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.

What will the boss think? The impression management implications of supportive relationships with star and project peers

Although impression management scholars have identified a number of tactics for influencing supervisor evaluations, most of those tactics represent supervisor-targeted behaviors. This study examines the degree to which employees form supportive relationships with peers for impression management purposes. In so doing, we explore this intriguing question: Will employees gain more from forming supportive relationships with stars (i.e., top performers who are on the fast track in the organization) or projects (i.e., works in progress who need help and refinement to perform well)? We examined this question in 2 field studies. Study 1 included 4 sources and 2 time periods; Study 2 included 2 sources and 3 time periods. The results showed that supportive relationships with both stars and projects seemed to represent impression management opportunities, insofar as they predicted supervisor positive affect and perceptions of employee promotability. Impression management motives only predicted supportive relationships with stars, however, not projects. Relationships with projects were driven by prosocial motives not concerns about managing images. We discuss the practical and theoretical implications of our results for the managing of impressions and peer relationships

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.