Contemporary Sociological Theory. Группа авторов

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      In thinking about the scenic aspects of front, we tend to think of the living room in a particular house and the small number of performers who can thoroughly identify themselves with it. We have given insufficient attention to assemblages of sign-equipment which large numbers of performers can call their own for short periods of time. It is characteristic of Western European countries, and no doubt a source of stability for them, that a large number of luxurious settings are available for hire to anyone of the right kind who can afford them. […]

      If we take the term “setting” to refer to the scenic parts of expressive equipment, one may take the term “personal front” to refer to the other items of expressive equipment, the items that we most intimately identify with the performer himself and that we naturally expect will follow the performer wherever he goes. As part of personal front we may include: insignia of office or rank; clothing; sex, age, and racial characteristics; size and looks; posture; speech patterns; facial expressions; bodily gestures; and the like. Some of these vehicles for conveying signs, such as racial characteristics, are relatively fixed and over a span of time do not vary for the individual from one situation to another. On the other hand, some of these sign vehicles are relatively mobile or transitory, such as facial expression, and can vary during a performance from one moment to the next.

      It is sometimes convenient to divide the stimuli which make up personal front into “appearance” and “manner,” according to the function performed by the information that these stimuli convey. “Appearance” may be taken to refer to those stimuli which function at the time to tell us of the performer’s social statuses. These stimuli also tell us of the individual’s temporary ritual state, that is, whether he is engaging in formal social activity, work, or informal recreation, whether or not he is celebrating a new phase in the season cycle or in his life-cycle. “Manner” may be taken to refer to those stimuli which function at the time to warn us of the interaction role the performer will expect to play in the oncoming situation. Thus a haughty, aggressive manner may give the impression that the performer expects to be the one who will initiate the verbal interaction and direct its course. A meek, apologetic manner may give the impression that the performer expects to follow the lead of others, or at least that he can be led to do so.

      We often expect, of course, a confirming consistency between appearance and manner; we expect that the differences in social statuses among the interactants will be expressed in some way by congruent differences in the indications that are made of an expected interaction role. […] But, of course, appearance and manner may tend to contradict each other, as when a performer who appears to be of higher estate than his audience acts in a manner that is unexpectedly equalitarian, or intimate, or apologetic, or when a performer dressed in the garments of a high position presents himself to an individual of even higher status.

      In addition to the expected consistency between appearance and manner, we expect, of course, some coherence among setting, appearance, and manner. Such coherence represents an ideal type that provides us with a means of stimulating our attention to and interest in exceptions. […]

      Dramatic Realization

      While in the presence of others, the individual typically infuses his activity with signs which dramatically highlight and portray confirmatory facts that might otherwise remain unapparent or obscure. For if the individual’s activity is to become significant to others, he must mobilize his activity so that it will express during the interaction what he wishes to convey. In fact, the performer may be required not only to express his claimed capacities during the interaction but also to do so during a split second in the interaction. Thus, if a baseball umpire is to give the impression that he is sure of his judgment, he must forgo the moment of thought which might make him sure of his judgment; he must give an instantaneous decision so that the audience will be sure that he is sure of his judgment.

      It may be noted that in the case of some statuses dramatization presents no problem, since some of the acts which are instrumentally essential for the completion of the core task of the status are at the same time wonderfully adapted, from the point of view of communication, as means of vividly conveying the qualities and attributes claimed by the performer. The roles of prizefighters, surgeons, violinists, and policemen are cases in point. These activities allow for so much dramatic self-expression that exemplary practitioners – whether real or fictional – become famous and are given a special place in the commercially organized fantasies of the nation.

      In many cases, however, dramatization of one’s work does constitute a problem. An illustration of this may be cited from a hospital study where the medical nursing staff is shown to have a problem that the surgical nursing staff does not have:

      The things which a nurse does for post-operative patients on the surgical floor are frequently of recognizable importance, even to patients who are strangers to hospital activities. For example, the patient sees his nurse changing bandages, swinging orthopedic frames into place, and can realize that these are purposeful activities. Even if she cannot be at his side, he can respect her purposeful activities.

      Medical nursing is also highly skilled work. […] The physician’s diagnosis must rest upon careful observation of symptoms over time where the surgeon’s are in larger part dependent on visible things. The lack of visibility creates problems on the medical.

A patient will see his nurse stop at the next bed and chat for a moment or two with the patient there. He doesn’t know that she is observing the shallowness of the breathing and color and tone of the skin. He thinks she is just visiting. So, alas, does his family who may thereupon decide that these nurses aren’t very impressive. If the nurse spends more time at the next bed than at his own, the patient may feel slighted. […] The nurses are “wasting time” unless they are darting about doing some visible thing such as administering hypodermics.³

      Similarly, the proprietor of a service establishment may find it difficult to dramatize what is actually being done for clients because the clients cannot “see” the overhead costs of the service rendered them. Undertakers must therefore charge a great deal for their highly visible product – a coffin that has been transformed into a casket – because many of the other costs of conducting a funeral are ones that cannot be readily dramatized. Merchants, too, find that they must charge high prices for things that look intrinsically expensive in order to compensate the establishment for expensive things like insurance, slack periods, etc., that never appear before the customers’ eyes.

The problem of dramatizing one’s work involves more than merely making invisible costs visible. The work that must be done by those who fill certain statuses is often so poorly designed as an expression of a desired meaning, that if the incumbent would dramatize the character of his role, he must divert an appreciable amount of his energy to do so. And this activity diverted to communication will often require different attributes from the ones which are being dramatized. Thus to furnish a house so that it will express simple, quiet dignity, the householder may have to race to auction sales, haggle with antique dealers, and doggedly canvass all the local shops for proper wallpaper and curtain materials. To give a radio talk that will sound genuinely informal, spontaneous, and relaxed, the speaker may have to design his script with painstaking care, testing one phrase after another, in order to follow the content, language, rhythm, and pace of everyday talk. Similarly, a Vogue model, by her clothing, stance, and facial expression, is able expressively to portray a cultivated understanding of the book she poses in her hand; but those who trouble to express themselves so appropriately will have very little time left over for reading. As Sartre suggested: “The attentive pupil who wishes to be attentive, his eyes riveted on the teacher, his ears open wide, so exhausts himself in playing the attentive role that he ends up by no longer hearing anything.”⁴ And so individuals often find themselves with the dilemma of expression versus action. Those СКАЧАТЬ