Suchergebnisse

Intro -- Inhalt -- Einleitung Labeling und die Nonchalance des Interaktionisten: Howard Beckers bescheidener und zentraler Beitrag zur Devianzsoziologie -- Blumers Schüler -- Devianz und ihre Menschen: Howard Beckers kleine Revolution -- Typisches, atypisches und plurales Labeling -- Kontroversen, Konsistenzen, und Nonchalance -- Ironie -- Was tun? -- Literatur -- Vorwort zu Außenseiter (2018) -- Vorbemerkung -- 1 Außenseiter -- Definitionen abweichenden Verhaltens -- Verhaltensabweichung und die Reaktionen anderer -- Wessen Regeln? -- 2 Arten abweichenden Verhaltens -- Ein Stufenmodell -- Simultan- und Stufenmodelle der Verhaltensabweichung -- Abweichende Karrieren -- 3 Wie man Marihuana-Benutzer wird -- Das Erlernen der Technik -- Lernen, die Wirkungen wahrzunehmen -- Lernen, die Wirkungen zu genießen -- 4 Marihuana-Gebrauch und soziale Kontrolle -- Angebot -- Geheimhaltung -- Moralität -- 5 Die Kultur einer abweichenden Gruppe -- Der Livemusiker -- Die Untersuchung -- Musiker und "Spießer" -- Reaktionen auf den Konflikt -- Isolierung und Selbstabgrenzung -- 6 Karrieren in einer abweichenden Berufsgruppe -- Der Livemusiker -- Cliquen und Erfolg -- Eltern und Ehefrauen -- 7 Regeln und ihre Durchsetzung -- Stadien der Durchsetzung -- Ein Fallbeispiel: das Marihuana-Steuergesetz -- 8 Moralische Unternehmer -- Regelsetzer -- Das Schicksal moralischer Kreuzzüge -- Regeldurchsetzer -- Abweichung und Unternehmung: eine Zusammenfassung -- 9 Das Studium abweichenden Verhaltens -- Probleme und Sympathien -- 10 Nachträgliche Betrachtungen zur "Etikettierungstheorie" -- Verhaltensabweichung als kollektives Handeln -- Entmystifizierung abweichenden Verhaltens -- Moralische Probleme -- Schlussfolgerung -- 11 Warum war Außenseiter ein Hit? Warum ist es immer noch ein Hit? -- Einen Verlag finden.

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

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

O presente texto é uma tradução do artigo original Social-class variations in the teacher-pupil relationship, de Howard Becker, publicado em 1952 no periódico norteamericano The Journal of Educational Sociology.

"Creativity"—an original action or object—occurs frequently. Usually praised in the abstract, it's seldom recognized or rewarded in ordinary life and in the workings of organizations. Seen in organizational contexts, it can be understood as an interesting activity whose potential value organizational constraints make it impossible to recognize for what it is.