Goffman’s sociological theory is based on the concept of the Presentation of Self. The Presentation of Self is derived from Dramaturgy, a sociological concept that explores interaction as a performance. Within our performances, we are constantly managing the impression we are giving to others, an act known as Impression Management. Following Goffman’s theory, he states that there are Corrective Practices that occur when one’s “face”, or self-worth, is in danger of embarrassment. The first step is the challenge – someone in the audience calls the performer out on something. The second step is an offering from the performer, which can manifest as minimization, apologizing, lying, etc. The third step is the audience member either accepting or rejecting this offer. The fourth step varies depending on the third step. Either the audience member accepts and the performer thanks him or her, or the audience member rejects, thus redefining the situation that exists between them.
These aspects of Goffman’s sociological theory are present in Henrik Ibsen’s classic play, A Doll’s House. This is a play revolving around husband and wife, Torvald and Nora Helmer, and their friends and acquaintances, Dr. Rank, Mrs. Linde, and Nils Krogstad. The first event in this play that highlights Goffman’s theory is in the first act. Torvald is a bank manager, and Nora tells Mrs. Linde that she can supply her with a job because she has a strong influence on her husband. This bothers Krogstad because he works at the same bank, and he believes that Mrs. Linde getting the job would result in him getting fired (Worthen 421-426). This is where the first step comes in. Krogstad calls Nora out. He says that Nora should instead use her influence to keep him employed at the bank (Worthen 424). The second step comes when Nora denies having any influence on her husband. She offers a lie in an attempt to maintain the definition of the current situation. Krogstad knows that this is a lie and rejects her offer (Worthen 424-425). In response, he blackmails Nora because she owes him money. Nora previously borrowed money from Krogstad in order to save her husband when he fell ill. During this time, women were unable to take out loans without a man’s permission, so she forged her father’s signature on the loan three days after her father died. If Krogstad were to go to the court with that information, Nora will be judged according to the law (Worthen 425). The redefinition of the situation is step four. They are no longer, nor will ever go back to being, mere acquaintances.
Goffman’s sociological theory is found in another event of A Doll’s House. In the third act, Nora’s secret is revealed and Torvald forgives her in a patronizing fashion. He says, “…just lean on me; I’ll guide you and teach you. I wouldn’t be a man if this feminine helplessness didn’t make you twice as attractive to me” (Worthen 438). Again, this is where the first step occurs. This prompts Nora to have a talk with Torvald. She says, “In eight whole years – longer even – right from our first acquaintance, we’ve never exchanged a serious word on any serious thing.” He asks, “But dearest, what good would that ever do you?” She responds, “That’s the point right there: you’ve never understood me” (Worthen 438-439). Nora is calling Torvald out. She says that even though they are married, he knows nothing substantial about her. Then the second step occurs. Torvald says that there is some truth to her accusations and says, “Playtime’s over; now for the schooling” (Worthen 439). He offers, very condescendingly, to teach her how to be a good wife. Nora, realizing that she is the only one who can figure out who she is, rejects Torvald’s offer. She says, “I have to try to educate myself. You can’t help me with that…I have to stand completely alone, if I’m ever going to discover myself and the world out there” (Worthen 439). She leaves Torvald and her children, thus in step four, redefining the situation between them. She is no longer wife and mother.
In conclusion, aspects of Goffman’s sociological theory are present in Henrik Ibsen’s classic play, A Doll’s House. An event in act one between Nora and Krogstad that births the dramatic conflict of the play, and an event at the end of act three between Nora and Torvald that brings the play to a finish are both examples of Corrective Practices that result in a redefining of the situation between the characters involved.
Worthen, William B. The Wadsworth Anthology of Drama: Custom Edition for UIC THRT 109. Meson, OH: Cengage Learning, 2011. Print.
These aspects of Goffman’s sociological theory are present in Henrik Ibsen’s classic play, A Doll’s House. This is a play revolving around husband and wife, Torvald and Nora Helmer, and their friends and acquaintances, Dr. Rank, Mrs. Linde, and Nils Krogstad. The first event in this play that highlights Goffman’s theory is in the first act. Torvald is a bank manager, and Nora tells Mrs. Linde that she can supply her with a job because she has a strong influence on her husband. This bothers Krogstad because he works at the same bank, and he believes that Mrs. Linde getting the job would result in him getting fired (Worthen 421-426). This is where the first step comes in. Krogstad calls Nora out. He says that Nora should instead use her influence to keep him employed at the bank (Worthen 424). The second step comes when Nora denies having any influence on her husband. She offers a lie in an attempt to maintain the definition of the current situation. Krogstad knows that this is a lie and rejects her offer (Worthen 424-425). In response, he blackmails Nora because she owes him money. Nora previously borrowed money from Krogstad in order to save her husband when he fell ill. During this time, women were unable to take out loans without a man’s permission, so she forged her father’s signature on the loan three days after her father died. If Krogstad were to go to the court with that information, Nora will be judged according to the law (Worthen 425). The redefinition of the situation is step four. They are no longer, nor will ever go back to being, mere acquaintances.
Goffman’s sociological theory is found in another event of A Doll’s House. In the third act, Nora’s secret is revealed and Torvald forgives her in a patronizing fashion. He says, “…just lean on me; I’ll guide you and teach you. I wouldn’t be a man if this feminine helplessness didn’t make you twice as attractive to me” (Worthen 438). Again, this is where the first step occurs. This prompts Nora to have a talk with Torvald. She says, “In eight whole years – longer even – right from our first acquaintance, we’ve never exchanged a serious word on any serious thing.” He asks, “But dearest, what good would that ever do you?” She responds, “That’s the point right there: you’ve never understood me” (Worthen 438-439). Nora is calling Torvald out. She says that even though they are married, he knows nothing substantial about her. Then the second step occurs. Torvald says that there is some truth to her accusations and says, “Playtime’s over; now for the schooling” (Worthen 439). He offers, very condescendingly, to teach her how to be a good wife. Nora, realizing that she is the only one who can figure out who she is, rejects Torvald’s offer. She says, “I have to try to educate myself. You can’t help me with that…I have to stand completely alone, if I’m ever going to discover myself and the world out there” (Worthen 439). She leaves Torvald and her children, thus in step four, redefining the situation between them. She is no longer wife and mother.
In conclusion, aspects of Goffman’s sociological theory are present in Henrik Ibsen’s classic play, A Doll’s House. An event in act one between Nora and Krogstad that births the dramatic conflict of the play, and an event at the end of act three between Nora and Torvald that brings the play to a finish are both examples of Corrective Practices that result in a redefining of the situation between the characters involved.
Worthen, William B. The Wadsworth Anthology of Drama: Custom Edition for UIC THRT 109. Meson, OH: Cengage Learning, 2011. Print.