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others. Thus, Hu outlined how orientation to both one's own, and other's face<br />

was an omnipresent social dynamic which under-ran all social encounters.<br />

Fundamentally, aside from providing an insight into the workings <strong>of</strong><br />

Chinese everyday life (see also Ho 1976), this early paper, with its emphasis on<br />

the normative behaviour <strong>of</strong> members <strong>of</strong> a culture as being guided by a dual set<br />

<strong>of</strong> concerns for both oneself and others within the wider community can be<br />

regarded as the starting point for face and facework studies as they have come<br />

to be developed in western social sciences. The translation <strong>of</strong> this eastern<br />

concept to western sociological discourse came with G<strong>of</strong>fman's (1967) seminal<br />

essay'On Face-Work'.<br />

G<strong>of</strong>fman's development <strong>of</strong> the concept was not only informed by these<br />

early Asian writings (see G<strong>of</strong>fman 1967, n5), but also grounded in more general<br />

concerns with the expressive and performative nature <strong>of</strong> everyday interaction.<br />

For instance, in his work on the presentation <strong>of</strong> self in everyday life (G<strong>of</strong>fman<br />

1969), persons were posited as essentially 'performers', regularly engaged in<br />

impression management in an attempt to create a desirable public image or<br />

'character' for presentation to wider society. Social reality was essentially a<br />

dramaturgical affair, where the self was prepared and presented for acceptance<br />

and support by wider social audiences as part and parcel <strong>of</strong> the practices <strong>of</strong><br />

everyday life. However, it wasn't until 1967 3 that G<strong>of</strong>fman employed the<br />

metaphor <strong>of</strong> facework to account for the mutual system <strong>of</strong> interpersonal support<br />

and set <strong>of</strong> moral obligations that underlay this presentational milieu.<br />

G<strong>of</strong>fman asserted that, whenever persons come into communicative<br />

contact with another, they intentionally or unintentionally act out a 'line', that is,<br />

a pattern <strong>of</strong> verbal and non-verbal acts by which they express their view <strong>of</strong> the<br />

situation, themselves, and fel low-partici pants. These communicative lines <strong>of</strong><br />

action form the basis for face, defined by G<strong>of</strong>fman as '... the positive social value<br />

a person effectively claims for himself by the line others assume he has taken<br />

during a particular contact ... an image <strong>of</strong> self delineated in terms <strong>of</strong> approved<br />

social attributes'. (G<strong>of</strong>fman 1967,5). 'Approved social attributes' and 'claims' to<br />

positive social values were thus reliant on mutual recognition and ratification by<br />

co-participants during social contacts. In this sense, an individual's<br />

16

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