Impression management, myth creation and fabrication in private social and environmental reporting:insights from Erving Goffman

This paper explores the nature of private social and environmental reporting (SER). From interviews with UK institutional investors, we show that both investors and investees employ Goffmanesque, staged impression management as a means of creating and disseminating a dual myth of social and environmental accountability. The interviewees' utterances unveil private meetings imbued with theatrical verbal and physical impression management. Most of the time, the investors' shared awareness of reality belongs to a Goffmanesque frame whereby they accept no intentionality, misrepresentation or fabrication, believing instead that the 'performers' (investees) are not intending to deceive them. A shared perception that social and environmental considerations are subordinated to financial issues renders private SER an empty encounter characterised as a relationship-building exercise with seldom any impact on investment decision-making. Investors spoke of occasional instances of fabrication but these were insufficient to break the frame of dual myth creation. They only identified a handful of instances where intentional misrepresentation had been significant enough to alter their reality and behaviour. Only in the most extreme cases of fabrication and lying did the staged meeting break frame and become a genuine occasion of accountability, where investors demanded greater transparency, further meetings and at the extreme, divested shares. We conclude that the frontstage, ritualistic impression management in private SER is inconsistent with backstage activities within financial institutions where private financial reporting is prioritised. The investors appeared to be in a double bind whereby they devoted resources to private SER but were simultaneously aware that these efforts may be at best subordinated, at worst ignored, rendering private SER a predominantly cosmetic, theatrical and empty exercise. © 2013 Elsevier Ltd.

Seminars and examinations:students' perceptions of the seminar in their examination revision strategy

Students’ performance in examinations is often weaker than in other forms of assessment. Yet it should not be assumed that examination technique is innate or skill based. Successful examination performance calls on students to synthesize information and to demonstrate academic competence. Successful academic performance is primarily concerned with articulatory principles of subject formation and appropriation. However, research into seminars, lectures and examination performances mostly seek to establish a relationship between ‘performance’ and ‘potential’, with much attention focused discretely upon either organizational considerations or the reluctant learner. By emphasizing the social construction of learning situations, this project locates the learning process within a notion of collective social experiences and mutual cooperation. In the broader sense it is interested in questions of meaning and understanding and the process by which concepts are constructed and understood. This process depends on ‘ritualization’, ‘participation frameworks’ and ‘embedding’ (Goffman, 1981). Some students experience difficulties in participating in the ritualized behaviour, which may affect their academic development. By seeking to investigate students’ perception of how they use seminars to develop their academic expertise, this project seeks to contribute to our understanding of the learning process, in particular, the relationship between students’ participation in the examination process and assessment strategies.

Performing in a night-time leisure venue: a visual analysis of erotic dance

This article analyses a range of different meanings attached to images of erotic dance, with a particular focus on the 'impression management' (Goffman 1959) enacted by dancers. It presents a visual analysis of the work of a female erotic performer in a lesbian erotic dance venue in the UK. Still photographs, along with observational data and interviews, convey the complexity and skill of an erotic dancer's diverse gendered and sexualised performances. The visual data highlights the extensive 'aesthetic labour' (Nickson et al. 2001) and 'emotional labour' (Hochschild 1983) the dancer must put in to constructing her work 'self'. However, a more ambitious use of the visual is identified: the dancer's own use of images of her work. This use of the visual by dancers themselves highlights a more complex 'impression management' strategy undertaken by a dancer and brings into question the separation of 'real' and 'work' 'selves' in erotic dance. © Sociological Research Online, 1996-2012.