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Asylums: le istituzioni totali, di Erving Goffman (pdf) – Pages·· Mentira y confianza: una mirada desde la dramaturgia de Erving Goffman. Os escritos de Victor Turner referentes à antropologia da performance são por um lado, o pensamento de Walter Benjamin e a dramaturgia de Bertolt Brecht, e, .. While Goffman is interested in the theater in everyday life, Turner focuses on. Get this from a library! Interacionismo simbólico e dramaturgia: a sociologia de Goffman. [Jordão Horta Nunes].

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Interacionismo simbólico e dramaturgia: a sociologia de Goffman

Altered or even grotesque figures become preeminent. On the basis of Wilhelm Dilthey’s writings, Turner a, p.

These are also the places from which they observe the world. In the midst of social unrest which irrupted during these years of “conservative modernization”, a distant image was articulated with realities close by: Although Piracicaba is not exactly Paris, it may not be so inopportune to evoke Louis Aragon’s Paysan de Paris as a way of discussing how dream-like dimensions of the real manifest themselves on trucks and in cane fields. As trucks and cane fields turn into stages of Homo ludensdramaturga may also there be astounded by the exuberant manifestations of Homo performans Turner, a, p.

On the parched land, next to them, there was a carcass and skull. While peasants in the North of Minas Gerais state and other parts of Brazil encounter or remember having encountered the products of their labor and their relations with the land in the food produced on “lands of labor” terras de trabalho Garcia Jr.



Walter Benjamin b, p. In order to capture the intensity of social life, one must understand it from its margins. Dewey, Dilthey, and drama: Don’t you see that this is a new truck?! Substituted by cattle in the country, they substituted cattle on trucks. I will focus this experience in order to explore the reaches and limits of certain formulations in anthropology of performance. We are dealing with experiences of daily astoundment.

From the back of the junk-yard truck they viewed their world. The subjunctivity dramayurgia characterizes a performatic, liminal state, emerges as the effect of a “magic mirror” Turner, b, p.

The ethnography of this everyday experience allows us to rethink a second question raised by the anthropology of performance: Hill and Wang, The concept of “social drama”, elaborated by Victor Turner adeals with a process involving four moments: From the perspective of the “industrialization of agriculture”, sugarcane production, however, presented a problem: Interruptions of work, or trabalho tripaliumwere marked by sucking “honey” from sugarcane.

And they look towards the debris. One morning, entering a small vicinal road on the way to the cane fields, the truck went by pasture where there was a group of haggard, cadaverous-looking cows. On such stages, cthonic elements of social landscapes are revealed. The “angel of history”, Benjamin has suggested b, p. Victor Turner c produces a methodological “deviation” as concerns the consecrated procedures of Radcliffe-Brown and other representatives of British Social Anthropology: Write a review Rate this item: The University of Pennsylvania Press, a.

Interacionismo simbólico e dramaturgia : a sociologia de Goffman (Book, ) []

It is a question of impeding the naturalization of everyday life. On his face, the expression of horror. The ludic exclamation that I heard on a truck one day, when the rain took our group by surprise in the wee hours of morning on a sugarcane field, irrupted with the energy of everyday surrealism: In fact, it may allow us to rethink a number of questions that emerge on the borders of performance and anthropology.


Yet he can not stop so as to gather the pieces. Suddenly, we drzmaturgia upon an extraordinary scene: Yet, this land is no longer a place on which to boffman one’s home. Attention is directed towards residues, ruptures, interruptions and the unresolved things of social life.

Erving Goffman by Tom Burns – PDF Drive

Deep-seated cultural layers and sedimentations of social life surface. Rain turns into a sign of hunger instead of abundance. Such moments of “folly” create contrast in regard to day-to-day gofvman. They looked dried out, poorly cared for. In the second case, one celebrates signs of a cosmos that is prefigured not so much by the shattered world of peasantry, as by the emerging world of triumphant capitalism, in the bosom of which may be detected, in city and country, a working class in formation.

Social performance presents itself as aesthetic performance as well.