Search results for ""Author Howard S. Becker""

One of French writer Georges Perec's most famous pieces, "I Remember", consists of 480 numbered paragraphs - each just a few short lines recalling a memory from his childhood. The work has neither a beginning nor an end, nor does it contain any analysis. But it nonetheless reveals profound truths about French society during the 1940s and '50s. Taking Perec's book as its cue, "Telling About Society" explores the unconventional ways we communicate what we know about society to others. The third in distinguished teacher Howard S. Becker's best-selling series of writing guides for social scientists, the book explores the many ways knowledge about society can be shared and interpreted through different forms of telling - fiction, films, photographs, maps, even mathematical models - many of which remain outside the boundaries of conventional social science. Eight case studies, including the photographs of Walker Evans, the plays of George Bernard Shaw, the novels of Jane Austen and Italo Calvino, and the sociology of Erving Goffman, provide convincing support for Becker's argument: that every way of telling about society is perfect - for some purpose. The trick is, as Becker notes, to discover what purpose is served by doing it this way rather than that. With Becker's trademark humor and eminently practical advice, "Telling About Society" is an ideal guide for social scientists in all fields and for anyone interested in communicating knowledge in unconventional ways.

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One of the most groundbreaking sociology texts of the 20th century, Howard S. Becker’s Outsiders revolutionized the study of social deviance.Howard S. Becker’s Outsiders broke new ground in the early 1960s—and the ideas it proposed and problems it raised are still argued about and inspiring research internationally. In this new edition, Becker includes two lengthy essays, unpublished until now, that add fresh material for thought and discussion. “Why Was Outsiders a Hit? Why Is It Still a Hit?” explains the historical background that made the book interesting to a new generation coming of age in the 60s and makes it of continuing interest today. “Why I Should Get No Credit For Legalizing Marijuana” examines the road to decriminalization and presents new ideas for the sociological study of public opinion.

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This classic sociological examination of art as collective action explores the cooperative network of suppliers, performers, dealers, critics, and consumers who - along with the artist - "produce" a work of art. Howard S. Becker looks at the conventions essential to this operation and, prospectively, at the extent to which art is shaped by this collective activity. The book is thoroughly illustrated and updated with a new dialogue between Becker and eminent French sociologist Alain Pessin about the extended social system in which art is created, and with a new preface in which the author talks about his own process in creating this influential work.

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OG Kush. Sour Diesel. Wax, shatter, and vapes. Marijuana has come a long way since its seedy days in the back parking lots of our culture. So has Howard S. Becker, the eminent sociologist, jazz musician, expert on "deviant" culture, and founding NORML board member. When he published Becoming a Marihuana User more than sixty years ago, hardly anyone paid attention-because few people smoked pot. Decades of Cheech and Chong films, Grateful Dead shows, and Cannabis Cups later, and it's clear-marijuana isn't just an established commodity, it's an entire culture. And that's just the thing-Becker totally called it: pot has everything to do with culture. It's not a blight on culture, but a culture itself-in fact, you'll see in this book the first use of the term "users," rather than "abusers" or "addicts." Come along on this short little study-now a famous timestamp in weed studies-and you will be astonished at how relevant it is to us today. Becker doesn't judge, but neither does he holler for legalization, tell you how to grow it in a hollowed-out dresser, or anything else like that for which there are plenty of other books you can buy. Instead, he looks at marijuana with a clear sociological lens-as a substance that some people enjoy, and that some others have decided none of us should. From there he asks: so how do people decide to get high, and what kind of experience do they have as a result of being part of the marijuana world? What he discovers will bother some, especially those who proselytize the irrefutably stunning effects of the latest strain: chemistry isn't everything-the important thing about pot is how we interact with it. We learn to be high. We learn to like it. And from there, we teach others, passing the pipe in a circle that begins to resemble a bona fide community, defined by shared norms, values, and definitions just like any other community. All throughout this book, you'll see the intimate moments when this transformation takes place. You'll see people doing it for the first time and those with considerable experience. You'll see the early signs of the truths that have come to define the marijuana experience: that you probably won't get high at first, that you have to hold the hit in, and that there are other people here who are going to smoke that, too.

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In 1963, Howard S. Becker gave a lecture about deviance, challenging the then-conventional definition that deviance was inherently criminal and abnormal and arguing that instead, deviance was better understood as a function of labeling. At the end of his lecture, a distinguished colleague standing at the back of the room, puffing a cigar, looked at Becker quizzically and asked, "What about murder? Isn't that really deviant?" It sounded like Becker had been backed into a corner. Becker, however, wasn't defeated! Reasonable people, he countered, differ over whether certain killings are murder or justified homicide, and these differences vary depending on what kinds of people did the killing. In What About Mozart? What About Murder?, Becker uses this example, along with many others, to demonstrate the different ways to study society, one that uses carefully investigated, specific cases and another that relies on speculation and on what he calls "killer questions," aimed at taking down an opponent by citing invented cases. Becker draws on a lifetime of sociological research and wisdom to show, in helpful detail, how to use a variety of kinds of cases to build sociological knowledge. With his trademark conversational flair and informal, personal perspective Becker provides a guide that researchers can use to produce general sociological knowledge through case studies. He champions research that has enough data to go beyond guesswork and urges researchers to avoid what he calls "skeleton cases," which use fictional stories that pose as scientific evidence. Using his long career as a backdrop, Becker delivers a winning book that will surely change the way scholars in many fields approach their research.

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One of French writer Georges Perec's most famous pieces, "I Remember", consists of 480 numbered paragraphs - each just a few short lines recalling a memory from his childhood. The work has neither a beginning nor an end, nor does it contain any analysis. But it nonetheless reveals profound truths about French society during the 1940s and '50s. Taking Perec's book as its cue, "Telling About Society" explores the unconventional ways we communicate what we know about society to others. The third in distinguished teacher Howard S. Becker's best-selling series of writing guides for social scientists, the book explores the many ways knowledge about society can be shared and interpreted through different forms of telling - fiction, films, photographs, maps, even mathematical models - many of which remain outside the boundaries of conventional social science. Eight case studies, including the photographs of Walker Evans, the plays of George Bernard Shaw, the novels of Jane Austen and Italo Calvino, and the sociology of Erving Goffman, provide convincing support for Becker's argument: that every way of telling about society is perfect - for some purpose. The trick is, as Becker notes, to discover what purpose is served by doing it this way rather than that. With Becker's trademark humor and eminently practical advice, "Telling About Society" is an ideal guide for social scientists in all fields and for anyone interested in communicating knowledge in unconventional ways.

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Designed to help students learn how to think about research projects, this guide offers suggestions which cover four broad areas of social science: the creation of the "imagery" to guide research; methods of "sampling" to generate maximum variety in the data; the development of "concepts" to organize findings; and the use of "logical" methods to explore systematically the implications of what is found. The advice ranges from simple tricks such as changing an interview question from "Why?" to "How?" (as a way of getting people to talk without asking for a justification) to more technical tricks such as how to manipulate truth tables. Drawing from a variety of fields such as art history, anthropology, sociology, literature and philosophy, the author ranges from James Agee to Ludwig Wittgenstein, to find the common principles which lie behind good social science work, principles that apply to both quantitative and qualitative research.

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Howard S. Becker is a master of his discipline. His reputation as a teacher as well as a sociologist, is supported by his best-selling quartet of sociological guidebooks: Writing for Social Scientists, Tricks of the Trade, Telling About Society, and What About Mozart? What About Murder?. It turns out that the master sociologist has yet one more trick up his sleeve a fifth guidebook, Evidence. Becker has for seventy years been mulling over the problem of evidence. He argues that social scientists don't take questions about the usefulness of their data as evidence for their ideas seriously enough. For example, researchers have long used the occupation of a person's father as evidence of the family's social class, but studies have shown this to be a flawed measure for one thing, a lot of people answer that question too vaguely to make the reasoning plausible. The book is filled with examples like this, and Becker uses them to expose a series of errors, suggesting ways to avoid them, or even to turn them into research topics in their own right. He argues strongly that because no data-gathering method produces totally reliable information, a big part of the research job consists of getting rid of error. Readers will find Becker's newest guidebook a valuable tool, useful for social scientists of every variety.

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In 1963, Howard S. Becker gave a lecture about deviance, challenging the then-conventional definition that deviance was inherently criminal and abnormal and arguing that instead, deviance was better understood as a function of labeling. At the end of his lecture, a distinguished colleague standing at the back of the room, puffing a cigar, looked at Becker quizzically and asked, "What about murder? Isn't that really deviant?" It sounded like Becker had been backed into a corner. Becker, however, wasn't defeated! Reasonable people, he countered, differ over whether certain killings are murder or justified homicide, and these differences vary depending on what kinds of people did the killing. In What About Mozart? What About Murder?, Becker uses this example, along with many others, to demonstrate the different ways to study society, one that uses carefully investigated, specific cases and another that relies on speculation and on what he calls "killer questions," aimed at taking down an opponent by citing invented cases. Becker draws on a lifetime of sociological research and wisdom to show, in helpful detail, how to use a variety of kinds of cases to build sociological knowledge. With his trademark conversational flair and informal, personal perspective Becker provides a guide that researchers can use to produce general sociological knowledge through case studies. He champions research that has enough data to go beyond guesswork and urges researchers to avoid what he calls "skeleton cases," which use fictional stories that pose as scientific evidence. Using his long career as a backdrop, Becker delivers a winning book that will surely change the way scholars in many fields approach their research.

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Symbolic interactionism, resolutely empirical in practice, shares theoretical concerns with cultural studies and humanistic discourse. Recognizing that the humanities have engaged many of the important intellectual currents of the last twenty-five years in ways that sociology has not, the contributors to this volume fully acknowledge that the boundary between the social sciences and the humanities has begun to dissolve. This challenging volume explores that border area.

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The Jack-Roller tells the story of Stanley, a pseudonym Clifford Shaw gave to his informant and co-author, Michael Peter Majer. Stanley was sixteen years old when Shaw met him in 1923 and had recently been released from the Illinois State Reformatory at Pontiac, after serving a one-year sentence for burglary and jack-rolling (mugging), Vivid, authentic, this is the autobiography of a delinquent—his experiences, influences, attitudes, and values. The Jack-Roller helped to establish the life-history or "own story" as an important instrument of sociological research. The book remains as relevant today to the study and treatment of juvenile delinquency and maladjustment as it was when originally published in 1930.

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