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Chytanie v žite každodennosti

100%
Alieva D.
Sociologický časopis. Czech Sociological Review
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2008
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vol. 44
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issue 5
889-923
EN
The idea behind the title of J. D. Salinger's famous novel 'The Catcher in the Rye' is used in this article to illustrate Erving Goffman's theoretical approach to everyday life. However, unlike Holden Caulfield, who wants 'to catch' the children in a 'big field of rye' to save them from going over 'the edge of some crazy cliff', Goffman does not want to save anybody. In his theory, he only 'catches in his steely gaze' (R. Collins) the natural scenes of everyday life. The fluid matter of everydayness is captured by him through theoretical, mainly stylistic tools. Among his favourite rhetorical tools we find metaphor, irony, and so on. Goffman employs stylistic tools to produce what Burke termed 'perspective by incongruity'. This is a way of perceiving the familiar as problematic. As a social theorist, Goffman preferred formulating a range of concepts over constructing theoretical propositions, and therefore, he was often regarded as the author of a conceptual scheme, not a theory. At best Goffman was perceived as a 'middle-range' theoretician. In his own studies of everyday life he used the ethnographic approach of the 'Chicago school'. The early Goffman was somewhat reserved about applying a phenomenological approach to everyday life. Yet his application of perspective by incongruity served as a substitute for the phenomenological bracketing of the taken-for-granted aspects of everyday life. In his later period, Goffman turned to the procedure of framing, making his approach more structuralist. Frames served to structure the everyday world in many ways. Later, Goffman almost came to accept the Jamesian and Schutzean idea of a multiple reality, with special accent on the frame of everyday conduct, which included both real and unreal elements.
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The Non-existent Face of Brad Pitt on a Cover of a Magazine - on the Impossibility of Fun

100%
Kulas J.
Kwartalnik Filmowy
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2008
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issue 62-63
120-130
EN
The authoress considers the impossibility of fun in contemporary culture. Using the example of MTV's 'I want a famous face', she looks at the phenomena of fading identity among people experimenting with their own body image hoping to make it look like one's idol. Using theories of Georges Bataille, Erving Goffman, Michel Foucault and Giorgio Agambenas concept of profanation, she argues that the 'spectacular' has the highest value in contemporary culture. The importance attached to consumption and display negates the possibility of fun. The idea to construct one's body so that it conforms to the ideal, transforms the TV program into anti-fun. It becomes a meta-commentary on reality, in which the only real things are the ones that are attractive and visible. The authoress argues that the impossibility of profanations, and therefore the impossibility of fun, results in the lack of generation of new meanings, and the world which does not generate new meanings, is governed by copy. She concludes that in the contemporary culture, where profanation is forbidden and made impossible, what becomes the ideal, is the perfect copy of whatever is held in highest regard.
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