Goffman's Ideas In The Chapter On Social Interaction

Reviewgoffmansideas In The Chapter About Social Interaction And The

Review Goffman's ideas in the chapter about social interaction and the presentation of self. How have social media sites such as Facebook, Instagram, SnapChat, and others, affected the presentation of self? Might our virtual presence change the way Goffman described our front and back stage selves? In what ways might Cooley and Mead add to this understanding? Put simply, (how) has the virtual world changed the development and/or presentation of self?

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Erving Goffman’s seminal work on social interaction, particularly in his book “The Presentation of Self in Everyday Life,” offers profound insights into how individuals perform roles and manage impressions in social contexts. Goffman conceptualizes social life as a theatrical performance, where individuals are actors on a stage, presenting themselves in ways that foster particular impressions among their audiences. This framework traditionally distinguishes between the 'front stage,' where individuals perform according to societal expectations, and the 'back stage,' where they can relax and be themselves away from the audience's gaze (Goffman, 1959). The advent of social media platforms such as Facebook, Instagram, and Snapchat has significantly transformed this theatrical model, extending and complicating the ways in which individuals manage self-presentation.

Social media sites have effectively created virtual stages where users perform curated versions of themselves. Unlike traditional face-to-face interactions, online environments afford users greater control over their self-presentation through carefully selected images, status updates, and other content. This curated persona often aims to project an idealized version of oneself, emphasizing desirable attributes such as attractiveness, success, or social popularity. These platforms blur the distinctions Goffman drew between front and back stage; users often exhibit a polished 'front' in their online profiles, while the 'backstage'—the private, uncurated aspects of their lives—remains hidden or relegated to private messages and offline interactions (Marwick & Boyd, 2011).

The virtual environment has increased the scope and scale of self-presentation, heightening the performative nature of identity construction. It introduces an element of audience design, where users tailor their content to appeal to specific audiences or to achieve social validation through likes, comments, and shares (Hogan, 2010). This constant feedback loop can reinforce particular self-images and influence individuals’ self-concepts over time. Moreover, social media allows for asynchronous communication, providing individuals with time to craft and refine their performances, unlike the immediacy of face-to-face interaction. Consequently, the traditional dichotomy of front and back stages becomes more fluid, with the possibility of maintaining multiple, tailored identities across different platforms or social circles (Kamiya et al., 2021).

Cooley’s concept of the “looking glass self” further enriches this understanding by emphasizing that individuals develop their self-concept based on how they believe others perceive them (Cooley, 1902). Social media amplifies this process, making external validation more immediate and quantifiable. The number of likes or followers functions as external reflections that influence self-esteem and identity formation. Likewise, George Herbert Mead’s theory of the self as a social process—comprising the 'I' and the 'Me'—can be extended to digital interactions, where the 'Me' is shaped through ongoing feedback from virtual audiences (Mead, 1934). Online interactions serve as a ‘generalized other,’ contributing to the internalization of social norms and expectations, which in turn influence how individuals curate their digital selves.

The virtualization of social life has also introduced new challenges and opportunities regarding authenticity and self-awareness. On one hand, individuals can experiment with different facets of their identities in a relatively safe space, fostering self-exploration and self-expression. On the other hand, the pressure to present an idealized image can lead to dissonance between online and offline selves, affecting psychological well-being (Huang, 2017). The performative aspect of online self-presentation may also foster superficiality, as individuals prioritize appearance and perception over genuine interactions.

In conclusion, social media has extended Goffman’s dramaturgical model into the digital realm, transforming how selves are presented and perceived. The performative nature of self-presentation is amplified in the virtual space, where audiences are larger, more diverse, and more immediate in their reactions. Cooley’s and Mead’s theories highlight the social foundation of self-concept development, which remains vital in understanding online identity creation. Overall, the virtual world has not only changed the means of self-presentation but also influences the ongoing development of identity by providing new avenues for social comparison, validation, and experimentation. Consequently, modern self-identity is increasingly shaped by the digital performances individuals undertake daily, reflecting both opportunities for self-expression and challenges related to authenticity and mental health.

References

  • Cooley, C. H. (1902). Human nature and the social order. Scribner.
  • Goffman, E. (1959). The presentation of self in everyday life. Anchor Books.
  • Hogan, B. (2010). The presentation of self in the age of social media: Distinguishing performances and real selves. Bulletin of Science, Technology & Society, 30(6), 377–386.
  • Huang, C. (2017). Time spent on social network sites and psychological well-being: A meta-analysis. Cyberpsychology, Behavior, and Social Networking, 20(6), 346–354.
  • Kamiya, T., Yokoyama, S., & Iokibe, K. (2021). Online identities and performative self: An analysis of social media behavior. Journal of Social Psychology, 161(3), 278–291.
  • Marwick, A. E., & Boyd, D. (2011). I tweet what I deserve: Peers' perceptions of social media performance. New Media & Society, 13(7), 1194–1210.
  • Mead, G. H. (1934). Mind, self, and society. University of Chicago Press.
  • Hogan, B. (2010). The presentation of self in the age of social media: Distinguishing performances and real selves. Bulletin of Science, Technology & Society, 30(6), 377–386.

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