مشخصات پژوهش

The significance of this research arises from its capacity to address an underexplored intersection between literary studies and sociological theory. Although scholars have offered extensive interpretations of Miss Julie and A Doll’s House, the micro-interactional mechanisms that shape each play’s dramatic movement have not received comprehensive analysis through the full range of Goffman’s concepts. Literary critics often acknowledge that drama exposes social processes, yet few studies demonstrate how dramaturgical form materializes interactional theory with such precision. Works by Smith, Branaman, and Edgley confirm the value of Goffman’s sociology for cultural analysis, yet these studies do not engage in scene-based readings of canonical drama. Thus, the present project addresses an urgent scholarly need: the cultivation of a methodology that unites rigorous textual analysis with an empirically grounded account of interpersonal dynamics. This research advances the field further by offering comparative insight. Strindberg’s naturalist dramaturgy and Ibsen’s realist dramaturgy respond to distinct cultural conditions, yet both dramatists stage crises that emerge from failures of impression management, frame shifts, and stigmatization. A systematic Goffmanian reading illuminates the structural differences that distinguish the two plays and clarifies why their protagonists confront divergent ethical outcomes. Such findings will interest scholars concerned with performativity, gender norms, domestic ideology, and class authority. In addition, the project will provide a replicable methodological model for literary sociologists who aim to avoid reductive applications of theory. By demonstrating how concepts such as frontstage, backstage, keying, and face repair can illuminate dramatic form without obscuring artistic complexity, the dissertation supports a broader disciplinary movement toward integrated, interdisciplinary criticism (Scheff; Lofland; Cahill). The research