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Journal articles on the topic 'Howard Becker'

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Published: 4 June 2021
Last updated: 15 February 2022

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1

Molotch, Harvey. "Howard S. Becker." Public Culture 24, no. 2 (2012): 421–43. http://dx.doi.org/10.1215/08992363-1535561.

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2

Ventura, Rafael. "Becker, Howard, Evidence." Canadian Journal of Sociology 42, no. 4 (December 31, 2017): 459–62. http://dx.doi.org/10.29173/cjs29407.

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3

Kawashima, Nobuko. "Howard Becker,Art worlds." International Journal of Cultural Policy 16, no. 1 (February 2010): 41–42. http://dx.doi.org/10.1080/10286630902971579.

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4

Hess, Andreas. "Alain Pessin, The Sociology of Howard S. Becker; Howard S Becker, Evidence." Irish Journal of Sociology 26, no. 3 (July 26, 2018): 323–27. http://dx.doi.org/10.1177/0791603518789858.

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5

Leroux, Pierre. "Jean Peneff, Howard S. Becker." Questions de communication, no. 28 (December 31, 2015): 321–22. http://dx.doi.org/10.4000/questionsdecommunication.10202.

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6

Becker, Howard S. "Comment [From Howard S. Becker]." Contemporary Sociology 31, no. 2 (March 2002): 250. http://dx.doi.org/10.2307/3089552.

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7

Laube, Stefan. "Book Review: Howard S. Becker." Acta Sociologica 52, no. 3 (September 2009): 289–90. http://dx.doi.org/10.1177/0001699309339809.

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8

Becker, Howard. "Entrevista a Howard S. Becker." Delito y Sociedad 1, no. 21 (April 13, 2016): 131–39. http://dx.doi.org/10.14409/dys.v1i21.5372.

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9

Frenette, Alexandre. "Howard S. Becker, Telling About Society." Canadian Journal of Sociology 34, no. 4 (October 1, 2009): 1142–44. http://dx.doi.org/10.29173/cjs6442.

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10

Ploder, Andrea. "The Repertoires of Howard S. Becker." Symbolic Interaction 40, no. 1 (October 18, 2016): 141–43. http://dx.doi.org/10.1002/symb.264.

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11

Parker, Martin. "Howard Becker: Ways of seeing organizing." Organization 22, no. 6 (October 26, 2015): 755. http://dx.doi.org/10.1177/1350508415587153.

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12

Suteau, Marc. "Howard S. Becker, Les ficelles du métier." Sociologie du travail 46, no. 1 (January 1, 2004): 123–25. http://dx.doi.org/10.4000/sdt.28126.

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13

Katz, Jack. "Telling About Society - By Howard S. Becker." British Journal of Sociology 59, no. 4 (November 25, 2008): 807–8. http://dx.doi.org/10.1111/j.1468-4446.2008.00220_1.x.

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14

Blanc, Julie, Guillaume Hartemann-Piollet, and Hadrien Le Mer. "What about Becker?" Bulletin of Sociological Methodology/Bulletin de Méthodologie Sociologique 133, no. 1 (January 2017): 78–84. http://dx.doi.org/10.1177/0759106316681087.

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Invité à l’École Normale Supérieure de Lyon, Howard Becker (2014) présente son dernier ouvrage ( What about Mozart?) dans lequel il illustre le raisonnement par cas comme méthodologie privilégiée d’analyse du social. Tout en refusant de s’inscrire dans la filiation de l’École de Chicago, H. Becker insiste sur le métier de sociologue en tant que praxis. L’une des principales ficelles beckerienne (2002) consiste à prendre au sérieux la multiplicité des déterminismes à l’œuvre dans un cas particulier, sans jamais renoncer à l’éclairage que peut apporter la comparaison. Si la rigueur scientifique est indispensable pour mener à bien le raisonnement par cas, l’inspiration continue d’avoir une place irréductible dans le processus d’écriture sociologique.
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15

Plummer, Ken. "Continuity and Change in Howard S. Becker's Work." Sociological Perspectives 46, no. 1 (March 2003): 21–39. http://dx.doi.org/10.1525/sop.2003.46.1.21.

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Howard S. Becker is one of the foremost sociologists of the second half of the twentieth century. Although he is perhaps best known for research on deviance and his book Outsiders, this constitutes only a very small fraction of his earliest work. This interview looks at some of the continuities and cores of his work over fifty years. Becker highlights how his work maintains the same core concerns, although new interests have been added over time. At the core is a concern with “work” and “doing things together.” Becker provides many concrete stories from the past and also raises issues about the nature of doing theory and research, how he writes and produces his studies, and the problems attached to the professionalization of sociology. His writing on art and culture can be seen as assuming a major position in his later work, but he does not identify with either postmodernism or cultural studies.
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16

Coelho de Oliveira, Daniel. "Segredos e truques da escrita, um diálogo aberto sobre a produção do conhecimento científico." PRACS: Revista Eletrônica de Humanidades do Curso de Ciências Sociais da UNIFAP 12, no. 2 (December 9, 2019): 141. http://dx.doi.org/10.18468/pracs.2019v12n2.p141-145.

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17

Herrera, Nicolás. "Nuestros datos pueden contener errores. Desconocerlos o repetirlos, es otro error (aún más grave)." Revista Latinoamericana de Metodología de las Ciencias Sociales (Relmecs) 11, no. 1 (June 1, 2021): e092. http://dx.doi.org/10.24215/18537863e092.

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18

Becker, Howard S. "Classes sociais nas relações entre professores e alunos." Política & Sociedade 18, no. 42 (December 16, 2019): 250–65. http://dx.doi.org/10.5007/2175-7984.2019v18n42p250.

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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.
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19

Nascimento, Elimar. "Para estimular a escrita científica." Sustentabilidade em Debate 7, no. 1 (April 30, 2016): 178–81. http://dx.doi.org/10.18472/sustdeb.v7n1.2016.18139.

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20

Lu, Wenchao. "Sociology and Art: An Interview with Howard S. Becker." Symbolic Interaction 38, no. 1 (January 5, 2015): 127–50. http://dx.doi.org/10.1002/symb.139.

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21

Hughes, Jason. "Looking elsewhere: Howard S. Becker as unwilling organisational theorist." Organization 22, no. 6 (October 26, 2015): 769–87. http://dx.doi.org/10.1177/1350508415587155.

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22

Maldonado, Francisca. "Defensa ciudadana de la seguridad privada. Una lectura desde la perspectiva de la desviación social." Castalia - Revista de Psicología de la Academia, no. 34 (July 31, 2020): 63–71. http://dx.doi.org/10.25074/07198051.34.1757.

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En la sociedad chilena, los delincuentes encarnan el paradigma de lo que Howard Becker define como subcultura marginal. Circulan narrativas que marcan la presencia de una “carrera delictual”: se trataría de un grupo homogéneo, cerrado en sí mismo, y que despliega formas específicas de socialización capaces de habilitar prácticas como el robo, la violación o el asesinato. Menor consenso existe respecto a la pertinencia de la respuesta que la sociedad entrega frente a la conducta delictiva. En relación con ello, este artículo examina cómo algunas formas de defensa ciudadana de la seguridad –esto es, de reacciones inhibitorias del comportamiento delictivo que son externas al actuar institucional– pueden también configurarse como prácticas desviadas en sí mismas, utilizando para ello el mismo marco conceptual propuesto por Becker. ---- In Chilean society, criminals embody the paradigm of what Howard Becker defines as a marginal subculture. Narratives circulate that mark the presence of a “criminal career”: it would be a homogeneous group, closed in on itself, and that deploys specific forms of socialization capable of enabling practices such as theft, rape or murder. Less consensus exists regarding the pertinence of the response that society provides against criminal conduct. In this regard, this article examines how some forms of citizen defense of security –that is, of inhibitory reactions to criminal behavior that are external to institutional action– can also be configured as deviant practices in themselves, using the same framework conceptual proposed by Becker.
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23

Yıldırım, Cuma. "Howard S. Becker, Mesleğin İncelikleri: Sosyal Bilimlerde Araştırma Nasıl Yürütü." Karadeniz Arastirmalari Merkezi 15, no. 60 (January 1, 2018): 229–33. http://dx.doi.org/10.12787/karam1371.

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24

Ben-Yehuda, Nachman, Richard A. Brymer, Steven C. Dubin, Douglas Harper, Rosanna Hertz, and William Shaffir. "Howard S. Becker: A Portrait of an Intellectual's Sociological Imagination." Sociological Inquiry 59, no. 4 (October 1989): 467–89. http://dx.doi.org/10.1111/j.1475-682x.1989.tb00121.x.

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25

Sanders, Clinton R. "Learning from Experience: Recollections of Working with Howard S. Becker." Symbolic Interaction 36, no. 2 (May 2013): 216–28. http://dx.doi.org/10.1002/symb.54.

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26

Péquignot, Bruno. "Alain Pessin, Un sociologue en liberté. Lecture de Howard S. Becker." Sociologie de l'Art OPuS 6, no. 1 (2005): 207. http://dx.doi.org/10.3917/soart.006.0207.

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27

Segre, Sandro. "The Sociology of Howard S. Becker: Theory with a Wide Horizon." Contemporary Sociology: A Journal of Reviews 47, no. 6 (November 2018): 665–67. http://dx.doi.org/10.1177/0094306118805417a.

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28

Fraga, Eugenia. "Notas sobre la microsociología y el cuerpo. Las microcorporalidades de Becker, Scott, Bourdieu y de Certeau." Revista Colombiana de Ciencias Sociales 7, no. 1 (January 1, 2016): 49. http://dx.doi.org/10.21501/22161201.1654.

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En el presente trabajo nos interesa indagar en el modo en que la perspectiva microsociológica ha pensado el tema del cuerpo. Queremos ver de qué formas, autores tan variados y a la vez tan afines como Howard Becker, James Scott, Pierre Bourdieu y Michel de Certeau, herederos en distinta medida del interaccionismo simbólico de George Mead, han concebido aquella dimensión tan central –y a veces tan soslayada– de la vida social como es la corporalidad. Para ello deberemos, en primer lugar, profundizar en las reflexiones de Mead, antecedente relevante del resto de los autores aquí trabajados. En segundo lugar, deberemos realizar un rastreo de los distintos conceptos utilizados por Becker, Scott, Bourdieu y de Certeau, para hablar del cuerpo humano. Finalmente, intentaremos esbozar unas conclusiones comparativas. © Revista Colombiana de Ciencias Sociales.
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29

Da Silva Dezidério, Gabriela. "Legitimação em arte afro-brasileira." Revista Ensaios 8 (December 25, 2015): 73. http://dx.doi.org/10.22409/re.v8i0.1756.

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Tornar-se artista e cativar o reconhecimento enquanto tal são processos que envolvem muito mais do que vontade e dedicação pessoal. Sendo a arte de natureza social e por isso sempre atrelada a aspectos contextuais e paradigmas que mudam de tempos em tempos, este trabalho pretende analisar através de fontes bibliográficas o que determina o status de artista no contexto específico da arte afro-brasileira, dialogando com pensamentos de Norbert Elias, Howard Becker e Pierre Bourdieu.
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30

Molotch, Harvey. "TellingAboutSociety - Howard Becker, Telling About Society (Chicago, University of Chicago Press, 2007)." European Journal of Sociology 49, no. 3 (December 2008): 439–43. http://dx.doi.org/10.1017/s0003975609000162.

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31

Leigh Star, Susan. "Making Music With Cases: Symposium on the Work of Howard S. Becker." Mind, Culture, and Activity 7, no. 3 (August 2000): 167–70. http://dx.doi.org/10.1207/s15327884mca0703_02.

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32

Schmidt, Géraldine, Natalia Bobadilla, Stéphane Debenedetti, and Philippe Mairesse. "About art, social science … and restructuring: An interview with Howard S. Becker." Organization 22, no. 6 (October 26, 2015): 756–68. http://dx.doi.org/10.1177/1350508415616033.

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33

Rosino, Michael, and Annulla Linders. "Howard Becker in Hyperspace: Social Learning in an On-Line Drug Community." Deviant Behavior 36, no. 9 (June 26, 2015): 725–39. http://dx.doi.org/10.1080/01639625.2014.977114.

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34

Bender, Mateus. "Da regra moral ao desvio: aproximações teóricas de Émile Durkheim nas obras de Erving Goff man e Howard S. Becker." Diálogo, no. 41 (August 22, 2019): 17. http://dx.doi.org/10.18316/dialogo.v0i41.5615.

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Objetivando analisar as regras morais e os desvios às normas impostas pela sociedade, este artigo irá destacar primeiramente o autor clássico Émile Durkheim. Posteriormente, após breve apresentação dos dois principais representantes da Escola de Chicago, Erving Goffman e Howard Becker, será debatido a influência de Durkhein sobre suas análises. Conclui-se que esses autores definem a origem das regras morais como advindas dos grupos os quais os indivíduos estão inseridos, aproximando-se da proposta de Durkheim como origem da sociedade.
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35

Hikal, Wael. "Howard Becker: ¿el contemporáneo de la escuela de Chicago? La teoría del etiquetamiento en el proceso de criminalización." Vox juris 33, no. 1 (June 30, 2017): 101–12. http://dx.doi.org/10.24265/voxjuris.2017.v33n1.09.

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36

Azaïs, Camille, Talia Bachir-Loopuyt, and Pierre Saint-Germier. "Du jazz aux mouvements sociaux : le répertoire en action. Entretien avec Howard Becker." Tracés, no. 18 (May 1, 2010): 223–36. http://dx.doi.org/10.4000/traces.4625.

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37

Suteau, Marc. "Howard S. BECKER, Les ficelles du métier, La Découverte, Paris, 2002, 359 p." Sociologie du Travail 46, no. 1 (January 2004): 123–25. http://dx.doi.org/10.1016/j.soctra.2004.01.014.

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38

Ruhleder, Karen, and Fred Stoltzfus. "The Etiquette of the Master Class: Improvisation on a Theme by Howard Becker." Mind, Culture, and Activity 7, no. 3 (August 2000): 186–96. http://dx.doi.org/10.1207/s15327884mca0703_06.

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39

Abbott, James R. "Critical sociologies and ressentiment: The examples of C. Wright Mills and Howard Becker." American Sociologist 37, no. 3 (September 2006): 15–30. http://dx.doi.org/10.1007/s12108-006-1020-x.

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40

Pereira, Fábio Henrique. "AS NOTÍCIAS COMO PRÁTICA COLETIVA E CONVENCIONAL: a abordagem beckeriana aplicada aos estudos do jornalismo." Revista Observatório 4, no. 4 (June 29, 2018): 389–419. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n4p389.

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O artigo propõe a aplicação dos conceitos de mundo social e de convenções, originários da sociologia das formas de representação da sociedade de Howard Becker, aos estudos de jornalismo. Postula-se a ideia de que a noticiabilidade consistiria em um sistema de convenções que fornece as bases para um processo mais amplo de negociação entre jornalistas, fontes, públicos, e os demais colaboradores do jornalismo, prática considerada aqui como um ato social maior. Com isso, busca mapear as possíveis contribuições de uma abordagem interacionista para a compreensão da atividade jornalística como uma prática dinâmica e coletiva.
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41

Abreu, Cláudio. "Análisis estructuralista de la teoría del etiquetamiento." Revista de filosofía DIÁNOIA 64, no. 82 (May 12, 2019): 31. http://dx.doi.org/10.22201/iifs.18704913e.2019.82.1634.

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La teoría del etiquetado es la teoría acerca de cómo la autoidentidad y el comportamiento de los individuos pueden ser determinados o influenciados por los términos usados para describirlos o clasificarlos. La teoría se vuelve importante y conquista su espacio destacándose como una de las más productivas teorías acerca de la desviación. En este estudio, con base en una concepción contemporánea de teoría científica, la de la metateoría estructuralista, es presentada una reconstrucción de la propuesta de Howard Becker/Edwin Lemert, lo que permite explicitar la estructura profunda de la teoría.
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42

Gomes, Adryana Diniz. "Mediação entre públicos e obras pensada dentro da Escola-Floresta: uma dança em três movimentos." POIÉSIS 21, no. 35 (January 9, 2020): 375. http://dx.doi.org/10.22409/poiesis.v21i35.38491.

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Em uma análise sociofilosófica, o ato da mediação, como “terceiro elemento” entre os mundos artísticos propostos por Howard Becker, é pensado dentro do contexto da Escola Floresta como processo fenomenológico que participa do desenvolvimento de uma relação entre público e obra. A partir da obra Unidade Tripartida de Max Bill, propomos o ato da mediação como perichoresis, e deste modo, uma dança em três movimentos: contato, experimentação e resposta. Consideramos em cada movimento, respectivamente, a hermenêutica de Hans-Georg Gadamer, a ética de Benedictus de Espinoza e o dialogismo de Mikhail Bakhtin.
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43

Becker, Howard S. "Hvad med Mozart? Hvad med mord?" Dansk Sociologi 14, no. 3 (March 7, 2006): 63–71. http://dx.doi.org/10.22439/dansoc.v14i3.301.

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Howard S. Becker: What about Mozart? What about murder? The sociologies of science, art, and deviance have a ommon problem. All three challenge conventional thinking about the objects they study. The sociology of art makes problematic the status of objects as “real art,“ the sociology of deviance challenges conventional definitions of right and wrong, and the sociology of science questions the unthinking acceptance of the results of scientific work. In all three fields, empirical sociological research is supplanting philosophical reasoning. Good sociological work requires us to avoid accepting conventional definitions of the phenomena we study.
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44

Berardi Spairani, Adrian Pablo. "La participación partidaria y el impacto de los contextos políticos. Un estudio de biografías militantes en Jujuy." Estudios Sociales 55, no. 2 (November 22, 2018): 11–26. http://dx.doi.org/10.14409/es.v55i1.6670.

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En este artículo proponemos dar cuenta de la forma en que los clivajes políticos influyen en las biografías militantes; nos preocupa responder si el contexto político constituye un elemento a tomar en cuenta para el mantenimiento del compromiso militante y de qué forma. Para llevar adelante estos objetivos analizaremos las trayectorias de dos militantes partidarios que comenzaron su participación política en la década del 2000, retomando la perspectiva de carrera propuesta por Howard Becker, considerando la trayectoria como un modelo de secuencias ordenadas de comportamiento social, tomando en cuenta los aspectos objetivos y subjetivos forma en que relata su propia historia).
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45

Solinski, Boris. "Howard S. Becker, Comment parler de la société. Artistes, écrivains, chercheurs et représentations sociales." Questions de communication, no. 18 (December 1, 2010): 292–93. http://dx.doi.org/10.4000/questionsdecommunication.311.

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46

Feryn, Mathieu. "Howard S. Becker, La Bonne focale. De l’utilité des cas particuliers en sciences sociales." Questions de communication, no. 31 (September 1, 2017): 541–43. http://dx.doi.org/10.4000/questionsdecommunication.11353.

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47

Rozenholc, Caroline. "Howard S. Becker, Comment parler de la société. Artistes, écrivains, chercheurs et représentations sociales." e-Migrinter, no. 8 (April 4, 2012): 144–46. http://dx.doi.org/10.4000/e-migrinter.673.

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48

Howard, Jay R., and John M. Streck. "The splintered art world of Contemporary Christian Music." Popular Music 15, no. 1 (January 1996): 37–53. http://dx.doi.org/10.1017/s0261143000007959.

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For many, art is a product: the painting to be observed and contemplated, the concert to be heard and enjoyed. There is, however, another conception of art – art as activity – and it is in this context that Howard Becker (1984) develops his concept of art worlds. Art worlds, Becker argues, include more than the artists who create the work which the public commonly defines as art. Any given art world will consist of the network of people whose co-operative activity produces that art world's certain type of artistic product (Becker 1984, p. x). Organised according to their knowledge of the art world's goals and conventions for achieving those goals, the art world includes five basic categories of people: the artists who actually create and produce the art; the producers who provide the funds and support for the production of the art; the distributors who bring the art to the audience; the audience who purchases and collects the art; and finally, the critics, aestheticians and philosophers who create and maintain the rationales according to which all these other activities make sense and have value. These rationales, however, are not merely descriptive but prescriptive. For despite the efforts of those who would keep an art world static in its products and function, art worlds are dynamic. Changes in the art world are often made in response to changes in the rationales - i.e., the philosophical justifications for an art world's art - which identify the art world's product as ‘good’ art and explain how that art fills a particular need for people and society (Becker 1984, p. 4).
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49

Couture, Francine. "L’exposition, un contexte de collaboration sur la scène mondiale de l’art : un cas de figure, l’art africain contemporain." Muséologies 9, no. 1 (October 17, 2018): 33–43. http://dx.doi.org/10.7202/1052626ar.

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This analysis of the context of the globalization of the contemporary art scene is based on the concept of the cooperative network of the art worlds, as defined by the American sociologist Howard Becker, applied to the exhibition's sociological character. It is approached as a sociocultural event furthering the establishment of a cooperative network among artists, commissioners, critics and theoreticians who acknowledge in the exhibited works a certain number of values and ideas about art which they share to various degrees. Case studies from the corpus of contemporary African-art exhibitions that have been labelled as contemporary African art on the international stage serve as illustrations for this analysis.
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50

Sica, Alan. "What Is a Case? Exploring the Foundations of Social Inquiry.Charles C. Ragin , Howard S. Becker." American Journal of Sociology 99, no. 5 (March 1994): 1404–5. http://dx.doi.org/10.1086/230446.

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