Soc Final

Front 1

Front

Back 1

Part of the performance which typically functions in a fixed manner to define the situation for the audience

Front 2

Parts of the front

Back 2

setting and personal front

Front 3

Divisions of the Personal Front

Back 3

appearance and manner

Front 4

Dramatic Realization

Back 4

certain performances/positions require more drama than others

Front 5

Idealization

Back 5

Performance exemplifies the values of society

Front 6

7 things hidden in performances

Back 6

concealment of profitable activity
concealment of mistakes
concealment of preparation
concealment of dirty work
sacrifice of standards
secret pleasures
deals made

Front 7

Mystification

Back 7

when social distance is maintained in order to keep a sense of awe

Front 8

Dramatic dominance

Back 8

when a particular member is the centerpiece of the performance

Front 9

Front region and back region

Back 9

Where the performance is given; where the performance is arranged

Front 10

Moral decorum

Back 10

rules regarding non-molestation of others

Front 11

3 types of unmeant gestures

Back 11

accidental conveyance of disrespect, too much or too little concern for a performance, inadequate dramaturgical direction

Front 12

Make-work

Back 12

impression that people give when they want people to think they’re busy with something

Front 13

Three limitations on backstage informality

Back 13

trustworthiness, maintaining moral, age/sex

Front 14

Dark secrets

Back 14

facts known by the team that are incompatible with the team performance

Front 15

Entrusted secrets

Back 15

secret must be kept of the person will be looked upon in a negative light

Front 16

Informer

Back 16

someone who pretends to be a member of the team to acquire secrets of the performance which they later sell

Front 17

4 types of people not present for a performance but possess information about the performance

Back 17

• service specialist
• confidant
• colleague
• renegade

Front 18

4 types of communication out of character

Back 18

• treatment of the absent
• staging talk
• team collusion
• realigning actions

Front 19

4 situations that may create scenes

Back 19

• Teammates can no longer withhold criticism from members who ruined the performance
• Audience no longer wants to engage in the performance
• Interaction between teams becomes polarizing to the audience
• An individual makes themselves vulnerable by making a request that could be rejected

Front 20

4 types of tact

Back 20

• permission to enter regions
• tactful inattention
• studied non-observance
• tact with beginners

Front 21

Irates

Back 21

Referring to how flight attendants must handle passengers that behave badly. They have to smile, and often times assume that something had occurred in their life that is causing them to behave in such a way.

Front 22

Surface acting

Back 22

displaying a particular emotion while feeling a different emotion

Front 23

Deep acting

Back 23

changing emotion to match the situation

Front 24

4 ways to experience misfitting feelings

Back 24

• inappropriate for an event
• feeling too much
• timing issues- personal timing doesn't match with cultural timing
• Placing problems- situation in which expressing desired emotion is not permitted

Front 25

Straight exchange

Back 25

following set feeling rules

Front 26

Antipayment

Back 26

feels opposite emotion than they should

Front 27

Hochschild’s argument concerning status and emotion work

Back 27

lower class will be more servile. Working class families are more positional. They don't care what people think about them.
Middle/ upper class are more personal in their control systems. They care more about how others perceive them. Taking into child's feelings makes them feel more important.

Front 28

3 characteristics of jobs that require emotional labor

Back 28

• face-to-face contact with the public
• require the worker to produce a particular state in the customer
• allow the emotional activities to be controlled by higher ups through training

Front 29

Positional

Back 29

clear rules which determine who does what and who decides what

Front 30

Hard-living working class

Back 30

low-paying, unstable occupations, lack of access to healthcare and home ownership

Front 31

Settled-living working class

Back 31

almost lower middle class, more secure jobs, sometimes with benefits and ownership of a modest home

Front 32

Bettie: The ways class was performed by the girls

Back 32

"Women without class"
White group-
Preps (mid-class)
Skaters/ alternatives- settled-living working class
Hicks
Smokers/ rockers/ trash- hard living working class

Mexican America group-
Mex preps (middle class)
Settled-living working class (las chicas)
Hard-living working class (cholas "hard core")
Strong correlation between class of origin and class performance at school.

Econolmy of style:
Hairstyles
Clothing
Shoes
Lip-liner/ color (cholas liked color)

Front 33

Three factors contributing to the work-family speed up

Back 33

1) Increase numbers of working mothers
2) Women work in jobs which lack flexibility
3) Increase in hours working for men and women

Front 34

Cool modern approach

Back 34

The speed-up seen in everyday life is "normal", even fashionable

Front 35

Traditional stance

Back 35

Women belong more involved in the home instead of the workforce
They acknowledge the speed up is a problem

Front 36

Warm modern approach

Back 36

Identifies that the speed-up is a problem, and seek for egalitarian (equity at home and work is the goal)

Front 37

Fetishism of commodities

Back 37

under capitalism, the product produces its own life separate from the person that made it

Front 38

Economic world reversed

Back 38

economic winners are actually losers in symbolic capitol

Front 39

Symbolic capital

Back 39

Resources available to an individual on the basis of honor, prestige or recognition, and serves as value that one holds within a culture ($).

Front 40

Beauty world reversed

Back 40

Editorial models are not actually pretty. Bland, white, female is the ideal of beauty in the commercial circuit, where more strange, edgy beauty is found in the editorial circuit.

Front 41

Positional identity

Back 41

Things like age and sex can influence you to take on a certain identity.
Young males are expected to participate in sports
If family member plays sports, then you are expected to be athletic as well

Front 42

Conditional self-worth

Back 42

The development of sports has led to this in boys, and it is when boys became aware that acceptance by others is determined upon being a good "winner"- narrow definitions of success, based upon performance and winning, become increasingly important to them

Front 43

Negative idealization

Back 43

performance displays lower status characteristics expected

Front 44

Directive dominance

Back 44

when a person is designated to direct the performance

Front 45

Instrumental decorum

Back 45

Duties that may be expected of the performer

Front 46

Make-no-work

Back 46

upper-class) act like they’re not doing work beneath their station

Front 47

Strategic secrets

Back 47

intentions of the team that are hidden in order to prevent another team from adapting efficiently

Front 48

Inside secrets

Back 48

Secrets which mark the individuals involved and set them apart as a group

Front 49

Free secrets

Back 49

Secret hat does not need to be kept due to how it was acquired

Front 50

Shill

Back 50

person who pretends to be a member of the audience but are actually a member of the team

Front 51

Spotter

Back 51

Person who comes to a performance and acts in the interest of the audience

Front 52

Nonperson

Back 52

Someone assigned as not there (who does not need to be performed there)

Front 53

Improvisational exchange

Back 53

playing with set feeling rules

Front 54

Personal control systems

Back 54

tapping into emotion, based on feeling of person

Front 55

Cultural capital

Back 55

Non-fiscal social assets that promote social mobility beyond economic means (education, intellect, speech, dress, physical beauty.)