Contemporary Sociological Theory. Группа авторов

or private gain. A cynical individual may delude his audience for what he considers to be their own good, or for the good of the community, etc. For illustrations of this we need not appeal to sadly enlightened showmen such as Marcus Aurelius or Hsun Tzû. We know that in service occupations practitioners who may otherwise be sincere are sometimes forced to delude their customers because their customers show such a heartfelt demand for it. Doctors who are led into giving placebos, filling station attendants who resignedly check and recheck tire pressures for anxious women motorists, shoe clerks who sell a shoe that fits but tell the customer it is the size she wants to hear – these are cynical performers whose audiences will not allow them to be sincere. Similarly, it seems that sympathetic patients in mental wards will sometimes feign bizarre symptoms so that student nurses will not be subjected to a disappointingly sane performance. So also, when inferiors extend their most lavish reception for visiting superiors, the selfish desire to win favor may not be the chief motive; the inferior may be tactfully attempting to put the superior at ease by simulating the kind of world the superior is thought to take for granted.

      I have suggested two extremes: an individual may be taken in by his own act or be cynical about it. These extremes are something a little more than just the ends of a continuum. Each provides the individual with a position which has its own particular securities and defenses, so there will be a tendency for those who have traveled close to one of these poles to complete the voyage. Starting with lack of inward belief in one’s role, the individual may follow the natural movement described by Park:

It is probably no mere historical accident that the word person, in its first meaning, is a mask. It is rather a recognition of the fact that everyone is always and everywhere, more or less consciously, playing a role … It is in these roles that we know each other; it is in these roles that we know ourselves.¹

In a sense, and in so far as this mask represents the conception we have formed of ourselves – the role we are striving to live up to – this mask is our truer self, the self we would like to be. In the end, our conception of our role becomes second nature and an integral part of our personality. We come into the world as individuals, achieve character, and become persons.²

      This may be illustrated from the community life of Shetland. For the last four or five years the island’s tourist hotel has been owned and operated by a married couple of crofter origins. From the beginning, the owners were forced to set aside their own conceptions as to how life ought to be led, displaying in the hotel a full round of middle-class services and amenities. Lately, however, it appears that the managers have become less cynical about the performance that they stage; they themselves are becoming middle class and more and more enamored of the selves their clients impute to them.

      Another illustration may be found in the raw recruit who initially follows army etiquette in order to avoid physical punishment and eventually comes to follow the rules so that his organization will not be shamed and his officers and fellow soldiers will respect him.

      As suggested, the cycle of disbelief-to-belief can be followed in the other direction, starting with conviction or insecure aspiration and ending in cynicism. Professions which the public holds in religious awe often allow their recruits to follow the cycle in this direction, and often recruits follow it in this direction not because of a slow realization that they are deluding their audience – for by ordinary social standards the claims they make may be quite valid – but because they can use this cynicism as a means of insulating their inner selves from contact with the audience. And we may even expect to find typical careers of faith, with the individual starting out with one kind of involvement in the performance he is required to give, then moving back and forth several times between sincerity and cynicism before completing all the phases and turning-points of self-belief for a person of his station. Thus, students of medical schools suggest that idealistically oriented beginners in medical school typically lay aside their holy aspirations for a period of time. During the first two years the students find that their interest in medicine must be dropped that they may give all their time to the task of learning how to get through examinations. During the next two years they are too busy learning about diseases to show much concern for the persons who are diseased. It is only after their medical schooling has ended that their original ideals about medical service may be reasserted.

      While we can expect to find natural movement back and forth between cynicism and sincerity, still we must not rule out the kind of transitional point that can be sustained on the strength of a little self-illusion. We find that the individual may attempt to induce the audience to judge him and the situation in a particular way, and he may seek this judgment as an ultimate end in itself, and yet he may not completely believe that he deserves the valuation of self which he asks for or that the impression of reality which he fosters is valid. […]

      Front

      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. It will be convenient to label as “front” that part of the individual’s 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. For preliminary purposes, it will be convenient to distinguish and label what seem to be the standard parts of front.

      First, there is the “setting,” involving furniture, decor, 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. A setting tends to stay put, geographically speaking, so that those who would use a particular setting as part of their performance cannot begin their act until they have brought themselves to the appropriate place and must terminate their performance when they leave it. It is only in exceptional circumstances that the setting follows along with the performers; we see this in the funeral cortège, the civic parade, and the dream-like processions that kings and queens are made of. In the main, these exceptions seem to offer some kind of extra protection for performers who are, or who have momentarily become, highly sacred. These worthies are to be distinguished, of course, from quite profane performers of the peddler class who move their place of work between performances, often being forced to do so. In the matter of having one fixed place for one’s setting, a ruler may be too sacred, a peddler too profane.

      In thinking about the scenic aspects of front, we tend to think of the living room in a particular house and the small number of performers who can thoroughly identify themselves with it. We have given insufficient attention to assemblages of sign-equipment which large numbers of performers can call their own for short periods of time. It is characteristic of Western European countries, and no doubt a source of stability for them, that a large number of luxurious settings are available for hire to anyone of the right kind who can afford them. […]

      If we take the term “setting” to refer to the scenic parts of expressive equipment, one may take the term “personal front” to refer 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. Some of these vehicles for conveying signs, such as racial characteristics, are relatively fixed and over a span of time do not vary for the individual from one situation to another. On the other hand, some of these sign vehicles are relatively mobile or transitory, such as facial expression, and can vary during a performance from one moment to the next.

      It is sometimes convenient to divide the stimuli which make up personal front into “appearance” and “manner,” according to the function performed by the information that these stimuli convey. “Appearance” may be taken to refer to those stimuli which function at the time to tell us of the performer’s social statuses. These stimuli also tell us of the individual’s temporary ritual state, that is, whether he is engaging in formal social activity, work, or informal recreation, whether or not he is celebrating