studied in order to assign to this person characteristics thought to be desirable to his functions, thus promoting the notion of entrepreneurial profile. Alternative approaches to the identity of this individual are little used and, among them, Goffman's dramaturgical metaphor (1959) can be beneficial, as it relates human action to the representation of socially constructed roles, as the entrepreneur one. This dissertation aims at understanding how the entrepreneur's role constitutes the personal identity, that is, the subject's conception about himself. Dramaturgical metaphor and micro-analysis serve this purpose, being complementary to the proposed qualitative analyses, enabling greater understanding of the latent content, adding the particular nuances of the interactions and selfrepresentations study to the analysis of verbal communication. The results reveal that the understanding of the individual about the role, perceived social expectations for the entrepreneur role and representation in response to these expectations result in the internalization of values and behaviors of this role, constituting the identity of this individual. The results show yet that the individual assumes the entrepreneur's role seeking approval for their venture, to increase self-esteem and the selfaffirmation of his desired identity to the public. Keywords: Personal Identity; entrepreneurship; entrepreneur's role; symbolic interaction; Erving Goffman; dramaturgical metaphor.

In various social networks available on the Internet, including LinkedIn, individuals may present themselves in a profile with a personal presentation in aim to find a new job. However presentations do differ depending on from which line of profession individuals present themselves from. Do to previous research LinkedIn users utilize strategies to manipulate information they present, also seen in controlling and handling of how an individual should be perceived. The theoretical framework was found in Erving Goffman's theories about impression management which is used to examine the phenomenon on a deeper level. The method used for this study was qualitative method with text analysis where the material was collected from the LinkedIn website and consisted of four different profession categories with ten profiles per category. The study's results showed how profession categories present themselves on LinkedIn, where was even shown what was common and what distinguished. The conclusion was that profession categories present themselves with expressions which are contingent on the norms, values and expectations as conditioned by the given profession. They are therefore the result of an tradition in their social profession which requires that specific form of expression.

Vad ska man ha på sig på jobbet? Frågan kan vara en källa till både undran och nervositet för nya bildpedagoger på väg ut i arbetlivet. Klädval och utstyrsel är både pregnanta symboliska uttrycksmedel och innebär antingen praktiska möjligheter eller svårigheter i en bildpedagogs yrkesutövande. Trots detta verkar frågan om lämpliga kläder inte ha en självklar plats under bildlärarutbildningen och kan rentav framstå som besvärlig eller underlig om den dyker upp. Mitt examensarbete behandlar följande frågor: ”Vilka normer och förväntningar har bildpedagogerna på sin egen och sina kollegors klädsel?” samt ”Hur upplever och beskriver bildpedagogerna att de iscensätter sig själva som yrkespersoner genom kläder?”Jag har valt att närma mig frågan om vilka kläder som hänger ihop med bildpedagogiskt yrkesutövande genom att fråga utövarna själva. Mitt arbete är inte så mycket en undersökning av vilka kläder bildpedagoger faktiskt använder. Snarare handlar det om varför de väljer att klä sig som de gör och vilka föreställningar om den egna yrkesrollen deras klädval speglar. Till hjälp för min analys och tolkning har jag tagit avstamp i den kanadensisk-amerikanske sociologen Erving Goffmans teoretiska inramning av det sociala livets teater. Som ett komplement till Goffmans teatermetaforer har jag hämtat analytisk inspiration från dragshow-världens scentraditioner. Ordet realness som används i titeln för denna uppsats är hämtat från dragkulturens vokabulär och betyder enkelt förklarat att spela en roll på ett övertygande vis.Utöver uppsatsen har arbetet utmynnat i en konstnärlig gestaltning i form av kläder och en video inspirerade av min empiri. Videon är en parafras på det kända tv-formatet RuPaul’s Drag Race (som har populariserat och/eller exploaterat dragshowkulturen beroende på vem du frågar). Det hela visades i en rumslig installation på Konstfacks vårutställning 2021.Undersökningen tyder på att bildpedagogerna inte klär sig efter en gemensam klädkod men att de förhåller sig till vissa gemensamma normer och förväntningar. Jag har också funnit att det finns vissa praktiska och symboliska attribut de kan använda sig av som ett slags ”scenkostym” för att övertyga i sin roll som bildpedagog.

Sociology of dance is an evolving discipline that takes as a central focus the social makeup of dance – the societal structures and individual agency that are inherent within dance activity and practice. Relevant ethnographic literature that adopts particular sociological concepts and models is generally narrow in focus, with attention centred on the frameworks of Pierre Bourdieu and Michel Foucault and the conformation of vocational and professional ballet and contemporary dancer minds and bodies, to particular practice-specific behaviours and beliefs. Through drawing on Erving Goffman's (1959/1990) model of dramaturgy, this interdisciplinary thesis uncovers and interrogates the two-way relationship between sociological micro relations (social interactions), and various types of dance activity and practice. Six case studies undertaken encompass a wide range of dance and social settings; the professional ballet class, inclusive creative dance class, line dancing class, salsa club, Highland dancing class, and dance in primary education. Data was collected through undertaking participant observation (primary method) and qualitative interviews (secondary method): each specific combination was influenced by the reflexive approach followed, the nature and setting of each case study and as researcher, my own dance ability. The transcripts and field notes were analysed and situated within Goffman's (1959/1990) framework to interrogate the social and dance ‘performances' given. The research aims to firstly, uncover and present the nature of the ‘realities' (Goffman, 1959/1990) within each setting and secondly, to interrogate and demonstrate the applicability of the dramaturgical model to dance scholarship. The findings reflect the sociological binary of individual agency and societal structures as realities were shaped by the ‘place' of each dance activity and practice in the field of dance, and challenged, maintained or supported existing dominant perceptions.