戈夫曼拟剧论的内涵、误释与道德性
|
摘要
拟剧论是欧文·戈夫曼社会学的重要构成,它包含表演、剧班、区域、不协调角色、角色外沟通和印象管理等六大要素。20世纪50年代中后期,戈夫曼对拟剧论作了结构性微调,淡化剧场的隐喻和行动者作为操控者的形象,并对阐释社会世界的拟剧论持保留态度,将它视为权宜性的认知工具。学术界对拟剧论通常存在三种误解:在本体论层面,将戏剧等同于现实;在认识论层面,认为拟剧论是一种保守的理论,并将面对面互动视为零和博弈;在方法论层面,将拟剧论视为诠释社会生活的唯一视角。这些解读均有失偏颇,对戈夫曼而言,拟剧论既是隐喻,也是对现代性的另类批判,同时亦构成分析日常生活的独特视角,它呈现的微观系统并不乏道德感和互动仪式。
Dramaturgy is the main content of Goffman's sociology,which includes performances,teams,regions,discrepant roles,communication out of character and impression management.In the late 1950 s,Goffman adjust the structure of dramaturgy:weaken the drama metaphor and the actor's image of manipulator,meanwhile have reservations to the dramaturgical explanation of social life,just treated as a temporary tool.There are three misunderstanding of dramaturgy:ontologically,regard drama as reality;epistemologically,regard dramaturgy is conservative and see face-to-face as zero-sum game;methodologically,regard dramaturgy as the only explanatory perspective of society.These explanations all are biased.To Goffman,dramaturgy is metaphor,is another way to criticize modernity,meanwhile the unique perspective to analysis social life.The micro-system presented by Goffman has morality and interactional ritual.
Dramaturgy is the main content of Goffman's sociology,which includes performances,teams,regions,discrepant roles,communication out of character and impression management.In the late 1950 s,Goffman adjust the structure of dramaturgy:weaken the drama metaphor and the actor's image of manipulator,meanwhile have reservations to the dramaturgical explanation of social life,just treated as a temporary tool.There are three misunderstanding of dramaturgy:ontologically,regard drama as reality;epistemologically,regard dramaturgy is conservative and see face-to-face as zero-sum game;methodologically,regard dramaturgy as the only explanatory perspective of society.These explanations all are biased.To Goffman,dramaturgy is metaphor,is another way to criticize modernity,meanwhile the unique perspective to analysis social life.The micro-system presented by Goffman has morality and interactional ritual.
引文
[1]GOFFMAN E.The Presentation of Self in Everyday Life[M].New York:Anchor,1959.
[2]PERINBANAYAGAM R.The Definition of the Situation:an Analysis of the Ethnomethodological and Dramaturgical View[J].The Sociological Quarterly,1974,15(4).
[3]MANNING P.Goffman’s Revisions[J].Philosophy of the Social Sciences,1989,19(3).
[4]MANNING P.Erving Goffman and Modern Sociology[M].Cambridge:Polity,1992.
[5]MANNING P.Drama as Life:The Significance of Goffman’s Changing Use of the Theatrical Metaphor[J].Sociological Theory,1991,9(1).
[6]GOULDNER A.The Coming Crisis of Western Sociology[M].New York:Basic Books,1970.
[7]HABERMAS J.The Theory of Communicative Action[M].Translated by T.McCarthy.Boston:Beacon Press,1984.
[8]GOFFMAN E.Frame Analysis:An Essay on the Organization of Experience[M].New York:Harper&Row,1974.
[9]亚历山大.社会学二十讲:二战以来的理论发展[M].北京:华夏出版社,2000.
[10]WILLIAMS S.Appraising Goffman[J].The British Journal of Sociology,1986,37(3).
[11]PETTIT M.The Con Man as Model Organism:the Methodological Roots of Erving Goffman’s Dramaturgical Self[J].History of the Human Sciences,2011,24(2).
[12]ROBERTS B.Micro Social Theory[M].Hampshire:Palgrave Macmillan,2006.
[13]珀杜.西方社会学[M].贾春增,李强,等译.石家庄:河北人民出版社,1992.
[14]SCHUDSON M.Embarrassment and Erving Goffman’s Idea of Human Nature[J].Theory and Society,1984,13(5).
[15]BERGER B.In Frame Analysis by Erving Goffman[C].Boston:Northeastern University Press,1986.
[16]MCDERMOTT R,BAUGH J.A Review of“Erving Goffman:Exploring the Interaction Order”[J].Language,1992,68(4).
[17]FREIDSON E.Celebrating Erving Goffman[J].Contemporary Sociology,1983,12(4).
[18]COLLINS R.Theoretical Continuities in Goffman’s Work[C].In Erving Goffman:Exploring the Interaction Order,ed.P.Drew&A.Wootton,Cambridge:Polity,1988.
(1)原文是“a harried fabricator of impressions”,“harried”有“受尽折磨、苦恼、痛苦”的意思,而“fabricator”亦有“伪造者、杜撰者”的含义。戈夫曼认为舞台上的表演者身不由己、情非得已。
[2]PERINBANAYAGAM R.The Definition of the Situation:an Analysis of the Ethnomethodological and Dramaturgical View[J].The Sociological Quarterly,1974,15(4).
[3]MANNING P.Goffman’s Revisions[J].Philosophy of the Social Sciences,1989,19(3).
[4]MANNING P.Erving Goffman and Modern Sociology[M].Cambridge:Polity,1992.
[5]MANNING P.Drama as Life:The Significance of Goffman’s Changing Use of the Theatrical Metaphor[J].Sociological Theory,1991,9(1).
[6]GOULDNER A.The Coming Crisis of Western Sociology[M].New York:Basic Books,1970.
[7]HABERMAS J.The Theory of Communicative Action[M].Translated by T.McCarthy.Boston:Beacon Press,1984.
[8]GOFFMAN E.Frame Analysis:An Essay on the Organization of Experience[M].New York:Harper&Row,1974.
[9]亚历山大.社会学二十讲:二战以来的理论发展[M].北京:华夏出版社,2000.
[10]WILLIAMS S.Appraising Goffman[J].The British Journal of Sociology,1986,37(3).
[11]PETTIT M.The Con Man as Model Organism:the Methodological Roots of Erving Goffman’s Dramaturgical Self[J].History of the Human Sciences,2011,24(2).
[12]ROBERTS B.Micro Social Theory[M].Hampshire:Palgrave Macmillan,2006.
[13]珀杜.西方社会学[M].贾春增,李强,等译.石家庄:河北人民出版社,1992.
[14]SCHUDSON M.Embarrassment and Erving Goffman’s Idea of Human Nature[J].Theory and Society,1984,13(5).
[15]BERGER B.In Frame Analysis by Erving Goffman[C].Boston:Northeastern University Press,1986.
[16]MCDERMOTT R,BAUGH J.A Review of“Erving Goffman:Exploring the Interaction Order”[J].Language,1992,68(4).
[17]FREIDSON E.Celebrating Erving Goffman[J].Contemporary Sociology,1983,12(4).
[18]COLLINS R.Theoretical Continuities in Goffman’s Work[C].In Erving Goffman:Exploring the Interaction Order,ed.P.Drew&A.Wootton,Cambridge:Polity,1988.
(1)原文是“a harried fabricator of impressions”,“harried”有“受尽折磨、苦恼、痛苦”的意思,而“fabricator”亦有“伪造者、杜撰者”的含义。戈夫曼认为舞台上的表演者身不由己、情非得已。