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The Presentation of Self in Everyday Life

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The Presentation of Self in Everyday Life is a book that was published in the U.S. in 1959, written by sociologist  Erving Goffman . In it, Goffman uses the imagery of theater in order to portray the nuances and significance of face-to-face social interaction. Goffman puts forth a theory of social interaction that he refers to as the dramaturgical model of social life.

According to Goffman, social interaction may be likened to a theater, and people in everyday life to actors on a stage, each playing a variety of roles. The audience consists of other individuals who observe the role-playing and react to the performances. In social interaction, like in theatrical performances, there is a 'front stage' region where the actors are on stage  before an audience, and their consciousness of that audience and the audience's expectations for the role they should play influence the actor's behavior. There is also a back region, or 'backstage,' where individuals can relax, be themselves, and the role or identity that they play when they are in front of others.

Central to the book and Goffman's theory is the idea that people, as they interact together in social settings, are constantly engaged in the process of "impression management," wherein each tries to present themselves and behave in a way that will prevent the embarrassment of themselves or others. This is primarily done by each person that is part of the interaction working to ensure that all parties have the same "definition of the situation," meaning that all understand what is meant to happen in that situation, what to expect from the others involved, and thus how they themselves should behave.

Though written over half a century ago,  The Presentation of Self in Everday Life  remains one of the most famous and widely taught sociology books, which was listed as the 10th most important sociology book of the twentieth century by the International Sociological Association in 1998.

Performance

Goffman uses the term ‘performance’ to refer to all the activity of an individual in front of a particular set of observers, or audience. Through this performance, the individual, or actor, gives meaning to themselves, to others, and to their situation. These performances deliver impressions to others, which communicates information that confirms the identity of the actor in that situation. The actor may or may not be aware of their performance or have an objective for their performance, however, the audience is constantly attributing meaning to it and to the actor.

The setting for the performance includes the scenery, props, and location in which the interaction takes place. Different settings will have different audiences and will thus require the actor to alter his performances for each setting.

Appearance functions to portray to the audience the performer’s social statuses. Appearance also tells us of the individual’s temporary social state or role, for example, whether he is engaging in work (by wearing a uniform), informal recreation, or a formal social activity. Here, dress and props serve to communicate things that have socially ascribed meaning, like gender , status, occupation, age, and personal commitments.

Manner refers to how the individual plays the role and functions to warn the audience of how the performer will act or seek to act in a role (for example, dominant, aggressive, receptive, etc.). Inconsistency and contradiction between appearance and manner may occur and will confuse and upset an audience. This can happen, for example, when one does not present himself or behave in accordance with his perceived social status or position.

The actor’s front, as labeled by Goffman, is the part of the individual’s performance which functions to define the situation for the audience. It is the image or impression he or she gives off to the audience. A social front can also be thought of like a script. Certain social scripts tend to become institutionalized in terms of the stereotyped expectations it contains. Certain situations or scenarios have social scripts that suggest how the actor should behave or interact in that situation. If the individual takes on a task or role that is new to him, he or she may find that there are already several well-established fronts among which he must choose. According to Goffman, when a task is given a new front or script, we rarely find that the script itself is completely new. Individuals commonly use pre-established scripts to follow for new situations, even if it is not completely appropriate or desired for that situation.

Front Stage, Back Stage, and Off Stage

In stage drama, as in everyday interactions, according to Goffman, there are three regions, each with different effects on an individual’s performance: front stage, backstage, and off-stage. The front stage is where the actor formally performs and adheres to conventions that have particular meaning for the audience. The actor knows he or she is being watched and acts accordingly.

When in the backstage region, the actor may behave differently than when in front of the audience on the front stage. This is where the individual truly gets to be herself and get rid of the roles that she plays when she is in front of other people.

Finally, the off-stage region is where individual actors meet the audience members independently of the team performance on the front stage. Specific performances may be given when the audience is segmented as such.

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The Presentation of the Self in Everyday Life – A Summary

A summary of The Presentation of the Self in Everyday Life by Erving Goffman, and a brief discussion of its relevance to A level Sociology. 

Executive Summary

The best way to understand human action is by seeing people as actors on a ‘social stage’ who actively create an impression of themselves for the benefit of an audience (and, ultimately themselves).

When we act in the social world, we put on a ‘front’ in order to project a certain image of ourselves (call this part of our ‘social identity’ if you like) – we create a front by manipulating the setting in which we perform (e.g. our living room), our appearance (e.g. our clothes) and our manner (our emotional demeanour).

In the social world we are called upon to put on various fronts depending on the social stage on which we find ourselves and the teams of actors with whom we are performing – the work-place or the school are typical examples of social stages which require us to put on a front. On these social stages we take on roles, in relation to other team-members and carefully manage the impressions we give-off in order to ‘fit in’ to society and/ or achieve our own personal goals

Impression management involves projecting an ‘idealised image’ of ourselves, which involves concealing a number of aspects of a performance – such as the effort which goes into putting on a front, and typically hiding any personal profit we will gain from a performance/ interaction.

Unfortunately because audiences are constantly on the look-out for the signs we give off (so that they can know who we are) ‘performers can stop giving expressions, but they cannot stop giving them off’. This means that we must be constantly on our guard to practice ‘expressive control’ when on the social stage. There are plenty of things that can go wrong with our performance which might betray the fact that we are not really the person who our act suggests that we are – we might lose bodily control (slouch), or make mistakes with our clothing (a scruffy appearance) for example.

Acting out social roles is quite demanding and so in addition to the front-stage aspect of our lives, we also have back-stage areas where we can drop our front and be more relaxed, closer to our ‘true-selves’, and where we can prepare for our acting in the world.

We generally tend to think of performances as being of one or two types – the sincere and the contrived. Some people sincerely believe in the parts they are playing, they invest their true selves in the impression they give off, this is the typical case. However, other people act out their roles more cynically – they do not believe the parts they are playing are a reflection of their ‘true selves’ but instead only play their part in order to achieve another end.

Thankfully most audience members are tactful and voluntarily stay away from back-stage areas where we prepare for our social roles, and if we ever ‘fall out of character’ they tend to engage in ‘tactful inattention’ in order to save the situation.

From a research methods point of view the significance of Goffman lies in the fact that f we really want to understand people, we would need to engage in participant-observation in order to get back-stage with them, because we only get to see peoples true feelings when they stop performing.

If a researcher merely gave people a questionnaire to fill out, or even if they did an in-depth interview with them – they could be perceived by the respondent as a member of an audience – and the results we get could just be a performance put on for the benefit of the researcher.

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Impression Management: Erving Goffman Theory

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On This Page:

• Impression management refers to the goal-directed conscious or unconscious attempt to influence the perceptions of other people about a person, object, or event by regulating and controlling information in social interaction.
• Generally, people undertake impression management to achieve goals that require they have a desired public image. This activity is called self-presentation.
• In sociology and social psychology, self-presentation is the conscious or unconscious process through which people try to control the impressions other people form of them.
• The goal is for one to present themselves the way in which they would like to be thought of by the individual or group they are interacting with. This form of management generally applies to the first impression.
• Erving Goffman popularized the concept of perception management in his book, The Presentation of Self in Everyday Life , where he argues that impression management not only influences how one is treated by other people but is an essential part of social interaction.

Impression Management in Sociology

Impression management, also known as self-presentation, refers to the ways that people attempt to control how they are perceived by others (Goffman, 1959).

By conveying particular impressions about their abilities, attitudes, motives, status, emotional reactions, and other characteristics, people can influence others to respond to them in desirable ways.

Impression management is a common way for people to influence one another in order to obtain various goals.

While earlier theorists (e.g., Burke, 1950; Hart & Burk, 1972) offered perspectives on the person as a performer, Goffman (1959) was the first to develop a specific theory concerning self-presentation.

In his well-known work, Goffman created the foundation and the defining principles of what is commonly referred to as impression management.

In explicitly laying out a purpose for his work, Goffman (1959) proposes to “consider the ways in which the individual in ordinary work situations presents himself and his activity to others, the ways in which he guides and controls the impression they form of him, and the kind of things he may or may not do while sustaining his performance before them.” (p. xi)

Social Interaction

Goffman viewed impression management not only as a means of influencing how one is treated by other people but also as an essential part of social interaction.

He communicates this view through the conceit of theatre. Actors give different performances in front of different audiences, and the actors and the audience cooperate in negotiating and maintaining the definition of a situation.

To Goffman, the self was not a fixed thing that resides within individuals but a social process. For social interactions to go smoothly, every interactant needs to project a public identity that guides others’ behaviors (Goffman, 1959, 1963; Leary, 2001; Tseelon, 1992).

Goffman defines that when people enter the presence of others, they communicate information by verbal intentional methods and by non-verbal unintentional methods.

According to Goffman, individuals participate in social interactions through performing a “line” or “a pattern of verbal and nonverbal acts by which he expresses his view of the situation and through this his evaluation of the participants, especially himself” (1967, p. 5).

Such lines are created and maintained by both the performer and the audience. By enacting a line effectively, a person gains positive social value or “face.”

The verbal intentional methods allow us to establish who we are and what we wish to communicate directly. We must use these methods for the majority of the actual communication of data.

Goffman is mostly interested in the non-verbal clues given off which are less easily manipulated. When these clues are manipulated the receiver generally still has the upper hand in determining how realistic the clues that are given off are.

People use these clues to determine how to treat a person and if the intentional verbal responses given off are actually honest. It is also known that most people give off clues that help to represent them in a positive light, which tends to be compensated for by the receiver.

Impression Management Techniques

• Suppressing emotions : Maintaining self-control (which we will identify with such practices as speaking briefly and modestly).
• Conforming to Situational Norms : The performer follows agreed-upon rules for behavior in the organization.
• Flattering Others : The performer compliments the perceiver. This tactic works best when flattery is not extreme and when it involves a dimension important to the perceiver.
• Being Consistent : The performer’s beliefs and behaviors are consistent. There is agreement between the performer’s verbal and nonverbal behaviors.

Self-Presentation Examples

Self-presentation can affect the emotional experience . For example, people can become socially anxious when they are motivated to make a desired impression on others but doubt that they can do so successfully (Leary, 2001).

In one paper on self-presentation and emotional experience, Schlenker and Leary (1982) argue that, in contrast to the drive models of anxiety, the cognitive state of the individual mediates both arousal and behavior.

The researchers examine the traditional inverted-U anxiety-performance curve (popularly known as the Yerkes-Dodson law) in this light.

The researchers propose that people are interpersonally secure when they do not have the goal of creating a particular impression on others.

They are not immediately concerned about others’ evaluative reactions in a social setting where they are attempting to create a particular impression and believe that they will be successful in doing so.

Meanwhile, people are anxious when they are uncertain about how to go about creating a certain impression (such as when they do not know what sort of attributes the other person is likely to be impressed with), think that they will not be able to project the types of images that will produce preferred reactions from others.

Such people think that they will not be able to project the desired image strongly enough or believe that some event will happen that will repudiate their self-presentations, causing reputational damage (Schlenker and Leary, 1982).

Psychologists have also studied impression management in the context of mental and physical health .

In one such study, Braginsky et al. (1969) showed that those hospitalized with schizophrenia modify the severity of their “disordered” behavior depending on whether making a more or less “disordered” impression would be most beneficial to them (Leary, 2001).

Additional research on university students shows that people may exaggerate or even fabricate reports of psychological distress when doing so for their social goals.

Hypochondria appears to have self-presentational features where people convey impressions of illness and injury, when doing so helps to drive desired outcomes such as eliciting support or avoiding responsibilities (Leary, 2001).

People can also engage in dangerous behaviors for self-presentation reasons such as suntanning, unsafe sex, and fast driving. People may also refuse needed medical treatment if seeking this medical treatment compromises public image (Leary et al., 1994).

Key Components

There are several determinants of impression management, and people have many reasons to monitor and regulate how others perceive them.

For example, social relationships such as friendship, group membership, romantic relationships, desirable jobs, status, and influence rely partly on other people perceiving the individual as being a particular kind of person or having certain traits.

Because people’s goals depend on them making desired impressions over undesired impressions, people are concerned with the impressions other people form of them.

Although people appear to monitor how they come across ongoingly, the degree to which they are motivated to impression manage and the types of impressions they try to foster varies by situation and individuals (Leary, 2001).

Leary and Kowalski (1990) say that there are two processes that constitute impression management, each of which operate according to different principles and are affected by different situations and dispositional aspects. The first of these processes is impression motivation, and the second is impression construction.

Impression Motivation

There are three main factors that affect how much people are motivated to impression-manage in a situation (Leary and Kowalski, 1990):

(1) How much people believe their public images are relevant to them attaining their desired goals.

When people believe that their public image is relevant to them achieving their goals, they are generally more motivated to control how others perceive them (Leary, 2001).

Conversely, when the impressions of other people have few implications on one’s outcomes, that person’s motivation to impression-manage will be lower.

This is why people are more likely to impression manage in their interactions with powerful, high-status people than those who are less powerful and have lower status (Leary, 2001).

(2) How valuable the goals are: people are also more likely to impress and manage the more valuable the goals for which their public impressions are relevant (Leary, 2001).

(3) how much of a discrepancy there is between how they want to be perceived and how they believe others perceive them..

People are more highly motivated to impression-manage when there is a difference between how they want to be perceived and how they believe others perceive them.

For example, public scandals and embarrassing events that convey undesirable impressions can cause people to make self-presentational efforts to repair what they see as their damaged reputations (Leary, 2001).

Impression Construction

Features of the social situations that people find themselves in, as well as their own personalities, determine the nature of the impressions that they try to convey.

In particular, Leary and Kowalski (1990) name five sets of factors that are especially important in impression construction (Leary, 2001).

Two of these factors include how people’s relationships with themselves (self-concept and desired identity), and three involve how people relate to others (role constraints, target value, and current or potential social image) (Leary and Kowalski, 1990).

Self-concept

The impressions that people try to create are influenced not only by social context but also by one’s own self-concept .

People usually want others to see them as “how they really are” (Leary, 2001), but this is in tension with the fact that people must deliberately manage their impressions in order to be viewed accurately by others (Goffman, 1959).

People’s self-concepts can also constrain the images they try to convey.

People often believe that it is unethical to present impressions of themselves different from how they really are and generally doubt that they would successfully be able to sustain a public image inconsistent with their actual characteristics (Leary, 2001).

This risk of failure in portraying a deceptive image and the accompanying social sanctions deter people from presenting impressions discrepant from how they see themselves (Gergen, 1968; Jones and Pittman, 1982; Schlenker, 1980).

People can differ in how congruent their self-presentations are with their self-perceptions.

People who are high in public self-consciousness have less congruency between their private and public selves than those lower in public self-consciousness (Tunnell, 1984; Leary and Kowalski, 1990).

Desired identity

People’s desired and undesired selves – how they wish to be and not be on an internal level – also influence the images that they try to project.

Schlenker (1985) defines a desirable identity image as what a person “would like to be and thinks he or she really can be, at least at his or her best.”

People have a tendency to manage their impressions so that their images coincide with their desired selves and stay away from images that coincide with their undesired selves (Ogilivie, 1987; Schlenker, 1985; Leary, 2001).

This happens when people publicly claim attributes consistent with their desired identity and openly reject identities that they do not want to be associated with.

For example, someone who abhors bigots may take every step possible to not appear bigoted, and Gergen and Taylor (1969) showed that high-status navel cadets did not conform to low-status navel cadets because they did not want to see themselves as conformists (Leary and Kowalski, 1990).

Target value

people tailor their self-presentations to the values of the individuals whose perceptions they are concerned with.

This may lead to people sometimes fabricating identities that they think others will value.

However, more commonly, people selectively present truthful aspects of themselves that they believe coincide with the values of the person they are targeting the impression to and withhold information that they think others will value negatively (Leary, 2001).

Role constraints

the content of people’s self-presentations is affected by the roles that they take on and the norms of their social context.

In general, people want to convey impressions consistent with their roles and norms .

Many roles even carry self-presentational requirements around the kinds of impressions that the people who hold the roles should and should not convey (Leary, 2001).

Current or potential social image

People’s public image choices are also influenced by how they think they are perceived by others. As in impression motivation, self-presentational behaviors can often be aimed at dispelling undesired impressions that others hold about an individual.

When people believe that others have or are likely to develop an undesirable impression of them, they will typically try to refute that negative impression by showing that they are different from how others believe them to be.

When they are not able to refute this negative impression, they may project desirable impressions in other aspects of their identity (Leary, 2001).

Implications

In the presence of others, few of the behaviors that people make are unaffected by their desire to maintain certain impressions. Even when not explicitly trying to create a particular impression of themselves, people are constrained by concerns about their public image.

Generally, this manifests with people trying not to create undesired impressions in virtually all areas of social life (Leary, 2001).

Tedeschi et al. (1971) argued that phenomena that psychologists previously attributed to peoples’ need to have cognitive consistency actually reflected efforts to maintain an impression of consistency in others’ eyes.

Studies have supported Tedeschi and their colleagues’ suggestion that phenomena previously attributed to cognitive dissonance were actually affected by self-presentational processes (Schlenker, 1980).

Psychologists have applied self-presentation to their study of phenomena as far-ranging as conformity, aggression, prosocial behavior, leadership, negotiation, social influence, gender, stigmatization, and close relationships (Baumeister, 1982; Leary, 1995; Schlenker, 1980; Tedeschi, 1981).

Each of these studies shows that people’s efforts to make impressions on others affect these phenomena, and, ultimately, that concerns self-presentation in private social life.

For example, research shows that people are more likely to be pro-socially helpful when their helpfulness is publicized and behave more prosocially when they desire to repair a damaged social image by being helpful (Leary, 2001).

In a similar vein, many instances of aggressive behavior can be explained as self-presentational efforts to show that someone is willing to hurt others in order to get their way.

This can go as far as gender roles, for which evidence shows that men and women behave differently due to the kind of impressions that are socially expected of men and women.

Baumeister, R. F. (1982). A self-presentational view of social phenomena. Psychological Bulletin, 91, 3-26.

Braginsky, B. M., Braginsky, D. D., & Ring, K. (1969). Methods of madness: The mental hospital as a last resort. New York: Holt, Rinehart & Winston.

Buss, A. H., & Briggs, S. (1984). Drama and the self in social interaction. Journal of Personality and Social Psychology, 47, 1310-1324. Gergen, K. J. (1968). Personal consistency and the presentation of self. In C. Gordon & K. J. Gergen (Eds.), The self in social interaction (Vol. 1, pp. 299-308). New York: Wiley.

Gergen, K. J., & Taylor, M. G. (1969). Social expectancy and self-presentation in a status hierarchy. Journal of Experimental Social Psychology, 5, 79-92.

Goffman, E. (1959). The moral career of the mental patient. Psychiatry, 22(2), 123-142.

• Goffman, E. (1963). Embarrassment and social organization.

Goffman, E. (1978). The presentation of self in everyday life (Vol. 21). London: Harmondsworth.

Goffman, E. (2002). The presentation of self in everyday life. 1959. Garden City, NY, 259.

Martey, R. M., & Consalvo, M. (2011). Performing the looking-glass self: Avatar appearance and group identity in Second Life. Popular Communication, 9 (3), 165-180.

Jones E E (1964) Ingratiation. Appleton-Century-Crofts, New York.

Jones, E. E., & Pittman, T. S. (1982). Toward a general theory of strategic self-presentation. Psychological perspectives on the self, 1(1), 231-262.

Leary M R (1995) Self-presentation: Impression Management and Interpersonal Behaior. Westview Press, Boulder, CO.

Leary, M. R.. Impression Management, Psychology of, in Smelser, N. J., & Baltes, P. B. (Eds.). (2001). International encyclopedia of the social & behavioral sciences (Vol. 11). Amsterdam: Elsevier.

Leary, M. R., & Kowalski, R. M. (1990). Impression management: A literature review and two-component model. Psychological bulletin, 107(1), 34.

Leary M R, Tchvidjian L R, Kraxberger B E 1994 Self-presentation may be hazardous to your health. Health Psychology 13: 461–70.

Ogilvie, D. M. (1987). The undesired self: A neglected variable in personality research. Journal of Personality and Social Psychology, 52, 379-385.

• Schlenker, B. R. (1980). Impression management (Vol. 222). Monterey, CA: Brooks/Cole.

Schlenker, B. R. (1985). Identity and self-identification. In B. R. Schlenker (Ed.), The self and social life (pp. 65-99). New York: McGraw-Hill.

Schlenker, B. R., & Leary, M. R. (1982). Social anxiety and self-presentation: A conceptualization model. Psychological bulletin, 92(3), 641.

Tedeschi, J. T, Smith, R. B., Ill, & Brown, R. C., Jr. (1974). A reinterpretation of research on aggression. Psychological Bulletin, 81, 540- 563.

Tseëlon, E. (1992). Is the presented self sincere? Goffman, impression management and the postmodern self. Theory, culture & society, 9(2), 115-128.

Tunnell, G. (1984). The discrepancy between private and public selves: Public self-consciousness and its correlates. Journal of Personality Assessment, 48, 549-555.

Further Information

• Solomon, J. F., Solomon, A., Joseph, N. L., & Norton, S. D. (2013). Impression management, myth creation and fabrication in private social and environmental reporting: Insights from Erving Goffman. Accounting, organizations and society, 38(3), 195-213.
• Gardner, W. L., & Martinko, M. J. (1988). Impression management in organizations. Journal of management, 14(2), 321-338.
• Scheff, T. J. (2005). Looking‐Glass self: Goffman as symbolic interactionist. Symbolic interaction, 28(2), 147-166.

The Presentation of Self in Everyday Life (1959)

Erving goffman (1959): the presentation of self in everyday life.

By Jason Taylor

Introduction

Erving Goffman (1922-1982) was “arguably the most influential American sociologist of the twentieth century” (Fine & Manning, 2003, p. 34). This summary will outline one of his earliest works – The Presentation of Self in Everyday Life , originally published in 1956. The book was published more widely in 1959 with some minor changes and in 1969, won the American Sociological Association’s MacIver Award (Treviño, 2003). It has been listed by the International Sociological Association (1998) as the tenth most important book of the last century.

Goffman (1959, p.12) introduces his “report” as “a sort of handbook” which details “one sociological perspective from which social life can be studied”. In it, he describes “a set of features… which together form a framework that can be applied to any concrete social establishment, be it domestic, industrial, or commercial”.

Goffman (1959) intends on providing a unique sociological perspective from which to view the social world. He names this perspective dramaturgical analysis. Elegantly intuitive, this perspective directs us to view the social world as a stage. Goffman is using the language of the theatre to describe social interaction. Much like on the stage, ‘actors’ take on ‘roles’ – they engage in a performance . There is an audience who views and interprets this performance. There are props and scripts. And there is a ‘front stage’ and a ‘backstage’.

Following the introduction, the book is broken down into six main chapters. These are:

• Performances
• Regions and Region Behaviour
• Discrepant Roles
• Communication out of Character
• The Arts of Impression Management

These six chapters outline the six ‘dramaturgical principles’ of Goffman’s theory (Fine & Manning, 2003; Manning, 1992). This section will outline some of the core aspects of each of these ‘dramaturgical principles’. The first principle (performances) will be the most detailed of the six, because it is the fundamental theoretical basis for Goffman’s (1959) overall concept. The additional five principles can be seen as supporting and building upon this underlying idea. Following from this fairly extensive summary of the book, a critical evaluation will discuss some of its main criticisms and consider why it remains an exceptionally influential piece of Sociology. Finally, we will end with some cautionary advice from Goffman on the scope and practicality of his theory.

1. Performances

A “performance” may be defined as all the activity of a given participant on a given occasion that serves to influence in any way any of the other participants. (Goffman, 1959, p.26)

I have been using the term “performance” to refer to all the activity of an individual which occurs during a period marked by his continuous presence before a particular set of observers and which has some influence on the observers . (Goffman, 1959, p. 32)

So, by ‘performance’, Goffman (1959) is referring to any activity by an individual in the presence of others which influences those others.

It is important to recognise that there are various situations, circumstances and settings within which a performance can take place. One of the most obvious, perhaps, is a job interview. In this case, the interviewee is likely presenting a version of themselves that they believe the interviewer values in their employees – well-mannered, confident (but not arrogant), respectful, hard-working, trustworthy, and so on. They may attempt to present these characteristics through the way they dress, their posture, their manner and tone of speaking, their body language, etc. Indeed, the interviewer will also be putting on a performance – perhaps restraining themselves so as not to reveal too much about how the interview is going or presenting an authoritative demeanour, for example. However, performances occur in more subtle settings and situations, too. When a couple go out to dinner, they present themselves in a certain way – both towards each other as well as the person serving them and to other diners. The way we dress, the way we speak, the facial expressions we make, our body language, all amount to a kind of performance.

Goffman (1959) suggests that performances are an essential aspect of how we “define the situation”:

When an individual enters the presence of others, they commonly seek to acquire information about him or to bring into play information about him already possessed. They will be interested in his general socio-economic status, his conception of self, his attitude toward them, his competence, his trustworthiness, etc. Although some of this information seems to be sought almost as an end in itself, there are usually quite practical reasons for acquiring it. Information about the individual helps to define the situation, enabling others to know in advance what he will expect of them and what they may expect of him. Informed in these ways, the others will know how best to act in order to call forth a desired response from him. (Goffman, 1959, p.1)

Essentially, the argument here is that social interaction requires performances from all actors involved in any social interaction in order to define and negotiate the situation we find ourselves in. Through our performances, we make claims about what the situation is, who we are, and what to expect from one another.

A word of caution here. Goffman (1959) is not necessarily implying that individuals are consciously deceiving one another or ‘faking it’… at least, not all of the time:

At one extreme, one finds that the performer can be fully taken in by his own act; he can be sincerely convinced that the impression of reality which he stages is the real reality. When his audience is also convinced in this way about the show he puts on—and this seems to be the typical case—then for the moment at least, only the sociologist or the socially disgruntled will have any doubts about the “realness” of what is presented. At the other extreme, we find that the performer may not be taken in at all by his own routine. This possibility is understandable, since no one is in quite as good an observational position to see through the act as the person who puts it on. Coupled with this, the performer may be moved to guide the conviction of his audience only as a means to other ends, having no ultimate concern in the conception that they have of him or of the situation. When the individual has no belief in his own act and no ultimate concern with the beliefs of his audience, we may call him cynical, reserving the term “sincere” for individuals who believe in the impression fostered by their own performance. (Goffman, 1959, pp.17-18)

Certainly then, an individual may intentionally and consciously put on a performance in order to gain in some way from a given situation. However, performances occur in any and all social interactions. The performer may well be convinced that the performance they are giving is not really a performance at all and instead may view it as an authentic reflection of him- or herself.

Nonetheless, there has been criticism that Goffman presents a cynical view of the ‘self’. Manning (1992), for example, argues that Goffman’s theory is based on what he calls the ‘two selves thesis’. One aspect of the self is considered to be a careful performer, while the other is the “cynical manipulator behind the public performance” (Fine & Manning, 2003, p. 46). We will return to this and other criticism later in the discussion.

An essential aspect of performance, one we have considered in examples already, is what Goffman (1959) calls ‘front’:

It will be convenient to label as “front” that part of the individuals performance which regularly functions in a general and fixed fashion to define the situation for those who observe the performance. Front, then, is the expressive equipment of a standard kind intentionally or unwittingly employed by the individual during his performance. (Goffman, 1959, p. 22)

Front can be broken down into two broad components:

Setting: the manipulation of the environment to support a particular performance…

… involving furniture, décor, physical layout, and other background items which supply the scenery and stage props for the spate of human action played out before, within, or upon it.  (Goffman, 1959, p.22)

Personal Front:

refers 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. (Goffman, 1959, p. 24)

Personal Front is broken down into two further categories – ‘Appearance’ and ‘Manner’. Appearance refers to the performers social status – how they are dressed, for example, or any status symbols they may have on show; while manner may be taken as “those stimuli which function at the time to warn us of the interaction role the performer will expect to play in the oncoming situation” (Goffman, 1959, p. 24). For example:

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. (Goffman, 1959, p.24)

Performances are often a collaborative effort. Individuals will often find themselves in situations whereby they must perform as part of a ‘team’. Examples of this include colleagues at work, students in a classroom, and family outings. ‘Teams’ work together to maintain a common impression and cooperate to contribute to defining the situation. They are required to trust one another to play their role convincingly.

Individuals who perform together as a team are therefore mutually dependent on one another. Each may have a specialised role to play, and there may be a ‘director’ who has “the right to direct and control the progress of the dramatic action” (Goffman, 1959, p. 97).  Members of a team are also generally aware that each individual within the team is performing while they are ‘frontstage’.

Members of a team also have access to a ‘backstage’ where they are able to relax and cease performing – to an extent. However, it should be recognised that each individual will still maintain their own personal performance, intended to be observed by other members of the team.

3. Regions and Region Behaviour

Continuing with the metaphor of the stage, Goffman (1959) considers there to be various regions, variably observable to different audiences, where performers will have more or less need to perform. He distinguishes between three different ‘regions’. These are front region , back region and outside region .

Front Region: Also referred to as ‘frontstage’. An audience is present and a performance is given. Essentially, an individual is ‘frontstage’, at least to a degree, any time they are in the presence of others.

Back Region: Also referred to as ‘backstage’. When ‘backstage’, individuals and teams can rehearse, relax and behave ‘out of character’.

[Backstage], the performer can relax; he can drop his front, forgo speaking his lines, and step out of character. (Goffman, 1959, p. 122)

An individual ‘backstage’ no longer has to be concerned with their appearance or manner, or with with manipulating the setting to accommodate or please an audience. Under normal circumstances the audience has little or no access to the backstage region.

Outside Region: A region occupied by ‘outsiders’ who are not intended to be present by a performer. These outsiders are neither performers or actors and are often considered to be ‘intruders’. Performances vary based on who is in the audience. Outsiders may cause confusion or embarrassment because they may not be the ‘intended audience’ for a specific performance. Goffman (1959) gives an example of a couple who regularly bicker unexpectedly receiving a guest who they do not wish to be aware of their marital troubles. Essentially, the current performance must be adapted to accommodate the outsider, although “rarely can this be done smoothly enough to preserve the newcomer’s illusion that the show suddenly put on is the performer’s natural show” (Goffman, 1959, p. 139), In other words, the ‘adapted’ performance may not be a convincing one.

4. Discrepant Roles

For far, we have considered most individuals to be categorised in one of three ways – a performer, an audience member, or an outsider. But Goffman (1959) notes that ‘discrepant roles’ also exist, where an individual may not appear what they seem or may not completely fit into any of these three predefined categories. Some examples of discrepant roles include:

The Informer:

… someone who pretends to the performers to be a member of their team, is allowed to come backstage and to acquire destructive information, and then openly or secretly sells out the show to the audience. The political, military, industrial, and criminal variants of this role are famous. If it appears that the individual first joined the team in a sincere way and not with the premeditated plan of disclosing its secrets, we sometimes call him a traitor, turncoat, or quitter, especially if he is the sort of person who ought to have made a decent teammate. The individual who all along has meant to inform on the team, and originally joins only for this purpose, is sometimes called a spy. It has frequently been noted, of course, that informers, whether traitors or spies, are often in an excellent position to play a double game, selling out the secrets of those who buy secrets from them. Informers can, of course, be classified in other ways: as Hans Speier suggests, some are professionally trained for their work, others are amateurs; some are of high estate and some of low; some work for money and others work from conviction. (Goffman, 1959, pp. 145-146)

A shill is someone who acts as though he were an ordinary member of the audience but is in fact in league with the performers. Typically, the shill either provides a visible model for the audience of the kind of response the performers are seeking or provides the kind of audience response that is necessary at the moment for the development of the performance.  (Goffman, 1959, p. 146)

We must not take the view that shills are found only in non-respectable performances… For example, at informal conversational gatherings, it is common for a wife to look interested when her husband tells an anecdote and to feed him appropriate leads and cues, although in fact she has heard the anecdote many times and knows that the show her husband is making of telling something for the first time is only a show. A shill, then, is someone who appears to be just another unsophisticated member of the audience and who uses his unapparent sophistication in the interests of the performing team. (Goffman, 1957, pp. 146-147)

Non-persons:

… are present during the interaction but in some respects do not take the role either of performer or of audience, nor do they (as do informers, shills, and spotters) pretend to be what they are not. (Goffman, 1959, p. 151)

Goffman suggests examples of ‘non-persons’ such as servants, children, the elderly and the sick. The term ‘non-person’ may come across as insensitive or prejudiced, but to be clear, Goffman is trying to outline how people are seen, thought about and treated within this framework. Such examples highlight members of society who are seen as neither performer, audience or outsider and do not make substantial impact on the way people behave in their presence. ‘Non-persons’ can often move between frontstage and backstage without causing the same sort of disruption that an ‘outsider’ might. Goffman’s (1963) work on Stigma adds a great deal of theory building on comparable concepts.

The Spotter: Undercover government or company ‘agents’ who act as a member or the public or team in order to check up on the conduct of employees or officials.

The Shopper:

… is the one who takes an unremarked, modest place in the audience… but when he leaves he goes to his employer, a competitor of the team whose performance he has witnessed, to report what he has seen. He is the professional shopper—the Gimbel’s man in Macy’s and the Macy’s man in Gimbel’s; he is the fashion spy and the foreigner at National Air Meets. [He] has a technical right to see the show but ought to have the decency, it is sometimes felt, to stay in his own back region, for his interest in the show is from the wrong perspective… (Goffman, 1959, pp. 148-149)

The Mediator: An individual who has access to both sides of a dispute but gives each side the impression that they are more loyal to them than to the other. Examples Goffman (1959) suggests are arbiters of labour disputes (negotiating between each side of the dispute), factory foremen (advancing the directives of upper management whilst maintaining the respect and willingness of workers) and chairmen or formal meetings (who are to moderate the meeting and ensure everyone is treated fairly). Goffman is amusingly cynical of ‘mediators’, concluding that they are essentially a ‘double-shill’:

When a go-between operates in the actual presence of the two teams of which he is a member, we obtain a wonderful display, not unlike a man desperately trying to play tennis with himself. Again we are forced to see that the individual is not the natural unit for our consideration but rather the team and its members. As an individual, the go-between’s activity is bizarre, untenable, and undignified, vacillating as it does from one set of appearances and loyalties to another. As a constituent part of two teams, the go-between’s vacillation is quite understandable. The go-between can be thought of simply as a double-shill. (Goffman, 1959, p. 149)

5. Communication out of Character

The discussion so far has outlined many of the ways in which a performer maintains their performance. There are, however, times when an actor may step ‘out of character’, revealing aspects of themselves that are not part of, and may be incompatible with, a given performance. For example, an actor who is unexpectedly startled or frightened while giving a performance may shout out “Good Lord” or “My God!” (Goffman, 1959, p. 169). Goffman outlines four forms this communication out of character may take:

• Treatment of the Absent: While backstage, performers may derogate and talk negatively about the audience, toward whom they speak about favourably whilst frontstage. Goffman gives an example of salespeople:

… customers who are treated respectfully during the performance are often ridiculed, gossiped about, caricatured, cursed, and criticized when the performers are backstage; here, too, plans may be worked out for “selling” them, or employing “angles” against them, or pacifying them. (Goffman, 1959, p. 170)

While it is asserted that derogative speech is most the common treatment of the absent, backstage performers may also talk positively about their audience in ways they would not whilst frontstage.

• Staging Talk: Backstage discussion between teams about various aspects of the performance, possible adjustments are considered, potential disruptions are explored, “wounds are licked, and morale is strengthened for the next performance” (Goffman, 1959, p. 176).
• Team Collusion: Communication between fellow performers and those backstage who are involved in maintaining the performance. One example of team collusion is instructions given through the in-ear piece of a television news anchor. However, team collusion can also be more subtle, such as through “unconsciously learned vocabulary of gestures and looks by which collusive staging cues can be conveyed” (Goffman, 1959, p. 181).
• Realigning Actions: Unofficial communication directed at the audience, often in an attempt to redefine the situation. Realigning actions may include “innuendo, mimicked accents, well-placed jokes, significant pauses, veiled hints, purposeful kidding, expressive overtones, and many other sign practices” (Goffman, 1959, p. 190). In the event that a performer is accused of unacceptable or improper communication out of character, through realigning actions they may attempt to claim that they did not ‘mean anything’ by their out of character communication and the audience is given a chance to disregard the outburst or mistake.

6. The Arts of Impression Management

It is a reality that performances have the potential to be disrupted. Audience members or outsiders may find their way backstage, for example, or communication out of character may result in a particular performance becoming irreconcilably contradictory with what the audience has witnessed.  ‘Impression management’ is a term used to describe the ways in which performers may plan and prepare ‘corrective practices’ for such disruptions (Goffman, 1959). These ‘dramaturgical disciplines’ may include techniques for covering up for teammates, suppressing emotions and spontaneous feelings, and maintaining self-control during performances.

Performers often rely on the “tactful tendency of the audience and outsiders to act in a protective way in order to help the performers save their own show (Goffman, 1959, p. 229). However, the tactfulness of the audience may not be enough to recover the situation, which may result in embarrassing and socially awkward consequences. As Goffman explains in his wonderfully Goffman way:

Whenever the audience exercises tact, the possibility will arise that the performers will learn that they are being tactfully protected. When this occurs, the further possibility arises that the audience will learn that the performers know they are being tactfully protected. And then, in turn, it becomes possible for the performers to learn that the audience knows that the performers know they are being protected. Now when such states of information exist, a moment in the performance may come when the separateness of the teams will break down and be momentarily replaced by a communion of glances through which each team openly admits to the other its state of information. At such moments, the whole dramaturgical structure of social interaction is suddenly and poignantly laid bare, and the line separating the teams momentarily disappears. Whether this close view of things brings shame or laughter, the teams are likely to draw rapidly back into their appointed character. (Goffman, 1959, 233)

Summary Conclusion

Here we will conclude this summary of Presentation of Self . It is a fairly extensive summary in comparison to many currently available and is focused principally on helping students to engage in the core ideas found throughout the book. As has become usual on this website, I have used extensive quotations with the aim of encouraging readers to explore this key text more directly. While I consider this summary to be fairly extensive, it does not nearly cover everything. My hope is that there is enough here to provide a relatively clear outline of what Goffman (1959) is trying to say. That said, it should be noted that Goffman’s theories are notoriously considered to be tricky to understand structurally. His work can be difficult to neatly condense and summarise. At the same time, something about his work changes the way we view the world. As Lemert (1997) puts it:

The experience Goffman effects is that of colonizing a new social place into which the reader enters, from which to exit never quite the same. To have once, even if only once, seen the social world from within such a place is never after to see it otherwise, ever after to read the world anew. In thus seeing differently, we are other than we were. (Lemert, 1997 – cited in Scheff, 2003, p.52)

Scheff (2003) adds:

Our vision of the world, and even of ourselves, is transformed by reading Goffman. (Scheff, 2003, p.52)

We will now move on to some critical analysis of the book.

Critical Analysis

Goffman provides us with an interesting and useful framework within which to think about social interaction through the framework of dramaturgical analysis. As we shall see, this is not a theory which claims to explain all of society or all aspects of social interaction. What it does provide is a framework that we can apply in studying social groups and their interaction between and among one another. It is a method of analysis.

The various principles he outlines offer a range of complexities that may apply in any particular social situation. One very obvious type of social space with which the dramaturgical perspective may be useful is in the workplace – (probably) any workplace. Some questions we might want to consider in studying social interaction within such an environment include:

• What are individual performers hoping to achieve through their performances?
• How do team dynamics apply in various situations?
• Where do front and back regions exist and how clear are the lines between each?
• How do performers respond to informers, or feel about spotters and how well do they work with mediators? Are there any strategies in place to guard against such discrepant intruders?
• What contexts or situations may inspire communication out of character?
• What methods of impression management are utilised in the event a performance is disrupted or exposed?

This is just one, very brief example, but hopefully it makes the point. Other settings I personally would be interested to explore through dramaturgical analysis include homeless hostels, educational establishments, prisons (which has been done, to an extent – start with Goffman’s (1961) Asylums if you find this interesting) and hospitals.

Goffman (1959) gives us a language to explore social interaction through dramaturgical analysis. The book, like much of Goffman’s work, is filled with specific examples from autobiographies and first-hand accounts of individuals experiences. Goffman is considered by many as a “brilliant maverick” (Manning, 1992, p. 1). However, he does not follow any of the clearly defined, systematic approaches used by other notable social theorists, and this has left many Sociologists in a position where they do not know how to replicate his approach:

Part of these limits of Goffman’s impact can be attributed to the daunting perception of his idiosyncratic brilliance. Few wish to place themselves in comparison with this master sociologist, particularly since his approach lacks an easily acquired method. How can one learn to do what Goffman did? Methodological guidelines do not exist. This has the effect of leaving the work both sui generis and incapable of imitation. The belief (and perhaps the reality) is that Goffman created a personalistic sociology that was virtually mimic-proof. (Fine & Manning, 2003, p. 56)

On the other hand, while few (if any) have been able to replicate Goffman’s work, some of the most influential and successful Sociologists are indebted to his writing (Fine & Manning, 2003). Goffman’s mark on Sociology is enormous. This is both the case for his theories, as well as his writing style – as Fine & Manning (2003, p. 57) put it,“Goffman’s sardonic, satiric, jokey style has served to indicate that other genres and tropes can be legitimate forms of academic writing”. Goffman’s style is interesting, humorous and natural. Presentation of Self in Everyday Life is, at the very least, an incredibly readable and engaging book.

Giddens (2009) summary of his rereading of Presentation of Self outlines and reflects on some of the main criticisms of the book. One of these is that Goffman (1959) ignores power structures throughout his discussion. Giddens (2009) correctly recognises that Goffman does explore how we ‘do’ power, but notes that he neglects any sort of systematic discussion around how power is institutionally structured. His discussion of ‘non-persons’, for example, would have benefited greatly from a focus on institutional differentials of power. Furthermore, Goffman avoids providing any historical context to his ideas. While many of the examples and citations Goffman presents are historically diverse, his analysis is intrinsically grounded in the here and now. Social interaction is very much a product of historical development, and Goffman makes no attempt to investigate this. Treviño (2003) agrees,  arguing that grounding his ideas in a more ‘recognisable theoretical tradition’ would have resulted in ‘greater coherence’ in Goffman’s work.

These criticisms are valid. However, this should not be understood to undermine the value of Goffman’s ideas. While Giddens (2009) views it as ultimately inadequate, he offers Goffman a defence – Goffman’s work is concerend with analysis of interpersonal interaction within social situations rather than macro-structural theory. He takes a micro-sociological approach and this comes with limitations. While issues of power differentiation and historical context certainly would add extra value to Goffman’s work here, it is just that – added value. Indeed, Giddens (2009) makes reference to work such as Elias (1969) and Scheff (1999), who have incorporated and connected some of Goffman’s ideas with issues of power and sociohistorical development. Whilst recognising that there will always be areas that can be (and maybe should have been) explored further, be wary of allowing such criticism to detract from the usefulness of any valuable body of work. After all, there is no reason these issues cannot be explored later and/or by other scholars.

Furthermore, according to Scheff (2006, p. viii), Goffman’s work is ‘fully original’. He deliberately evades traditional social scientific methodology and practice, seeking to get…

… outside the box, beyond the conventions of our society and of social science… Goffman’s main focus was what might be called the microworld of emotions and relationships (ERW). We all live in it every day of our lives, yet we have been trained not to notice. Since Goffman noticed it, he was the discoverer of a hidden world. His work, if properly construed, provides a window into that otherwise invisible place… it is important in its own right, since it constitutes the moment-by-moment texture of our lives. Second, it is intimately connected to the larger world; it both causes and is caused by that world. If we are to have more than a passing understanding of ourselves and our society, we need to become better acquainted with the emotional/relational world… Conventional social science mostly ignores emotions and relationships in favour of behaviour and cognition. Goffman’s recognition of the existence of an ERW is the foundation of his whole approach. He realized, at some level, that conventional social and behavioural science was blind to the ERW, and might as well be blind in many other arenas as well… Following Goffman’s lead, if we are going to advance in our understanding of the human condition, we need to build a new approach. This approach would not only include the ERW, but other hitherto unrecognized structures and processes as well, such as the filigree of emotions and relationships that underlies large-scale behaviour, as in the case of collective cooperation and conflict. (Scheff, 2006, p. vii – ix)

Following Scheff (2006) then, we can turn the criticism that Goffman ignores other aspects of traditional Sociology on its head. Indeed, we can argue that Goffman is exploring aspects of social life that have remained largely hidden to the rest of the field. To quote Treviño (2003, p. 36), Presentation of Self was “the first sociological effort to truly treat face-to face interaction as a subject of study, as an order, in its own right, at its own level”. Those issues of macro social structure, those of institutional power differentials and of sociohistorical development were not revealed and communicated even nearly in full by any one body of work or by one sole theorist. As ‘discoverer’ of this aspect of the social world, it would be unreasonable to expect Goffman to combine his ideas with all available aspects of social science into one unifying theory of all social life and social structure. All science is collaborative, and Goffman provides us with one more addition to a dizzying array of diverse social science. Nonetheless, it is worth taking these criticisms seriously, if only as a recognition that Goffman, like any other social theorist, provides us with just one perspective with which to view the world. His theories should be used alongside, rather than in isolation from, other perspectives in Sociology.

Another reasonable criticism briefly mentioned earlier in this discussion is that Goffman’s view of the ‘self’ is grounded in what Manning (1992) calls the ‘two selves thesis’. It is argued here that Goffman takes a cynical view of the ‘self’, which he inherently suggests has two sides – one, the careful performer, the other the ‘cynical manipulator’ guiding the performance. It is fair to claim that human beings and their interactions are far more complex, far more multifaceted, than Goffman seems to suggest. Manning (1992) points out that Goffman recognised and attempted to distance himself from this thesis with small additions to the second 1959 edition of the book as well as in subsequent work. It seems that Goffman does not want us to view the dramaturgical analogy as a complete and full description of the self or as a tool to accurately understand all aspects of social interaction. Indeed, he uses the final few paragraphs of Presentation of Self in Everyday Life to reinforce this. We shall therefore conclude this summary as Goffman (1959) choses to end his book :

And now a final comment. In developing the conceptual framework employed in this report, some language of the stage was used. I spoke of performers and audiences; of routines and parts; of performances coming off or falling flat; of cues, stage settings and backstage; of dramaturgical needs, dramaturgical skills, and dramaturgical strategies. Now it should be admitted that this attempt to press a mere analogy so far was in part a rhetoric and a maneuver. The claim that all the world’s a stage is sufficiently commonplace for readers to be familiar with its limitations and tolerant of its presentation, knowing that at any time they will easily be able to demonstrate to themselves that it is not to be taken too seriously . An action staged in a theater is a relatively contrived illusion and an admitted one; unlike ordinary life, nothing real or actual can happen to the performed characters—although at another level of course something real and actual can happen to the reputation of performers qua professionals whose everyday job is to put on theatrical performances. And so here the language and mask of the stage will be dropped . Scaffolds, after all, are to build other things with, and should be erected with an eye to taking them down . This report is not concerned with aspects of theater that creep into everyday life. It is concerned with the structure of social encounters—the structure of those entities in social life that come into being whenever persons enter one another’s immediate physical presence. The key factor in this structure is the maintenance of a single definition of the situation , this definition having to be expressed, and this expression sustained in the face of a multitude of potential disruptions. A character staged in a theatre is not in some ways real, nor does it have the same kind of real consequences as does the thoroughly contrived character performed by a confidence man; but the successful staging of either of these types of false figures involves use of real techniques—the same techniques by which everyday persons sustain their real social situations. Those who conduct face to face interaction on a theatre’s stage must meet the key requirement of real situations; they must expressively sustain a definition of the situation: but this they do in circumstances that have facilitated their developing an apt terminology for the interactional tasks that all of us share. (Goffman, 1959, pp. 254-255, emphasis added )

Goffman (1959) intends his dramaturgical methaphor to be used as a scaffold. It is not all-emcompassing and is not adequate as an approach used in isolation. Rather, it is a means to an end. It is a method of highlighting and teasing out aspects of social interaction which, once identified, must be analysed further through the use of other Sociological methologies and perspectives. Nonetheless, the analogy of the theatre to describe everyday life is fascinating and has had substantial impact on the field.

Elias, N., 1969. The Civilizing Process: Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell.

Fine, G. A. & Manning, P., 2003. Erving Goffman. In: The Blackwell Companion to Major Contemporary Social Theorists. Oxford: Blackwell, pp. 34-62.

Giddens, A., 2009. On Rereading The Presentation of Self: Some Reflections. Social Psychology Quarterly, 72(4), pp. 290-295.

Goffman, E., 1959. The Presentation of Self in Everyday Life. New York: Anchor.

Goffman, E., 1961. Asylums: Essays on the Social Situation of Mental Patients and other Inmates. New York: Anchor.

Goffman, E., 1963. Stigma: Notes on the Management of Spoiled Identity. London: Penguin.

International Sociological Association, 1998. Books of the Century. [Online] Available at: https://www.isa-sociology.org/en/about-isa/history-of-isa/books-of-the-xx-century

Manning, P., 1992. Erving Goffman and Modern Sociology. Cambridge: Polity Press.

Scheff, T. J., 1999. Being Mentally Ill: A Sociological Theory. New York: Aldine De Gruyter.

Scheff, T. J., 2003. The Goffman Legacy: Deconstructing/Reconstructimg Social Science. In: Goffman’s Legacy. Oxford: Rowman & Littlefield Publishers, Inc., pp. 50-70.

Scheff, T. J., 2006. Goffman Unbound! A New Paradigm for Social Science. Routledge: Oxon.

Treviño, A. J., 2003. Introduction: Erving Goffman and the Interaction Order. In: Goffman’s Legacy. Oxford: Rowman & Littlefield Publishers, Inc., pp. 1-49.

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For Individuals

The self presentation theory and how to present your best self

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What does self presentation mean?

What are self presentation goals, individual differences and self presentation.

How can you make the most of the self presentation theory at work?  

We all want others to see us as confident, competent, and likeable — even if we don’t necessarily feel that way all the time. In fact, we make dozens of decisions every day — whether consciously or unconsciously — to get people to see us as we want to be seen. But is this kind of self presentation dishonest? Shouldn’t we just be ourselves?

Success requires interacting with other people. We can’t control the other side of those interactions. But we can think about how the other person might see us and make choices about what we want to convey. 

Self presentation is any behavior or action made with the intention to influence or change how other people see you. Anytime we're trying to get people to think of us a certain way, it's an act of self presentation. Generally speaking, we work to present ourselves as favorably as possible. What that means can vary depending on the situation and the other person.

Although at first glance this may seem disingenuous, we all engage in self-presentation. We want to make sure that we show up in a way that not only makes us look good, but makes us feel good about ourselves.

Early research on self presentation focused on narcissism and sociopathy, and how people might use the impression others have of them to manipulate others for their benefit. However, self presentation and manipulation are distinct. After all, managing the way others see us works for their benefit as well as ours.

Imagine, for example, a friend was complaining to you about   a tough time they were having at work . You may want to show up as a compassionate person. However, it also benefits your friend — they feel heard and able to express what is bothering them when you appear to be present, attentive, and considerate of their feelings. In this case, you’d be conscious of projecting a caring image, even if your mind was elsewhere, because you value the relationship and your friend’s experience.

To some extent, every aspect of our lives depends on successful self-presentation. We want our families to feel that we are worthy of attention and love. We present ourselves as studious and responsible to our teachers. We want to seem fun and interesting at a party, and confident at networking events. Even landing a job depends on you convincing the interviewer that you are the best person for the role.

There are three main reasons why people engage in self presentation:

Tangible or social benefits:

In order to achieve the results we want, it often requires that we behave a certain way. In other words, certain behaviors are desirable in certain situations. Matching our behavior to the circumstances can help us connect to others,   develop a sense of belonging , and attune to the needs and feelings of others.

Example:   Michelle is   a new manager . At her first leadership meeting, someone makes a joke that she doesn’t quite get. When everyone else laughs, she smiles, even though she’s not sure why.

By laughing along with the joke, Michelle is trying to fit in and appear “in the know.” Perhaps more importantly, she avoids feeling (or at least appearing) left out, humorless, or revealing that she didn’t get it — which may hurt her confidence and how she interacts with the group in the future.

To facilitate social interaction:

As mentioned, certain circumstances and roles call for certain behaviors. Imagine a defense attorney. Do you think of them a certain way? Do you have expectations for what they do — or don’t — do? If you saw them frantically searching for their car keys, would you feel confident with them defending your case?

If the answer is no, then you have a good idea of why self presentation is critical to social functioning. We’re surprised when people don’t present themselves in a way that we feel is consistent with the demands of their role. Having an understanding of what is expected of you — whether at home, work, or in relationships — may help you succeed by inspiring confidence in others.

Example:   Christopher has always been called a “know-it-all.” He reads frequently and across a variety of topics, but gets nervous and tends to talk over people. When attending a networking event, he is uncharacteristically quiet. Even though he would love to speak up, he’s afraid of being seen as someone who “dominates” the conversation. 

Identity Construction:

It’s not enough for us to declare who we are or what we want to be — we have to take actions consistent with that identity. In many cases, we also have to get others to buy into this image of ourselves as well. Whether it’s a personality trait or a promotion, it can be said that we’re not who   we   think we are, but who others see.

Example:   Jordan is interested in moving to a client-facing role. However, in their last performance review, their manager commented that Jordan seemed “more comfortable working independently.” 

Declaring themselves a “people person” won’t make Jordan’s manager see them any differently. In order to gain their manager’s confidence, Jordan will have to show up as someone who can comfortably engage with clients and thrive in their new role.

We may also use self presentation to reinforce a desired identity for ourselves. If we want to accomplish something, make a change, or   learn a new skill , making it public is a powerful strategy. There's a reason why people who share their goals are more likely to be successful. The positive pressure can help us stay accountable to our commitments in a way that would be hard to accomplish alone.

Example:   Fatima wants to run a 5K. She’s signed up for a couple before, but her perfectionist tendencies lead her to skip race day because she feels she hasn’t trained enough. However, when her friend asks her to run a 5K with her, she shows up without a second thought.

In Fatima’s case, the positive pressure — along with the desire to serve a more important value (friendship) — makes showing up easy.

Because we spend so much time with other people (and our success largely depends on what they think of us), we all curate our appearance in one way or another. However, we don’t all desire to have people see us in the same way or to achieve the same goals. Our experiences and outcomes may vary based on a variety of factors.

One important factor is our level of self-monitoring when we interact with others. Some people are particularly concerned about creating a good impression, while others are uninterested. This can vary not only in individuals, but by circumstances.   A person may feel very confident at work , but nervous about making a good impression on a first date.

Another factor is self-consciousness — that is, how aware people are of themselves in a given circumstance. People that score high on scales of public self-consciousness are aware of how they come across socially. This tends to make it easier for them to align their behavior with the perception that they want others to have of them.

Finally, it's not enough to simply want other people to see you differently. In order to successfully change how other people perceive you, need to have three main skills: 

1. Perception and empathy

Successful self-presentation depends on being able to correctly perceive   how people are feeling , what's important to them, and which traits you need to project in order to achieve your intended outcomes.

2. Motivation

If we don’t have a compelling reason to change the perception that others have of us, we are not likely to try to change our behavior. Your desire for a particular outcome, whether it's social or material, creates a sense of urgency.

3.  A matching skill set

You’ve got to be able to walk the talk. Your actions will convince others more than anything you say. In other words, you have to provide evidence that you are the person you say you are. You may run into challenges if you're trying to portray yourself as skilled in an area where you actually lack experience.

How can you make the most of the self presentation theory at work?

At its heart, self presentation requires a high-level of self awareness and empathy. In order to make sure that we're showing up as our best in every circumstance — and with each person — we have to be aware of our own motivation as well as what would make the biggest difference to the person in front of us.

Here are 6 strategies to learn to make the most of the self-presentation theory in your career:

1. Get feedback from people around you

Ask a trusted friend or mentor to share what you can improve. Asking for feedback about specific experiences, like a recent project or presentation, will make their suggestions more relevant and easier to implement.

2. Study people who have been successful in your role

Look at how they interact with other people. How do you perceive them? Have they had to cultivate particular skills or ways of interacting with others that may not have come easily to them?

3. Be yourself

Look for areas where you naturally excel and stand out. If you feel comfortable, confident, and happy, you’ll have an easier time projecting that to others. It’s much harder to present yourself as confident when you’re uncomfortable.

4. Be aware that you may mess up

As you work to master new skills and ways of interacting with others,   keep asking for feedback . Talk to your manager, team, or a trusted friend about how you came across. If you sense that you’ve missed the mark, address it candidly. People will understand, and you’ll learn more quickly.

Try saying, “I hope that didn’t come across as _______. I want you to know that…”

5. Work with a coach

Coaches are skilled in interpersonal communication and committed to your success. Roleplay conversations to see how they land, and practice what you’ll say and do in upcoming encounters. Over time, a coach will also begin to know you well enough to notice patterns and suggest areas for improvement.

6. The identity is in the details

Don’t forget about the other aspects of your presentation. Take a moment to visualize yourself being the way that you want to be seen. Are there certain details that would make you feel more like that person? Getting organized, refreshing your wardrobe, rewriting your resume, and even cleaning your home office can all serve as powerful affirmations of your next-level self.

Self presentation is defined as the way we try to control how others see us, but it’s just as much about how we see ourselves. It is a skill to achieve a level of comfort with who we are   and   feel confident to choose how we self-present. Consciously working to make sure others get to see the very best of you is a wonderful way to develop into the person you want to be.

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Allaya Cooks-Campbell

With over 15 years of content experience, Allaya Cooks Campbell has written for outlets such as ScaryMommy, HRzone, and HuffPost. She holds a B.A. in Psychology and is a certified yoga instructor as well as a certified Integrative Wellness & Life Coach. Allaya is passionate about whole-person wellness, yoga, and mental health.

Impression management: Developing your self-presentation skills

How to make a presentation interactive and exciting, 6 presentation skills and how to improve them, how to give a good presentation that captivates any audience, what is self-preservation 5 skills for achieving it, 8 clever hooks for presentations (with tips), how self-knowledge builds success: self-awareness in the workplace, developing psychological flexibility, self-management skills for a messy world, how self-compassion strengthens resilience, how self-efficacy can boost your personal success, what is self-awareness and how to develop it, how to not be nervous for a presentation — 13 tips that work (really), what i didn't know before working with a coach: the power of reflection, self-advocacy: improve your life by speaking up, building resilience part 6: what is self-efficacy, why learning from failure is your key to success, stay connected with betterup, get our newsletter, event invites, plus product insights and research..

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Module 4: Socialization

Roles and the presentation of self, learning outcomes.

• Describe how individuals present themselves and perceive themselves in a social context

Status and Roles

Sociologists use the term status to describe the responsibilities and benefits that a person experiences according to their rank and role in society. Some statuses are ascribed —those you do not select, such as son, elderly person, or female. Others, called achieved statuses , are obtained by choice, such as high school dropout, self-made millionaire, or nurse. As a daughter or son, you occupy a different status than as a neighbor or employee.

As you can imagine, people employ many types of behaviors in day-to-day life. Roles are patterns of behavior that we recognize in each other, and that are representative of a person’s social status. Currently, while reading this text, you are playing the role of a student. However, you also play other roles in your life, such as “daughter,” “neighbor,” or “employee.” These various roles are each associated with a different status.

If too much is required of a single role, individuals can experience role strain . Consider the duties of a parent: cooking, cleaning, driving, problem-solving, acting as a source of moral guidance—the list goes on. Similarly, a person can experience role conflict when one or more roles are contradictory. A parent who also has a full-time career can experience role conflict on a daily basis. When there is a deadline at the office but a sick child needs to be picked up from school, which comes first? When you are working toward a promotion but your children want you to come to their school play, which do you choose? Being a college student can conflict with being an employee, being an athlete, or even being a friend. Our roles in life powerfully affect our decisions and help to shape our identities.

One person can be associated with a multitude of roles and statuses. Even a single status such as “student” has a complex role-set , or array of roles, attached to it (Merton 1957).

Figure 1. Parents often experience role strain or role conflict as they try to balance different and often urgent competing responsibilities. (Credit: Ran Zwigenberg/flickr)

Presentation of Self

Of course, it is impossible to look inside a person’s head and study what role they are playing. All we can observe is outward behavior, or role performance. Role performance is how a person expresses his or her role. Sociologist Erving Goffman presented the idea that a person is like an actor on a stage. Calling his theory dramaturgy , Goffman believed that we use impression management  to present ourselves to others as we hope to be perceived. Each situation is a new scene, and individuals perform different roles depending on who is present (Goffman 1959). Think about the way you behave around your coworkers versus the way you behave around your grandparents or with a blind date. Even if you’re not consciously trying to alter your personality, your grandparents, coworkers, and date probably see different sides of you.

As in a play, the setting matters as well. If you have a group of friends over to your house for dinner, you are playing the role of a host. It is agreed upon that you will provide food and seating and probably be stuck with a lot of the cleanup at the end of the night. Similarly, your friends are playing the roles of guests, and they are expected to respect your property and any rules you may set forth (“Don’t leave the door open or the cat will get out.”). In any scene, there needs to be a shared reality between players. In this case, if you view yourself as a guest and others view you as a host, there are likely to be problems.

Impression management is a critical component of symbolic interactionism. For example, a judge in a courtroom has many “props” to create an impression of fairness, gravity, and control—like her robe and gavel. Those entering the courtroom are expected to adhere to the scene being set. Just imagine the “impression” that can be made by how a person dresses. This is the reason that attorneys frequently select the hairstyle and apparel for witnesses and defendants in courtroom proceedings.

Figure 2. Janus, another possible “prop”, depicted with two heads, exemplifies war and peace. (Photo courtesy of Fubar Obfusco/Wikimedia Commons)

Again, Goffman’s dramaturgical approach expands on the ideas of Charles Cooley and the looking-glass self . We imagine how we must appear to others, then react to this speculation. We put on certain clothes, prepare our hair in a particular manner, wear makeup, use colog ne, and the like—all with the notion that our presentation of ourselves is going to affect how others perceive us. We expect a certain reaction, and, if lucky, we get the one we desire and feel good about it. But more than that, Cooley believed that our sense of self is based upon this idea: we imagine how we look to others, draw conclusions based upon their reactions to us, and then we develop our personal sense of self. In other words, people’s reactions to us are like a mirror in which we are reflected.

Think It Over

• Describe a situation in which you have tried to influence others’ perception of you? How does Goffman’s impression management apply to this situation? 
• Draw a large circle, and then “slice” the c ircle into pieces like a pie, labeling each piece with a role or status that you occupy. Add as many statuses, ascribed and achieved, that you have. Don’t forget things like dog owner, gardener, traveler, student, runner, employee. How many statuses do you have? In which ones are there role conflicts?
• Modification, adaptation, and original content. Authored by : Sarah Hoiland for Lumen Learning. Provided by : Lumen Learning. License : CC BY: Attribution
• Social Constructions of Reality. Authored by : OpenStax CNX. Located at : . License : CC BY: Attribution . License Terms : Download for free at http://cnx.org/contents/[email protected].
• Social Constructions of Reality. Provided by : OpenStax. Located at : https://openstax.org/books/introduction-sociology-3e/pages/4-3-social-constructions-of-reality . Project : Sociology 3e. License : CC BY: Attribution . License Terms : Access for free at https://openstax.org/books/introduction-sociology-3e/pages/4-3-social-constructions-of-reality
• Charles Cooley Looking Glass Self. Authored by : Brooke Miller. Provided by : Khan Academy. Located at : https://www.youtube.com/embed/XCxe9HbfJcM?enablejsapi=1 . License : Other . License Terms : Standard YouTube License
• Dramaturgy (Dramaturgical Analysis). Provided by : Sociology Live!. Located at : https://www.youtube.com/watch?time_continue=5&v=5Qe5TI__ZDU . License : Other . License Terms : Standard YouTube License

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2.3 Perceiving and Presenting Self

Learning objectives.

• Define self-concept and discuss how we develop our self-concept.
• Define self-esteem and discuss how we develop self-esteem.
• Explain how social comparison theory and self-discrepancy theory influence self-perception.
• Discuss how social norms, family, culture, and media influence self-perception.
• Define self-presentation and discuss common self-presentation strategies.

Just as our perception of others affects how we communicate, so does our perception of ourselves. But what influences our self-perception? How much of our self is a product of our own making and how much of it is constructed based on how others react to us? How do we present ourselves to others in ways that maintain our sense of self or challenge how others see us? We will begin to answer these questions in this section as we explore self-concept, self-esteem, and self-presentation.

Self-Concept

Self-concept refers to the overall idea of who a person thinks he or she is. If I said, “Tell me who you are,” your answers would be clues as to how you see yourself, your self-concept. Each person has an overall self-concept that might be encapsulated in a short list of overarching characteristics that he or she finds important. But each person’s self-concept is also influenced by context, meaning we think differently about ourselves depending on the situation we are in. In some situations, personal characteristics, such as our abilities, personality, and other distinguishing features, will best describe who we are. You might consider yourself laid back, traditional, funny, open minded, or driven, or you might label yourself a leader or a thrill seeker. In other situations, our self-concept may be tied to group or cultural membership. For example, you might consider yourself a member of the Sigma Phi Epsilon fraternity, a Southerner, or a member of the track team.

Men are more likely than women to include group memberships in their self-concept descriptions.

Stefano Ravalli – In control – CC BY-NC-SA 2.0.

Our self-concept is also formed through our interactions with others and their reactions to us. The concept of the looking glass self explains that we see ourselves reflected in other people’s reactions to us and then form our self-concept based on how we believe other people see us (Cooley, 1902). This reflective process of building our self-concept is based on what other people have actually said, such as “You’re a good listener,” and other people’s actions, such as coming to you for advice. These thoughts evoke emotional responses that feed into our self-concept. For example, you may think, “I’m glad that people can count on me to listen to their problems.”

We also develop our self-concept through comparisons to other people. Social comparison theory states that we describe and evaluate ourselves in terms of how we compare to other people. Social comparisons are based on two dimensions: superiority/inferiority and similarity/difference (Hargie, 2011). In terms of superiority and inferiority, we evaluate characteristics like attractiveness, intelligence, athletic ability, and so on. For example, you may judge yourself to be more intelligent than your brother or less athletic than your best friend, and these judgments are incorporated into your self-concept. This process of comparison and evaluation isn’t necessarily a bad thing, but it can have negative consequences if our reference group isn’t appropriate. Reference groups are the groups we use for social comparison, and they typically change based on what we are evaluating. In terms of athletic ability, many people choose unreasonable reference groups with which to engage in social comparison. If a man wants to get into better shape and starts an exercise routine, he may be discouraged by his difficulty keeping up with the aerobics instructor or running partner and judge himself as inferior, which could negatively affect his self-concept. Using as a reference group people who have only recently started a fitness program but have shown progress could help maintain a more accurate and hopefully positive self-concept.

We also engage in social comparison based on similarity and difference. Since self-concept is context specific, similarity may be desirable in some situations and difference more desirable in others. Factors like age and personality may influence whether or not we want to fit in or stand out. Although we compare ourselves to others throughout our lives, adolescent and teen years usually bring new pressure to be similar to or different from particular reference groups. Think of all the cliques in high school and how people voluntarily and involuntarily broke off into groups based on popularity, interest, culture, or grade level. Some kids in your high school probably wanted to fit in with and be similar to other people in the marching band but be different from the football players. Conversely, athletes were probably more apt to compare themselves, in terms of similar athletic ability, to other athletes rather than kids in show choir. But social comparison can be complicated by perceptual influences. As we learned earlier, we organize information based on similarity and difference, but these patterns don’t always hold true. Even though students involved in athletics and students involved in arts may seem very different, a dancer or singer may also be very athletic, perhaps even more so than a member of the football team. As with other aspects of perception, there are positive and negative consequences of social comparison.

We generally want to know where we fall in terms of ability and performance as compared to others, but what people do with this information and how it affects self-concept varies. Not all people feel they need to be at the top of the list, but some won’t stop until they get the high score on the video game or set a new school record in a track-and-field event. Some people strive to be first chair in the clarinet section of the orchestra, while another person may be content to be second chair. The education system promotes social comparison through grades and rewards such as honor rolls and dean’s lists. Although education and privacy laws prevent me from displaying each student’s grade on a test or paper for the whole class to see, I do typically report the aggregate grades, meaning the total number of As, Bs, Cs, and so on. This doesn’t violate anyone’s privacy rights, but it allows students to see where they fell in the distribution. This type of social comparison can be used as motivation. The student who was one of only three out of twenty-three to get a D on the exam knows that most of her classmates are performing better than she is, which may lead her to think, “If they can do it, I can do it.” But social comparison that isn’t reasoned can have negative effects and result in negative thoughts like “Look at how bad I did. Man, I’m stupid!” These negative thoughts can lead to negative behaviors, because we try to maintain internal consistency, meaning we act in ways that match up with our self-concept. So if the student begins to question her academic abilities and then incorporates an assessment of herself as a “bad student” into her self-concept, she may then behave in ways consistent with that, which is only going to worsen her academic performance. Additionally, a student might be comforted to learn that he isn’t the only person who got a D and then not feel the need to try to improve, since he has company. You can see in this example that evaluations we place on our self-concept can lead to cycles of thinking and acting. These cycles relate to self-esteem and self-efficacy, which are components of our self-concept.

Self-Esteem

Self-esteem refers to the judgments and evaluations we make about our self-concept. While self-concept is a broad description of the self, self-esteem is a more specifically an evaluation of the self (Byrne, 1996). If I again prompted you to “Tell me who you are,” and then asked you to evaluate (label as good/bad, positive/negative, desirable/undesirable) each of the things you listed about yourself, I would get clues about your self-esteem. Like self-concept, self-esteem has general and specific elements. Generally, some people are more likely to evaluate themselves positively while others are more likely to evaluate themselves negatively (Brockner, 1988). More specifically, our self-esteem varies across our life span and across contexts.

Self-esteem varies throughout our lives, but some people generally think more positively of themselves and some people think more negatively.

RHiNO NEAL – [trophy] – CC BY-NC-ND 2.0.

How we judge ourselves affects our communication and our behaviors, but not every negative or positive judgment carries the same weight. The negative evaluation of a trait that isn’t very important for our self-concept will likely not result in a loss of self-esteem. For example, I am not very good at drawing. While I appreciate drawing as an art form, I don’t consider drawing ability to be a very big part of my self-concept. If someone critiqued my drawing ability, my self-esteem wouldn’t take a big hit. I do consider myself a good teacher, however, and I have spent and continue to spend considerable time and effort on improving my knowledge of teaching and my teaching skills. If someone critiqued my teaching knowledge and/or abilities, my self-esteem would definitely be hurt. This doesn’t mean that we can’t be evaluated on something we find important. Even though teaching is very important to my self-concept, I am regularly evaluated on it. Every semester, I am evaluated by my students, and every year, I am evaluated by my dean, department chair, and colleagues. Most of that feedback is in the form of constructive criticism, which can still be difficult to receive, but when taken in the spirit of self-improvement, it is valuable and may even enhance our self-concept and self-esteem. In fact, in professional contexts, people with higher self-esteem are more likely to work harder based on negative feedback, are less negatively affected by work stress, are able to handle workplace conflict better, and are better able to work independently and solve problems (Brockner, 1988). Self-esteem isn’t the only factor that contributes to our self-concept; perceptions about our competence also play a role in developing our sense of self.

Self-Efficacy refers to the judgments people make about their ability to perform a task within a specific context (Bandura, 1997). As you can see in Figure 2.2 “Relationship between Self-Efficacy, Self-Esteem, and Self-Concept” , judgments about our self-efficacy influence our self-esteem, which influences our self-concept. The following example also illustrates these interconnections.

Figure 2.2 Relationship between Self-Efficacy, Self-Esteem, and Self-Concept

Pedro did a good job on his first college speech. During a meeting with his professor, Pedro indicates that he is confident going into the next speech and thinks he will do well. This skill-based assessment is an indication that Pedro has a high level of self-efficacy related to public speaking. If he does well on the speech, the praise from his classmates and professor will reinforce his self-efficacy and lead him to positively evaluate his speaking skills, which will contribute to his self-esteem. By the end of the class, Pedro likely thinks of himself as a good public speaker, which may then become an important part of his self-concept. Throughout these points of connection, it’s important to remember that self-perception affects how we communicate, behave, and perceive other things. Pedro’s increased feeling of self-efficacy may give him more confidence in his delivery, which will likely result in positive feedback that reinforces his self-perception. He may start to perceive his professor more positively since they share an interest in public speaking, and he may begin to notice other people’s speaking skills more during class presentations and public lectures. Over time, he may even start to think about changing his major to communication or pursuing career options that incorporate public speaking, which would further integrate being “a good public speaker” into his self-concept. You can hopefully see that these interconnections can create powerful positive or negative cycles. While some of this process is under our control, much of it is also shaped by the people in our lives.

The verbal and nonverbal feedback we get from people affect our feelings of self-efficacy and our self-esteem. As we saw in Pedro’s example, being given positive feedback can increase our self-efficacy, which may make us more likely to engage in a similar task in the future (Hargie, 2011). Obviously, negative feedback can lead to decreased self-efficacy and a declining interest in engaging with the activity again. In general, people adjust their expectations about their abilities based on feedback they get from others. Positive feedback tends to make people raise their expectations for themselves and negative feedback does the opposite, which ultimately affects behaviors and creates the cycle. When feedback from others is different from how we view ourselves, additional cycles may develop that impact self-esteem and self-concept.

Self-discrepancy theory states that people have beliefs about and expectations for their actual and potential selves that do not always match up with what they actually experience (Higgins, 1987). To understand this theory, we have to understand the different “selves” that make up our self-concept, which are the actual, ideal, and ought selves. The actual self consists of the attributes that you or someone else believes you actually possess. The ideal self consists of the attributes that you or someone else would like you to possess. The ought self consists of the attributes you or someone else believes you should possess.

These different selves can conflict with each other in various combinations. Discrepancies between the actual and ideal/ought selves can be motivating in some ways and prompt people to act for self-improvement. For example, if your ought self should volunteer more for the local animal shelter, then your actual self may be more inclined to do so. Discrepancies between the ideal and ought selves can be especially stressful. For example, many professional women who are also mothers have an ideal view of self that includes professional success and advancement. They may also have an ought self that includes a sense of duty and obligation to be a full-time mother. The actual self may be someone who does OK at both but doesn’t quite live up to the expectations of either. These discrepancies do not just create cognitive unease—they also lead to emotional, behavioral, and communicative changes.

People who feel that it’s their duty to recycle but do not actually do it will likely experience a discrepancy between their actual and ought selves.

Matt Martin – Recycle – CC BY-NC 2.0.

When we compare the actual self to the expectations of ourselves and others, we can see particular patterns of emotional and behavioral effects. When our actual self doesn’t match up with our own ideals of self, we are not obtaining our own desires and hopes, which can lead to feelings of dejection including disappointment, dissatisfaction, and frustration. For example, if your ideal self has no credit card debt and your actual self does, you may be frustrated with your lack of financial discipline and be motivated to stick to your budget and pay off your credit card bills.

When our actual self doesn’t match up with other people’s ideals for us, we may not be obtaining significant others’ desires and hopes, which can lead to feelings of dejection including shame, embarrassment, and concern for losing the affection or approval of others. For example, if a significant other sees you as an “A” student and you get a 2.8 GPA your first year of college, then you may be embarrassed to share your grades with that person.

When our actual self doesn’t match up with what we think other people think we should obtain, we are not living up to the ought self that we think others have constructed for us, which can lead to feelings of agitation, feeling threatened, and fearing potential punishment. For example, if your parents think you should follow in their footsteps and take over the family business, but your actual self wants to go into the military, then you may be unsure of what to do and fear being isolated from the family.

Finally, when our actual self doesn’t match up with what we think we should obtain, we are not meeting what we see as our duties or obligations, which can lead to feelings of agitation including guilt, weakness, and a feeling that we have fallen short of our moral standard (Higgins, 1987). For example, if your ought self should volunteer more for the local animal shelter, then your actual self may be more inclined to do so due to the guilt of reading about the increasing number of animals being housed at the facility. The following is a review of the four potential discrepancies between selves:

• Actual vs. own ideals. We have an overall feeling that we are not obtaining our desires and hopes, which leads to feelings of disappointment, dissatisfaction, and frustration.
• Actual vs. others’ ideals. We have an overall feeling that we are not obtaining significant others’ desires and hopes for us, which leads to feelings of shame and embarrassment.
• Actual vs. others’ ought. We have an overall feeling that we are not meeting what others see as our duties and obligations, which leads to feelings of agitation including fear of potential punishment.
• Actual vs. own ought. We have an overall feeling that we are not meeting our duties and obligations, which can lead to a feeling that we have fallen short of our own moral standards.

Influences on Self-Perception

We have already learned that other people influence our self-concept and self-esteem. While interactions we have with individuals and groups are definitely important to consider, we must also note the influence that larger, more systemic forces have on our self-perception. Social and family influences, culture, and the media all play a role in shaping who we think we are and how we feel about ourselves. Although these are powerful socializing forces, there are ways to maintain some control over our self-perception.

Social and Family Influences

Various forces help socialize us into our respective social and cultural groups and play a powerful role in presenting us with options about who we can be. While we may like to think that our self-perception starts with a blank canvas, our perceptions are limited by our experiences and various social and cultural contexts.

Parents and peers shape our self-perceptions in positive and negative ways. Feedback that we get from significant others, which includes close family, can lead to positive views of self (Hargie, 2011). In the past few years, however, there has been a public discussion and debate about how much positive reinforcement people should give to others, especially children. The following questions have been raised: Do we have current and upcoming generations that have been overpraised? Is the praise given warranted? What are the positive and negative effects of praise? What is the end goal of the praise? Let’s briefly look at this discussion and its connection to self-perception.

Some experts have warned that overpraising children can lead to distorted self-concepts.

Rain0975 – participation award – CC BY-ND 2.0.

Whether praise is warranted or not is very subjective and specific to each person and context, but in general there have been questions raised about the potential negative effects of too much praise. Motivation is the underlying force that drives us to do things. Sometimes we are intrinsically motivated, meaning we want to do something for the love of doing it or the resulting internal satisfaction. Other times we are extrinsically motivated, meaning we do something to receive a reward or avoid punishment. If you put effort into completing a short documentary for a class because you love filmmaking and editing, you have been largely motivated by intrinsic forces. If you complete the documentary because you want an “A” and know that if you fail your parents will not give you money for your spring break trip, then you are motivated by extrinsic factors. Both can, of course, effectively motivate us. Praise is a form of extrinsic reward, and if there is an actual reward associated with the praise, like money or special recognition, some people speculate that intrinsic motivation will suffer. But what’s so good about intrinsic motivation? Intrinsic motivation is more substantial and long-lasting than extrinsic motivation and can lead to the development of a work ethic and sense of pride in one’s abilities. Intrinsic motivation can move people to accomplish great things over long periods of time and be happy despite the effort and sacrifices made. Extrinsic motivation dies when the reward stops. Additionally, too much praise can lead people to have a misguided sense of their abilities. College professors who are reluctant to fail students who produce failing work may be setting those students up to be shocked when their supervisor critiques their abilities or output once they get into a professional context (Hargie, 2011).

There are cultural differences in the amount of praise and positive feedback that teachers and parents give their children. For example, teachers give less positive reinforcement in Japanese and Taiwanese classrooms than do teachers in US classrooms. Chinese and Kenyan parents do not regularly praise their children because they fear it may make them too individualistic, rude, or arrogant (Wierzbicka, 2004). So the phenomenon of overpraising isn’t universal, and the debate over its potential effects is not resolved.

Research has also found that communication patterns develop between parents and children that are common to many verbally and physically abusive relationships. Such patterns have negative effects on a child’s self-efficacy and self-esteem (Morgan & Wilson, 2007). As you’ll recall from our earlier discussion, attributions are links we make to identify the cause of a behavior. In the case of aggressive or abusive parents, they are not as able to distinguish between mistakes and intentional behaviors, often seeing honest mistakes as intended and reacting negatively to the child. Such parents also communicate generally negative evaluations to their child by saying, for example, “You can’t do anything right!” or “You’re a bad girl.” When children do exhibit positive behaviors, abusive parents are more likely to use external attributions that diminish the achievement of the child by saying, for example, “You only won because the other team was off their game.” In general, abusive parents have unpredictable reactions to their children’s positive and negative behavior, which creates an uncertain and often scary climate for a child that can lead to lower self-esteem and erratic or aggressive behavior. The cycles of praise and blame are just two examples of how the family as a socializing force can influence our self-perceptions. Culture also influences how we see ourselves.

How people perceive themselves varies across cultures. For example, many cultures exhibit a phenomenon known as the self-enhancement bias , meaning that we tend to emphasize our desirable qualities relative to other people (Loughnan et al., 2011). But the degree to which people engage in self-enhancement varies. A review of many studies in this area found that people in Western countries such as the United States were significantly more likely to self-enhance than people in countries such as Japan. Many scholars explain this variation using a common measure of cultural variation that claims people in individualistic cultures are more likely to engage in competition and openly praise accomplishments than people in collectivistic cultures. The difference in self-enhancement has also been tied to economics, with scholars arguing that people in countries with greater income inequality are more likely to view themselves as superior to others or want to be perceived as superior to others (even if they don’t have economic wealth) in order to conform to the country’s values and norms. This holds true because countries with high levels of economic inequality, like the United States, typically value competition and the right to boast about winning or succeeding, while countries with more economic equality, like Japan, have a cultural norm of modesty (Loughnan, 2011).

Race also plays a role in self-perception. For example, positive self-esteem and self-efficacy tend to be higher in African American adolescent girls than Caucasian girls (Stockton et al., 2009). In fact, more recent studies have discounted much of the early research on race and self-esteem that purported that African Americans of all ages have lower self-esteem than whites. Self-perception becomes more complex when we consider biracial individuals—more specifically those born to couples comprising an African American and a white parent (Bowles, 1993). In such cases, it is challenging for biracial individuals to embrace both of their heritages, and social comparison becomes more difficult due to diverse and sometimes conflicting reference groups. Since many biracial individuals identify as and are considered African American by society, living and working within a black community can help foster more positive self-perceptions in these biracial individuals. Such a community offers a more nurturing environment and a buffer zone from racist attitudes but simultaneously distances biracial individuals from their white identity. Conversely, immersion into a predominantly white community and separation from a black community can lead biracial individuals to internalize negative views of people of color and perhaps develop a sense of inferiority. Gender intersects with culture and biracial identity to create different experiences and challenges for biracial men and women. Biracial men have more difficulty accepting their potential occupational limits, especially if they have white fathers, and biracial women have difficulty accepting their black features, such as hair and facial features. All these challenges lead to a sense of being marginalized from both ethnic groups and interfere in the development of positive self-esteem and a stable self-concept.

Biracial individuals may have challenges with self-perception as they try to integrate both racial identities into their self-concept.

Javcon117* – End of Summer Innocence – CC BY-SA 2.0.

There are some general differences in terms of gender and self-perception that relate to self-concept, self-efficacy, and envisioning ideal selves. As with any cultural differences, these are generalizations that have been supported by research, but they do not represent all individuals within a group. Regarding self-concept, men are more likely to describe themselves in terms of their group membership, and women are more likely to include references to relationships in their self-descriptions. For example, a man may note that he is a Tarheel fan, a boat enthusiast, or a member of the Rotary Club, and a woman may note that she is a mother of two or a loyal friend.

Regarding self-efficacy, men tend to have higher perceptions of self-efficacy than women (Hargie, 2011). In terms of actual and ideal selves, men and women in a variety of countries both described their ideal self as more masculine (Best & Thomas, 2004). As was noted earlier, gender differences are interesting to study but are very often exaggerated beyond the actual variations. Socialization and internalization of societal norms for gender differences accounts for much more of our perceived differences than do innate or natural differences between genders. These gender norms may be explicitly stated—for example, a mother may say to her son, “Boys don’t play with dolls”—or they may be more implicit, with girls being encouraged to pursue historically feminine professions like teaching or nursing without others actually stating the expectation.

The representations we see in the media affect our self-perception. The vast majority of media images include idealized representations of attractiveness. Despite the fact that the images of people we see in glossy magazines and on movie screens are not typically what we see when we look at the people around us in a classroom, at work, or at the grocery store, many of us continue to hold ourselves to an unrealistic standard of beauty and attractiveness. Movies, magazines, and television shows are filled with beautiful people, and less attractive actors, when they are present in the media, are typically portrayed as the butt of jokes, villains, or only as background extras (Patzer, 2008). Aside from overall attractiveness, the media also offers narrow representations of acceptable body weight.

Researchers have found that only 12 percent of prime-time characters are overweight, which is dramatically less than the national statistics for obesity among the actual US population (Patzer, 2008). Further, an analysis of how weight is discussed on prime-time sitcoms found that heavier female characters were often the targets of negative comments and jokes that audience members responded to with laughter. Conversely, positive comments about women’s bodies were related to their thinness. In short, the heavier the character, the more negative the comments, and the thinner the character, the more positive the comments. The same researchers analyzed sitcoms for content regarding male characters’ weight and found that although comments regarding their weight were made, they were fewer in number and not as negative, ultimately supporting the notion that overweight male characters are more accepted in media than overweight female characters. Much more attention has been paid in recent years to the potential negative effects of such narrow media representations. The following “Getting Critical” box explores the role of media in the construction of body image.

In terms of self-concept, media representations offer us guidance on what is acceptable or unacceptable and valued or not valued in our society. Mediated messages, in general, reinforce cultural stereotypes related to race, gender, age, sexual orientation, ability, and class. People from historically marginalized groups must look much harder than those in the dominant groups to find positive representations of their identities in media. As a critical thinker, it is important to question media messages and to examine who is included and who is excluded.

Advertising in particular encourages people to engage in social comparison, regularly communicating to us that we are inferior because we lack a certain product or that we need to change some aspect of our life to keep up with and be similar to others. For example, for many years advertising targeted to women instilled in them a fear of having a dirty house, selling them products that promised to keep their house clean, make their family happy, and impress their friends and neighbors. Now messages tell us to fear becoming old or unattractive, selling products to keep our skin tight and clear, which will in turn make us happy and popular.

“Getting Critical”

Body Image and Self-Perception

Take a look at any magazine, television show, or movie and you will most likely see very beautiful people. When you look around you in your daily life, there are likely not as many glamorous and gorgeous people. Scholars and media critics have critiqued this discrepancy for decades because it has contributed to many social issues and public health issues ranging from body dysmorphic disorder, to eating disorders, to lowered self-esteem.

Much of the media is driven by advertising, and the business of media has been to perpetuate a “culture of lack” (Dworkin & Wachs, 2009). This means that we are constantly told, via mediated images, that we lack something. In short, advertisements often tell us we don’t have enough money, enough beauty, or enough material possessions. Over the past few decades, women’s bodies in the media have gotten smaller and thinner, while men’s bodies have gotten bigger and more muscular. At the same time, the US population has become dramatically more obese. As research shows that men and women are becoming more and more dissatisfied with their bodies, which ultimately affects their self-concept and self-esteem, health and beauty product lines proliferate and cosmetic surgeries and other types of enhancements become more and more popular. From young children to older adults, people are becoming more aware of and oftentimes unhappy with their bodies, which results in a variety of self-perception problems.

• How do you think the media influences your self-perception and body image?
• Describe the typical man that is portrayed in the media. Describe the typical woman that is portrayed in the media. What impressions do these typical bodies make on others? What are the potential positive and negative effects of the way the media portrays the human body?
• Find an example of an “atypical” body represented in the media (a magazine, TV show, or movie). Is this person presented in a positive, negative, or neutral way? Why do you think this person was chosen?

Self-Presentation

How we perceive ourselves manifests in how we present ourselves to others. Self-presentation is the process of strategically concealing or revealing personal information in order to influence others’ perceptions (Human et al., 2012). We engage in this process daily and for different reasons. Although people occasionally intentionally deceive others in the process of self-presentation, in general we try to make a good impression while still remaining authentic. Since self-presentation helps meet our instrumental, relational, and identity needs, we stand to lose quite a bit if we are caught intentionally misrepresenting ourselves. In May of 2012, Yahoo!’s CEO resigned after it became known that he stated on official documents that he had two college degrees when he actually only had one. In a similar incident, a woman who had long served as the dean of admissions for the prestigious Massachusetts Institute of Technology was dismissed from her position after it was learned that she had only attended one year of college and had falsely indicated she had a bachelor’s and master’s degree (Webber & Korn, 2012). Such incidents clearly show that although people can get away with such false self-presentation for a while, the eventual consequences of being found out are dire. As communicators, we sometimes engage in more subtle forms of inauthentic self-presentation. For example, a person may state or imply that they know more about a subject or situation than they actually do in order to seem smart or “in the loop.” During a speech, a speaker works on a polished and competent delivery to distract from a lack of substantive content. These cases of strategic self-presentation may not ever be found out, but communicators should still avoid them as they do not live up to the standards of ethical communication.

Consciously and competently engaging in self-presentation can have benefits because we can provide others with a more positive and accurate picture of who we are. People who are skilled at impression management are typically more engaging and confident, which allows others to pick up on more cues from which to form impressions (Human et al., 2012). Being a skilled self-presenter draws on many of the practices used by competent communicators, including becoming a higher self-monitor. When self-presentation skills and self-monitoring skills combine, communicators can simultaneously monitor their own expressions, the reaction of others, and the situational and social context (Sosik, Avolio, & Jung, 2002). Sometimes people get help with their self-presentation. Although most people can’t afford or wouldn’t think of hiring an image consultant, some people have started generously donating their self-presentation expertise to help others. Many people who have been riding the tough job market for a year or more get discouraged and may consider giving up on their job search.

People who have been out of work for a while may have difficulty finding the motivation to engage in the self-presentation behaviors needed to form favorable impressions.

Steve Petrucelli – Interview Time! – CC BY-NC-ND 2.0.

There are two main types of self-presentation: prosocial and self-serving (Sosik, Avolio, & Jung, 2002). Prosocial self-presentation entails behaviors that present a person as a role model and make a person more likable and attractive. For example, a supervisor may call on her employees to uphold high standards for business ethics, model that behavior in her own actions, and compliment others when they exemplify those standards. Self-serving self-presentation entails behaviors that present a person as highly skilled, willing to challenge others, and someone not to be messed with. For example, a supervisor may publicly take credit for the accomplishments of others or publicly critique an employee who failed to meet a particular standard. In summary, prosocial strategies are aimed at benefiting others, while self-serving strategies benefit the self at the expense of others.

In general, we strive to present a public image that matches up with our self-concept, but we can also use self-presentation strategies to enhance our self-concept (Hargie, 2011). When we present ourselves in order to evoke a positive evaluative response, we are engaging in self-enhancement. In the pursuit of self-enhancement, a person might try to be as appealing as possible in a particular area or with a particular person to gain feedback that will enhance one’s self-esteem. For example, a singer might train and practice for weeks before singing in front of a well-respected vocal coach but not invest as much effort in preparing to sing in front of friends. Although positive feedback from friends is beneficial, positive feedback from an experienced singer could enhance a person’s self-concept. Self-enhancement can be productive and achieved competently, or it can be used inappropriately. Using self-enhancement behaviors just to gain the approval of others or out of self-centeredness may lead people to communicate in ways that are perceived as phony or overbearing and end up making an unfavorable impression (Sosik, Avolio, & Jung, 2002).

“Getting Plugged In”

Self-Presentation Online: Social Media, Digital Trails, and Your Reputation

Although social networking has long been a way to keep in touch with friends and colleagues, the advent of social media has made the process of making connections and those all-important first impressions much more complex. Just looking at Facebook as an example, we can clearly see that the very acts of constructing a profile, posting status updates, “liking” certain things, and sharing various information via Facebook features and apps is self-presentation (Kim & Lee, 2011). People also form impressions based on the number of friends we have and the photos and posts that other people tag us in. All this information floating around can be difficult to manage. So how do we manage the impressions we make digitally given that there is a permanent record?

Research shows that people overall engage in positive and honest self-presentation on Facebook (Kim & Lee, 2011). Since people know how visible the information they post is, they may choose to only reveal things they think will form favorable impressions. But the mediated nature of Facebook also leads some people to disclose more personal information than they might otherwise in such a public or semipublic forum. These hyperpersonal disclosures run the risk of forming negative impressions based on who sees them. In general, the ease of digital communication, not just on Facebook, has presented new challenges for our self-control and information management. Sending someone a sexually provocative image used to take some effort before the age of digital cameras, but now “sexting” an explicit photo only takes a few seconds. So people who would have likely not engaged in such behavior before are more tempted to now, and it is the desire to present oneself as desirable or cool that leads people to send photos they may later regret (DiBlasio, 2012). In fact, new technology in the form of apps is trying to give people a little more control over the exchange of digital information. An iPhone app called “Snapchat” allows users to send photos that will only be visible for a few seconds. Although this isn’t a guaranteed safety net, the demand for such apps is increasing, which illustrates the point that we all now leave digital trails of information that can be useful in terms of our self-presentation but can also create new challenges in terms of managing the information floating around from which others may form impressions of us.

• What impressions do you want people to form of you based on the information they can see on your Facebook page?
• Have you ever used social media or the Internet to do “research” on a person? What things would you find favorable and unfavorable?
• Do you have any guidelines you follow regarding what information about yourself you will put online or not? If so, what are they? If not, why?

Key Takeaways

• Our self-concept is the overall idea of who we think we are. It is developed through our interactions with others and through social comparison that allows us to compare our beliefs and behaviors to others.
• Our self-esteem is based on the evaluations and judgments we make about various characteristics of our self-concept. It is developed through an assessment and evaluation of our various skills and abilities, known as self-efficacy, and through a comparison and evaluation of who we are, who we would like to be, and who we should be (self-discrepancy theory).
• Social comparison theory and self-discrepancy theory affect our self-concept and self-esteem because through comparison with others and comparison of our actual, ideal, and ought selves we make judgments about who we are and our self-worth. These judgments then affect how we communicate and behave.
• Socializing forces like family, culture, and media affect our self-perception because they give us feedback on who we are. This feedback can be evaluated positively or negatively and can lead to positive or negative patterns that influence our self-perception and then our communication.
• Self-presentation refers to the process of strategically concealing and/or revealing personal information in order to influence others’ perceptions. Prosocial self-presentation is intended to benefit others and self-serving self-presentation is intended to benefit the self at the expense of others. People also engage in self-enhancement, which is a self-presentation strategy by which people intentionally seek out positive evaluations.
• Make a list of characteristics that describe who you are (your self-concept). After looking at the list, see if you can come up with a few words that summarize the list to narrow in on the key features of your self-concept. Go back over the first list and evaluate each characteristic, for example noting whether it is something you do well/poorly, something that is good/bad, positive/negative, desirable/undesirable. Is the overall list more positive or more negative? After doing these exercises, what have you learned about your self-concept and self-esteem?
• Discuss at least one time in which you had a discrepancy or tension between two of the three selves described by self-discrepancy theory (the actual, ideal, and ought selves). What effect did this discrepancy have on your self-concept and/or self-esteem?
• Take one of the socializing forces discussed (family, culture, or media) and identify at least one positive and one negative influence that it/they have had on your self-concept and/or self-esteem.
• Getting integrated: Discuss some ways that you might strategically engage in self-presentation to influence the impressions of others in an academic, a professional, a personal, and a civic context.

Bandura, A., Self-Efficacy: The Exercise of Control (New York, NY: W. H. Freeman, 1997).

Best, D. L. and Jennifer J. Thomas, “Cultural Diversity and Cross-Cultural Perspectives,” in The Psychology of Gender, 2nd ed., eds. Alice H. Eagly, Anne E. Beall, and Robert J. Sternberg (New York, NY: Guilford Press, 2004), 296–327.

Bowles, D. D., “Biracial Identity: Children Born to African-American and White Couples,” Clinical Social Work Journal 21, no. 4 (1993): 418–22.

Brockner, J., Self-Esteem at Work (Lexington, MA: Lexington Books, 1988), 11.

Byrne, B. M., Measuring Self-Concept across the Life Span: Issues and Instrumentation (Washington, DC: American Psychological Association, 1996), 5.

Cooley, C., Human Nature and the Social Order (New York, NY: Scribner, 1902).

DiBlasio, N., “Demand for Photo-Erasing iPhone App Heats up Sexting Debate,” USA Today , May 7, 2012, accessed June 6, 2012, http://content.usatoday.com/communities/ondeadline/post/2012/05/demand-for-photo-erasing-iphone-app-heats-up-sexting-debate/1 .

Dworkin, S. L. and Faye Linda Wachs, Body Panic (New York, NY: New York University Press, 2009), 2.

Hargie, O., Skilled Interpersonal Interaction: Research, Theory, and Practice (London: Routledge, 2011), 261.

Higgins, E. T., “Self-Discrepancy: A Theory Relating Self and Affect,” Psychological Review 94, no. 3 (1987): 320–21.

Human, L. J., et al., “Your Best Self Helps Reveal Your True Self: Positive Self-Presentation Leads to More Accurate Personality Impressions,” Social Psychological and Personality Sciences 3, no. 1 (2012): 23.

Kim, J. and Jong-Eun Roselyn Lee, “The Facebook Paths to Happiness: Effects of the Number of Facebook Friends and Self-Presentation on Subjective Well-Being,” Cyberpsychology, Behavior, and Social Networking 14, no. 6 (2011): 360.

Loughnan, S., et al., “Economic Inequality Is Linked to Biased Self-Perception,” Psychological Science 22, no. 10 (2011): 1254.

Morgan, W. and Steven R. Wilson, “Explaining Child Abuse as a Lack of Safe Ground,” in The Dark Side of Interpersonal Communication , eds. Brian H. Spitzberg and William R. Cupach (Mahwah, NJ: Lawrence Erlbaum Associates, 2007), 341.

Patzer, G. L., Looks: Why They Matter More than You Ever Imagined (New York, NY: AMACOM, 2008), 147.

Sosik, J. J., Bruce J. Avolio, and Dong I. Jung, “Beneath the Mask: Examining the Relationship of Self-Presentation Attributes and Impression Management to Charismatic Leadership,” The Leadership Quarterly 13 (2002): 217.

Stockton, M. B., et al., “Self-Perception and Body Image Associations with Body Mass Index among 8–10-Year-Old African American Girls,” Journal of Pediatric Psychology 34, no. 10 (2009): 1144.

Webber, L., and Melissa Korn, “Yahoo’s CEO among Many Notable Resume Flaps,” Wall Street Journal Blogs , May 7, 2012, accessed June 9, 2012, http://blogs.wsj.com/digits/2012/05/07/yahoos-ceo-among-many-notable-resume-flaps .

Wierzbicka, A., “The English Expressions Good Boy and Good Girl and Cultural Models of Child Rearing,” Culture and Psychology 10, no. 3 (2004): 251–78.

Communication in the Real World Copyright © 2016 by University of Minnesota is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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IResearchNet

Self-Presentation

Self-presentation definition.

Self-presentation refers to how people attempt to present themselves to control or shape how others (called the audience) view them. It involves expressing oneself and behaving in ways that create a desired impression. Self-presentation is part of a broader set of behaviors called impression management. Impression management refers to the controlled presentation of information about all sorts of things, including information about other people or events. Self-presentation refers specifically to information about the self.

Self-Presentation History and Modern Usage

Early work on impression management focused on its manipulative, inauthentic uses that might typify a used car salesperson who lies to sell a car, or someone at a job interview who embellishes accomplishments to get a job. However, researchers now think of self-presentation more broadly as a pervasive aspect of life. Although some aspects of self-presentation are deliberate and effortful (and at times deceitful), other aspects are automatic and done with little or no conscious thought. For example, a woman may interact with many people during the day and may make different impressions on each person. When she starts her day at her apartment, she chats with her roommates and cleans up after breakfast, thereby presenting the image of being a good friend and responsible roommate. During classes, she responds to her professor’s questions and carefully takes notes, presenting the image of being a good student. Later that day, she calls her parents and tells them about her classes and other activities (although likely leaving out information about some activities), presenting the image of being a loving and responsible daughter. That night, she might go to a party or dancing with friends, presenting the image of being fun and easygoing. Although some aspects of these self-presentations may be deliberate and conscious, other aspects are not. For example, chatting with her roommates and cleaning up after breakfast may be habitual behaviors that are done with little conscious thought. Likewise, she may automatically hold the door open for an acquaintance or buy a cup of coffee for a friend. These behaviors, although perhaps not done consciously or with self-presentation in mind, nevertheless convey an image of the self to others.

Although people have the ability to present images that are false, self-presentations are often genuine; they reflect an attempt by the person to have others perceive him or her accurately, or at least consistent with how the person perceives himself or herself. Self-presentations can vary as a function of the audience; people present different aspects of themselves to different audiences or under different conditions. A man likely presents different aspects of himself to his close friends than he does to his elderly grandmother, and a woman may present a different image to her spouse than she does to her employer. This is not to say that these different images are false. Rather, they represent different aspects of the self. The self is much like a gem with multiple facets. The gem likely appears differently depending on the angle at which it is viewed. However, the various appearances are all genuine. Even if people present a self-image that they know to be false, they may begin to internalize the self-image and thereby eventually come to believe the self-pres

entation. For example, a man may initially present an image of being a good student without believing it to be genuine, but after attending all his classes for several weeks, visiting the professor during office hours, and asking questions during class, he may come to see himself as truly being a good student. This internalization process is most likely to occur when people make a public commitment to the self-image, when the behavior is at least somewhat consistent with their self-image, and when they receive positive feedback or other rewards for presenting the self-image.

Self-presentation is often directed to external audiences such as friends, lovers, employers, teachers, children, and even strangers. Self-presentation is more likely to be conscious when the presenter depends on the audience for some reward, expects to interact with the audience in the future, wants something from the audience, or values the audience’s approval. Yet self-presentation extends beyond audiences that are physically present to imagined audiences, and these imagined audiences can have distinct effects on behavior. A young man at a party might suddenly think about his parents and change his behavior from rambunctious to reserved. People sometimes even make self-presentations only for themselves. For instance, people want to claim certain identities, such as being fun, intelligent, kind, moral, and they may behave in line with these identities even in private.

Self-Presentation Goals

Self-presentation is inherently goal-directed; people present certain images because they benefit from the images in some way. The most obvious benefits are interpersonal, arising from getting others to do what one wants. A job candidate may convey an image of being hardworking and dependable to get a job; a salesperson may convey an image of being trustworthy and honest to achieve a sale. People may also benefit from their self-presentations by gaining respect, power, liking, or other desirable social rewards. Finally, people make certain impressions on others to maintain a sense of who they are, or their self-concept. For example, a man who wants to think of himself as a voracious reader might join a book club or volunteer at a library, or a woman who wishes to perceive herself as generous may contribute lavishly to a charitable cause. Even when there are few or no obvious benefits of a particular self-presentation, people may simply present an image that is consistent with the way they like to think about themselves, or at least the way they are accustomed to thinking about themselves.

Much of self-presentation is directed toward achieving one of two desirable images. First, people want to appear likeable. People like others who are attractive, interesting, and fun to be with. Thus, a sizable proportion of self-presentation revolves around developing, maintaining, and enhancing appearance and conveying and emphasizing characteristics that others desire, admire, and enjoy. Second, people want to appear competent. People like others who are skilled and able, and thus another sizable proportion of self-presentation revolves around conveying an image of competence. Yet, self-presentation is not so much about presenting desirable images as it is about presenting desired images, and some desired images are not necessarily desirable. For example, schoolyard bullies may present an image of being dangerous or intimidating to gain or maintain power over others. Some people present themselves as weak or infirmed (or exaggerate their weaknesses) to gain help from others. For instance, a member of a group project may display incompetence in the hope that other members will do more of the work, or a child may exaggerate illness to avoid going to school.

Self-Presentation Avenues

People self-present in a variety of ways. Perhaps most obviously, people self-present in what they say. These verbalizations can be direct claims of a particular image, such as when a person claims to be altruistic. They also can be indirect, such as when a person discloses personal behaviors or standards (e.g., “I volunteer at a hospital”). Other verbal presentations emerge when people express attitudes or beliefs. Divulging that one enjoys backpacking through Europe conveys the image that one is a world-traveler. Second, people self-present nonverbally in their physical appearance, body language, and other behavior. Smiling, eye contact, and nods of agreement can convey a wealth of information. Third, people self-present through the props they surround themselves with and through their associations. Driving an expensive car or flying first class conveys an image of having wealth, whereas an array of diplomas and certificates on one’s office walls conveys an image of education and expertise. Likewise, people judge others based on their associations. For example, being in the company of politicians or movie stars conveys an image of importance, and not surprisingly, many people display photographs of themselves with famous people. In a similar vein, high school students concerned with their status are often careful about which classmates they are seen and not seen with publicly. Being seen by others in the company of someone from a member of a disreputable group can raise questions about one’s own social standing.

Self-Presentation Pitfalls

Self-presentation is most successful when the image presented is consistent with what the audience thinks or knows to be true. The more the image presented differs from the image believed or anticipated by the audience, the less willing the audience will be to accept the image. For example, the lower a student’s grade is on the first exam, the more difficulty he or she will have in convincing a professor that he or she will earn an A on the next exam. Self-presentations are constrained by audience knowledge. The more the audience knows about a person, the less freedom the person has in claiming a particular identity. An audience that knows very little about a person will be more accepting of whatever identity the person conveys, whereas an audience that knows a great deal about a person will be less accepting.

People engaging in self-presentation sometimes encounter difficulties that undermine their ability to convey a desired image. First, people occasionally encounter the multiple audience problem, in which they must simultaneously present two conflicting images. For example, a student while walking with friends who know only her rebellious, impetuous side may run into her professor who knows only her serious, conscientious side. The student faces the dilemma of conveying the conflicting images of rebellious friend and serious student. When both audiences are present, the student must try to behave in a way that is consistent with how her friends view her, but also in a way that is consistent with how her professor views her. Second, people occasionally encounter challenges to their self-presentations. The audience may not believe the image the person presents. Challenges are most likely to arise when people are managing impressions through self-descriptions and the self-descriptions are inconsistent with other evidence. For example, a man who claims to be good driver faces a self-presentational dilemma if he is ticketed or gets in an automobile accident. Third, self-presentations can fail when people lack the cognitive resources to present effectively because, for example, they are tired, anxious, or distracted. For instance, a woman may yawn uncontrollably or reflexively check her watch while talking to a boring classmate, unintentionally conveying an image of disinterest.

Some of the most important images for people to convey are also the hardest. As noted earlier, among the most important images people want to communicate are likeability and competence. Perhaps because these images are so important and are often rewarded, audiences may be skeptical of accepting direct claims of likeability and competence from presenters, thinking that the person is seeking personal gain. Thus, people must resort to indirect routes to create these images, and the indirect routes can be misinterpreted. For example, the student who sits in the front row of the class and asks a lot of questions may be trying to project an image of being a competent student but may be perceived negatively as a teacher’s pet by fellow students.

Finally, there is a dark side to self-presentation. In some instances, the priority people place on their appearances or images can threaten their health. People who excessively tan are putting a higher priority on their appearance (e.g., being tan) than on their health (e.g., taking precautions to avoid skin cancer). Similarly, although condoms help protect against sexually transmitted diseases and unwanted pregnancy, self-presentational concerns may dissuade partners or potential partners from discussing, carrying, or using condoms. Women may fear that carrying condoms makes them seem promiscuous or easy, whereas men may fear that carrying condoms makes them seem presumptuous, as if they are expecting to have sex. Self-presentational concerns may also influence interactions with health care providers and may lead people to delay or avoid embarrassing medical tests and procedures or treatments for conditions that are embarrassing. For example, people may be reluctant to seek tests or treatment for sexually transmitted diseases, loss of bladder control, mental disorders, mental decline, or other conditions associated with weakness or incompetence. Finally, concerns with social acceptance may prompt young people to engage in risky behaviors such as excessive alcohol consumption, sexual promiscuity, or juvenile delinquency.

References:

• Jones, E. E., Pittman, T. S. (1982). Toward a general theory of strategic self-presentation. In J. Suls (Ed.), Psychological perspectives on the self (Vol. 1, pp. 231-260). Hillsdale, NJ: Erlbaum.
• Leary, M. R. (1996). Self-presentation: Impression management and interpersonal behavior. Boulder, CO: Westview Press.
• Leary, M. R., Tchividjian, L. R., & Kraxberger, B. E. (1994). Self-presentation can be hazardous to your health: Impression management and health risk. Health Psychology, 13, 461-470.
• Schlenker, B. R. (1980). Impression management: The self-concept, social identity, and interpersonal relations. Monterey, CA: Brooks/Cole.

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Erving Goffman’s Theory of Presentation of Self

by kdkasi | Aug 1, 2023 | Socialization Theory

Erving Goffman’s Theory of Presentation of Self: Understanding Dramaturgy in Everyday Life

Erving Goffman, a renowned Canadian-American sociologist, introduced the concept of the “Presentation of Self” as a theoretical framework for understanding human behavior in social interactions. Drawing inspiration from theater and dramaturgy, Goffman posited that individuals engage in impression management, carefully crafting and presenting different versions of themselves to shape how others perceive them. This article explores the key components of Goffman’s theory, delves into the concept of impression management, and provides real-life examples to illustrate how individuals perform the roles of their social identity in everyday life.

Dramaturgy and the Social Stage:

Goffman’s theory of Presentation of Self adopts a dramaturgical approach, likening social life to a theatrical performance on a stage. Just as actors play various roles in a play to elicit specific reactions from the audience, individuals in society adopt different personas or social masks to influence how they are perceived by others. Social interactions are akin to scenes, and individuals become performers on this social stage, employing various techniques to create desired impressions.

Front Stage and Back Stage:

In Goffman’s theory, individuals have both front stage and back stage selves. The front stage represents the public realm, where people are in the presence of others and actively engaged in impression management. This is where individuals present their desired self-image and adhere to societal norms and expectations. On the other hand, the back stage is the private realm, where people can relax and drop their social masks. It is in this context that individuals can be their authentic selves, away from the watchful eyes of the audience.

Examples of Front Stage and Back Stage Behavior:

Job Interview:

• Front Stage : During a job interview, a candidate carefully presents themselves as competent, confident, and professional. They may dress formally, maintain eye contact, and articulate their skills and experiences to impress the interviewer and secure the position.
• Back Stage: Before the interview, the candidate may engage in self-preparation, rehearsing answers to common questions and calming nerves. They may also seek support and encouragement from family or friends, allowing themselves to express doubts or anxieties that they would not reveal during the actual interview.

Social Media:

• Front Stage: On social media platforms, individuals curate their posts and profiles to portray a particular image to their followers. They often share highlights of their lives, such as achievements, vacations, and positive experiences, presenting themselves in a favorable light.
• Back Stage: Behind the polished social media façade, individuals may face challenges and struggles in their personal lives. They may use private messaging or close groups to express vulnerability, share more intimate details, or seek advice and support from trusted friends.

Impression Management:

Impression management is a fundamental aspect of Goffman’s theory. It refers to the conscious and unconscious strategies individuals employ to influence how others perceive them. These strategies include:

• Dramatic Realization: Individuals use body language, facial expressions, and tone of voice to communicate emotions and intentions effectively. For example, a politician may adopt confident body language during a speech to project leadership qualities.
• Signaling: People use props, clothing, and symbols to convey specific messages about their identity or social status. For instance, wearing a professional suit signals authority and competence in a corporate setting.
• Idealization: Individuals present themselves in a positive light, emphasizing their strengths and achievements while downplaying weaknesses. This behavior can be seen in dating scenarios when individuals strive to create a positive impression on potential partners.

Conclusion: Erving Goffman’s theory of Presentation of Self provides a profound understanding of how individuals perform various roles and manage impressions to navigate social interactions. By viewing social life as a stage, we can better grasp the complexities of human behavior and the intricate ways in which individuals present themselves to the world. Understanding the dynamic interplay between front stage and backstage behavior, as well as the techniques of impression management, sheds light on the intricacies of human interaction and the art of self-presentation in our everyday lives.

By Khushdil Khan Kasi

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The Presentation Of Self In Everyday Life

39 pages • 1 hour read

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

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Introduction-Chapter 3

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Summary and Study Guide

The Presentation of Self in Everyday Life is a sociological study of the ways individuals encounter each other. Published in 1956 by Erving Goffman , it focuses on the relationship between an individual carrying out a particular role in society (what Goffman calls a “performance”) and those who are present but not participant (whom he calls “observers”) in the activity. While the text begins with a general introduction to Goffman’s methodology, with Chapter 1 solely an analysis of the individual performer, Goffman’s larger aim is to outline the various ways groups of performers (what he calls “performance teams” or “teams”) interact with themselves and with observers, with the aim of fostering a specific and clear impression on the viewers.

By focusing on the larger group dynamics within a given social setting , Goffman successfully accounts for various phenomena that are largely taken for granted or seen as unworthy of rigorous academic study: the economic, racial, and gendered relations between workers and their boss; the role played by architecture and space in the staging of a performance; the various techniques and habits cultivated by performers to avoid any disruption to the situation; and so forth. Moreover, Goffman classifies the more marginal actors and observers that one may come across in everyday social settings (or what he calls “discrepant roles”). Additionally, by focusing on the interaction within and between performance teams and their audience , Goffman provides a detailed description of the various ways any given performer is continuously shifting between different modes of communication, such as formal in the presence of an audience and informal in the presence of fellow performers.

This discrepancy between communication styles allows Goffman to engage in an ethnography of the ways any given social interaction always contains more than what the audience simply experiences. Thus, we hear stories of kitchen staff who dry their clothes over the stoves, or stories of how workers gossip behind the back of a customer who frequents their place of business. It is only by focusing on every possible position within a social situation that one can account for all of these interactions that, from the vantage point of the audience or a customer, are kept largely out of view.

However, Goffman’s main point is how we should understand this notion of the “self.” For Goffman, we should remember that among the various social interactions we have only a daily basis, the performances we encounter are not identical to the individuals carrying out those roles. Rather, the self that is given by a performer is always the image of an individual who is better or worse than the ideal person for their role. Thus, Goffman concludes with two implications. First, we should be careful not to treat someone’s performance as a reflection of their moral character or as a summation of the whole of their being. Second, we should remind ourselves that the self is merely a product of everything that goes into sustaining and carrying out a performance. As Goffman writes, “The self is a product of all of these arrangements, and in all of its parts bears the marks of this genesis” (253).

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• Personality

Self-Presentation in the Digital World

Do traditional personality theories predict digital behaviour.

Posted August 31, 2021 | Reviewed by Chloe Williams

• What Is Personality?
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• Personality theories can help explain real-world differences in self-presentation behaviours but they may not apply to online behaviours.
• In the real world, women have higher levels of behavioural inhibition tendencies than men and are more likely to avoid displeasing others.
• Based on this assumption, one would expect women to present themselves less on social media, but women tend to use social media more than men.

Digital technology allows people to construct and vary their self-identity more easily than they can in the real world. This novel digital- personality construction may, or may not, be helpful to that person in the long run, but it is certainly more possible than it is in the real world. Yet how this relates to "personality," as described by traditional personality theories, is not really known. Who will tend to manipulate their personality online, and would traditional personality theories predict these effects? A look at what we do know about gender differences in the real and digital worlds suggests that many aspects of digital behaviour may not conform to the expectations of personality theories developed for the real world.

Half a century ago, Goffman suggested that individuals establish social identities by employing self-presentation tactics and impression management . Self-presentational tactics are techniques for constructing or manipulating others’ impressions of the individual and ultimately help to develop that person’s identity in the eyes of the world. The ways other people react are altered by choosing how to present oneself – that is, self-presentation strategies are used for impression management . Others then uphold, shape, or alter that self-image , depending on how they react to the tactics employed. This implies that self-presentation is a form of social communication, by which people establish, maintain, and alter their social identity.

These self-presentational strategies can be " assertive " or "defensive." 1 Assertive strategies are associated with active control of the person’s self-image; and defensive strategies are associated with protecting a desired identity that is under threat. In the real world, the use of self-presentational tactics has been widely studied and has been found to relate to many behaviours and personalities 2 . Yet, despite the enormous amounts of time spent on social media , the types of self-presentational tactics employed on these platforms have not received a huge amount of study. In fact, social media appears to provide an ideal opportunity for the use of self-presentational tactics, especially assertive strategies aimed at creating an identity in the eyes of others.

Seeking to Experience Different Types of Reward

Social media allows individuals to present themselves in ways that are entirely reliant on their own behaviours – and not on factors largely beyond their ability to instantly control, such as their appearance, gender, etc. That is, the impression that the viewer of the social media post receives is dependent, almost entirely, on how or what another person posts 3,4 . Thus, the digital medium does not present the difficulties for individuals who wish to divorce the newly-presented self from the established self. New personalities or "images" may be difficult to establish in real-world interactions, as others may have known the person beforehand, and their established patterns of interaction. Alternatively, others may not let people get away with "out of character" behaviours, or they may react to their stereotype of the person in front of them, not to their actual behaviours. All of which makes real-life identity construction harder.

Engaging in such impression management may stem from motivations to experience different types of reward 5 . In terms of one personality theory, individuals displaying behavioural approach tendencies (the Behavioural Activation System; BAS) and behavioural inhibition tendencies (the Behavioural Inhibition System; BIS) will differ in terms of self-presentation behaviours. Those with strong BAS seek opportunities to receive or experience reward (approach motivation ); whereas, those with strong BIS attempt to avoid punishment (avoidance motivation). People who need to receive a lot of external praise may actively seek out social interactions and develop a lot of social goals in their lives. Those who are more concerned about not incurring other people’s displeasure may seek to defend against this possibility and tend to withdraw from people. Although this is a well-established view of personality in the real world, it has not received strong attention in terms of digital behaviours.

Real-World Personality Theories May Not Apply Online

One test bed for the application of this theory in the digital domain is predicted gender differences in social media behaviour in relation to self-presentation. Both self-presentation 1 , and BAS and BIS 6 , have been noted to show gender differences. In the real world, women have shown higher levels of BIS than men (at least, to this point in time), although levels of BAS are less clearly differentiated between genders. This view would suggest that, in order to avoid disapproval, women will present themselves less often on social media; and, where they do have a presence, adopt defensive self-presentational strategies.

The first of these hypotheses is demonstrably false – where there are any differences in usage (and there are not that many), women tend to use social media more often than men. What we don’t really know, with any certainty, is how women use social media for self-presentation, and whether this differs from men’s usage. In contrast to the BAS/BIS view of personality, developed for the real world, several studies have suggested that selfie posting can be an assertive, or even aggressive, behaviour for females – used in forming a new personality 3 . In contrast, sometimes selfie posting by males is related to less aggressive, and more defensive, aspects of personality 7 . It may be that women take the opportunity to present very different images of themselves online from their real-world personalities. All of this suggests that theories developed for personality in the real world may not apply online – certainly not in terms of putative gender-related behaviours.

We know that social media allows a new personality to be presented easily, which is not usually seen in real-world interactions, and it may be that real-world gender differences are not repeated in digital contexts. Alternatively, it may suggest that these personality theories are now simply hopelessly anachronistic – based on assumptions that no longer apply. If that were the case, it would certainly rule out any suggestion that such personalities are genetically determined – as we know that structure hasn’t changed dramatically in the last 20 years.

1. Lee, S.J., Quigley, B.M., Nesler, M.S., Corbett, A.B., & Tedeschi, J.T. (1999). Development of a self-presentation tactics scale. Personality and Individual Differences, 26(4), 701-722.

2. Laghi, F., Pallini, S., & Baiocco, R. (2015). Autopresentazione efficace, tattiche difensive e assertive e caratteristiche di personalità in Adolescenza. Rassegna di Psicologia, 32(3), 65-82.

3. Chua, T.H.H., & Chang, L. (2016). Follow me and like my beautiful selfies: Singapore teenage girls’ engagement in self-presentation and peer comparison on social media. Computers in Human Behavior, 55, 190-197.

4. Fox, J., & Rooney, M.C. (2015). The Dark Triad and trait self-objectification as predictors of men’s use and self-presentation behaviors on social networking sites. Personality and Individual Differences, 76, 161-165.

5. Hermann, A.D., Teutemacher, A.M., & Lehtman, M.J. (2015). Revisiting the unmitigated approach model of narcissism: Replication and extension. Journal of Research in Personality, 55, 41-45.

6. Carver, C.S., & White, T.L. (1994). Behavioral inhibition, behavioral activation, and affective responses to impending reward and punishment: the BIS/BAS scales. Journal of Personality and Social Psychology, 67(2), 319.

7. Sorokowski, P., Sorokowska, A., Frackowiak, T., Karwowski, M., Rusicka, I., & Oleszkiewicz, A. (2016). Sex differences in online selfie posting behaviors predict histrionic personality scores among men but not women. Computers in Human Behavior, 59, 368-373.

Phil Reed, Ph.D., is a professor of psychology at Swansea University.

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Avoid These 3 Pitfalls When Giving a Sales Presentation

• Terri L. Sjodin

Lessons from a study of almost 5,000 sales professionals.

A study examined the habits of almost 5,000 sales professionals whose livelihoods depend on their ability to build and deliver persuasive presentations. The findings revealed 12 common mistakes that were consistently self-reported among respondents. Here are the top three to avoid when giving a sales presentation: being overly informative vs. persuasive, failing to close, and “winging it.”

When you work in sales, no business skill is more essential than effective communication. This is especially true when it comes to giving presentations, whether you are presenting in person, over the telephone, or via a videoconferencing platform. Getting to the point, connecting with others quickly, and making a strong pitch can be the difference between moving a transaction forward or losing an opportunity.

• TS Terri L. Sjodin is an award-winning speaker who has specialized in helping people build and deliver more polished, persuasive, and effective presentations for over 30 years. She is the principal and founder of Sjodin Communications , a public speaking, sales training, and consulting firm based in Newport Beach, CA. Her latest book, Presentation Read y , (McGraw-Hill, March 2024) expands on this material.

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50 Self-Care Tips to Help You Live Your Best Life

Let’s start by noting a few things self-care is not. A self-care routine isn’t:

• An excuse to continually be unhealthy. An occasional cheat or reward is fine (encouraged even, because: balance), but you can’t use “self-care” to justify poor habits.
• Spending excess money on yourself that you don’t have. Debt has never done a body good. #TreatYoSelfResponsibly

Maybe we should repeat that last one, because we want it to sink in. Self-care isn’t selfish , nor is it a waste of time. The world spins deceptively fast; if you don’t step aside and check in with yourself every now and then, you might wake up to find that you’re standing in a very different place than where you intended. (Cue those drives home when you look up and realize you don’t remember passing through the last three stoplights.)

Worthwhile self-care requires a two-pronged approach: assessing your mental, emotional and physical health ( On a scale of one to 10, how am I doing? ) and selecting an activity that will inch you closer to 10. Despite what some people argue, there are bad days, so don’t shoot yourself in the foot if some days you’re stuck at a 6.5. (Note: Shooting your own foot would likely slide you down to a negative three, so it is unadvised nonetheless.)

Self-care isn’t about perfection or tricking yourself. It’s an honest internal dialogue, which is where the challenge lies, as most of us aren’t accustomed to giving a truthful answer to the “how are you?” questions at the water cooler. The other hurdle to self-care is that to be effective, it’s going to be a little different for everyone . While some may like to go on sunset runs to clear their mind, for others the thought of running causes stress.

Here are 50 ways to upgrade your weekly self-care routine

While saying some Hallmark-worthy phrases to yourself may not beget immediate benefits, that doesn’t mean it’s not working . Growth—in any form—is never easy. It takes patience, persistence and self-compassion—a reminder we may need more than once per day.

Being kind to yourself isn’t just about making yourself feel good. After all, doing what feels good isn’t always what’s best for us. But taking the time to compliment yourself, to nurture your self-compassion—no matter how annoying it may seem in the moment—sends a message to future you that you, in all your imperfect glory, matter. That’s a gift worth giving.

Here are some ideas for different types of self-care to add to your self-care routine. We recommend these self-care tips for those who overwork or need to heal in all aspects of life. 

Physical self-care ideas

• Do yoga or general stretching, even for just 10 minutes each morning or night. 
• Do deep belly breathing.
• Sign up for boxing classes. — Matt Lindner
• Take a 10 to 15-minute walk during the workday. — Charlotte Moore
• Get more sleep —there are several studies that support this one!
• Get into nature/ do something outside .
• Exercise in any way for 20 minutes. Replace “I have to” with “I get to.”
• Take a guilt-free nap .
• Cook yourself a nice meal. “Eating = self-care.” — Tamara Van Horne
• Wake up naturally one day this week without using an alarm clock.

Mental self-care ideas

• Don’t check your email or social media channels within one hour of waking. 
• Set yourself a reminder on your phone (or Alexa device) saying, “You’re amazing!” — Pamela Sommers
• Take a long ride on your bike or motorcycle. — Erik Huckleberry
• Note every instance of negative self-talk. Replace with positive words.
• Don’t go home right after work. Go to the library, the park or to a solo dinner.
• Say, “I am enough.”
• Journal about any dream or goal, no matter how unrealistic. Get descriptive.
• Consider integrating therapy into your routine. It can really help when you feel stuck in a rut. —Diego Orjuela, Cables & Sensors
• Clean and declutter your desk—a polished desk is a polished mind. — Kalina Halatcheva
• Read one book chapter for pleasure.
• Take a bath. — Adabela Seuss
• Put your phone out of reach for one hour.
• Do nothing for 10 minutes .
• Organize one small part of your home/apartment.
• Listen to an audiobook. — Courtney Rose
• Watch one funny video and let yourself laugh and recharge.
• Watch a nature documentary.
• Create a safe space at home that’s meant only for pure relaxation. — Shaina V. Destine
• Take a selfie to keep, not share.
• Make your bed.
• List three things you appreciate about yourself.
• Imagine what an uplifting friend would say to you and say that to yourself.
• Write down a mistake and verbally forgive yourself.

Emotional self-care ideas

• Cuddle with your dog or cat—or play with your friends’ pets. — Rachel De Jesus 
• Reconnect with an old friend.
• Light a candle in your favorite scent. Extra points if you do this while at your desk to make your workspace more inviting.
• Write a love letter to yourself.
• Listen to one new uplifting song. Focus on the words, and don’t multitask.
• Change your screensaver to something that makes you feel joyful.
• Before you go to sleep, write down the three best things that happened that day. Then ask yourself how you could have improved the day to map out your goals for the next day. —Krish Chopra, NPHub  
• Write yourself a “well-done” list at the end of the day to celebrate your achievements, however big or small they may be. — Natalie Costa
• Do one thing to further your career, even if it’s something small.
• Schedule self-care time like you would block out dinner plans with friends. — Carly Boatwright
• Learn one new thing.
• Afford yourself a personal reward from time to time, especially after you’ve done a great job on a tough project or gotten your business through a rough patch. It’s not going to kill your budget, and a fresher, happier you will reap significant rewards. —Andrew Schrage, Money Crashers Personal Finance
• Say no to something you don’t want to do.
• Get up to watch the sun rise.
• When you start to experience burnout at work, take the time to do something creative. Whether it’s painting, creative writing or designing something for fun, it will allow you to relax a little, and it has the ability to inspire fresh ideas. — Chris Christoff, MonsterInsights

What did you think about these self-care tips?

All of these suggestions remind us that there are almost endless ways to extend compassion to ourselves . Oftentimes we put such immense pressure on our own shoulders to be great, that we forget to leave time to just be with ourselves. Your self-care routine doesn’t have to be lavish. Instead, look at self-care as a way to help you be present in the moment and not however many miles away your mind carries you. Recognize that the present has a sneaky way of recharging you so you’re fulfilled for whatever life sends you next.

Try to leave room for the really good things that land in your path unexpectedly, and also the acceptance to sit during life’s not-so-good moments to catch your breath. Flexibility is the cornerstone to self-care, which brings us to the final suggestion in the list of ideas for your self-care:

Leave room to have fun.

Searching for the best self-care gifts?

Want to upgrade your weekly self-care routine by incorporating the best self-care products? Take a look at these articles:

• 7 Self-Care Subscription Boxes That Can Help You Manage Stress
• 13 Best Meditation Apps to Add Mindfulness to Your Self-Care Routine

This article was updated May 2024. Photo By Harbucks/Shutterstock.com

Megan Nicole O'Neal

Megan Nicole O’Neal is a writer with a passion for storytelling, traveling and whenever possible, mixing the two. The UCLA alum lives in Los Angeles; more specifically westside coffee shops with equally strong wifi and dark roasts. Connect with Megan on Twitter at @megan_n_oneal or her website mnoneal.com .

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How can I create effective self-introduction PowerPoint slides for my presentation?

June 25, 2024 /

To create effective self-introduction PowerPoint slides for your presentation, follow these steps:

• Start with a compelling opening slide that includes your name and relevant information.
• Use visually appealing design elements, such as high-quality images and consistent color schemes.
• Keep your content concise and focused, highlighting key achievements and experiences.
• Incorporate engaging visuals, such as charts or graphs, to support your points.
• Use bullet points or short sentences to convey information, avoiding lengthy paragraphs.
• Practice your self-introduction to ensure a smooth delivery and confident presentation.

By following these guidelines, you can create impactful self-introduction PowerPoint slides that captivate your audience and effectively convey your message.

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Getting an Academic Job Fall 2022 Presentation for Purdue American Studies Graduate Students

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• Digital Studies Institute

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• Creative Commons

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