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 In this new edition, Becker includes two lengthy essays, unpublished until now, that add fresh material for thought and discussion.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.

The transition from young layman aspiring to be a physician to the young physician skilled in technique and confident in his dealings with patients is slow and halting. To study medicine is generally rated one of the major educational ordeals of American youth. The difficulty of this process and how medical students feel about their training, their doctor-teachers, and the profession they are entering is the target of this study. Now regarded as a classic, Boys in White is of vital interest to medical educators and sociologists.

By daily interviews and observations in classes, wards, laboratories, and operating theaters, the team of sociologists who carried out this firsthand research have not only captured the worries, cynicism, and basic idealism of medical students--they have also documented many other realities of medical education in relation to society. With some sixty tables and illustrations, the book is a major experiment in analyzing and presenting qualitative data.

Who is Howard S. Becker? This book traces his career, examining his work and contributions to the field of sociology. Themes covered include Becker's theoretical conceptualizations, approaches, teaching style, and positioning in the intellectual milieu. Translated from French by sociologist Robert Dingwall, the English edition benefits from an editorial introduction and additional referencing, as well as a new foreword by Becker himself.

Based on three years of detailed anthropological observation, this account of undergraduate culture portrays students' academic relations to faculty and administration as one of subjection. With rare intervals in crisis moments, student life has always been dominated by grades and grade point averages. The authors of Making the Grade maintain that, though it has taken different forms from tune to time, the emphasis on grades has persisted in academic life. From this premise they argue that the social organization giving rise to this emphasis has remained remarkably stable throughout the century.Becker, Geer, and Hughes discuss various aspects of college life and examine the degree of autonomy students have over each facet of their lives. Students negotiate with authorities the conditions of campus political and organizational life - the student government, independent student organizations, and the student newspaper - and preserve substantial areas of autonomous action for themselves. Those same authorities leave them to run such aspects of their private lives as friendships and dating as they wish. But, when it comes to academic matters, students are subject to the decisions of college faculties and administrators.Becker deals with this continuing lack of autonomy in student life in his new introduction. He also examines new phenomena, such as the impact of "grade inflation" and how the world of real adult work has increasingly made professional and technical expertise, in addition to high grades, the necessary condition for success. Making the Grade continues to be an unparalleled contribution to the studies of academics, students, and college life. It will be of interest to university administrators, professors, students, and sociologists.

Based on three years of detailed anthropological observation, this account of undergraduate culture portrays students' academic relations to faculty and administration as one of subjection. With rare intervals in crisis moments, student life has always been dominated by grades and grade point averages. The authors of "Making the Grade "maintain that, though it has taken different forms from tune to time, the emphasis on grades has persisted in academic life. From this premise they argue that the social organization giving rise to this emphasis has remained remarkably stable throughout the century.

Becker, Geer, and Hughes discuss various aspects of college life and examine the degree of autonomy students have over each facet of their lives. Students negotiate with authorities the conditions of campus political and organizational life--the student government, independent student organizations, and the student newspaper--and preserve substantial areas of autonomous action for themselves. Those same authorities leave them to run such aspects of their private lives as friendships and dating as they wish. But, when it comes to academic matters, students are subject to the decisions of college faculties and administrators.

Becker deals with this continuing lack of autonomy in student life in his new introduction. He also examines new phenomena, such as the impact of "grade inflation" and how the world of real adult work has increasingly made professional and technical expertise, in addition to high grades, the necessary condition for success. "Making the Grade "continues to be an unparalleled contribution to the studies of academics, students, and college life. It will be of interest to university administrators, professors, students, and sociologists.

Who is Howard S. Becker? This book traces his career, examining his work and contributions to the field of sociology. Themes covered include Becker's theoretical conceptualizations, approaches, teaching style, and positioning in the intellectual milieu. Translated from French by sociologist Robert Dingwall, the English edition benefits from an editorial introduction and additional referencing, as well as a new foreword by Becker himself.

Here Howard Becker makes available for an English-speaking audience a collection of the provocative work of Antonio Candido, one of the leading men of letters in Brazil. Trained as a sociologist, Candido conceives of literature as a social project and is equally at home in textual analyses, discussions of literary theory, and sociological, anthropological, and historical argument. It would be impossible to overstate his impact on the intellectual life of his own country, and on Latin American scholars who can read Portuguese, but he is little known in the rest of the world. In literary, women's, and cultural studies, as well as in sociology, this book contributes a sophisticated and unusual perspective that will dazzle readers unfamiliar with Candido's work.

Emphasizing the breadth of Candido's interests, the essays include those on European literature (Dumas, Conrad, Kafka, and Cavafy, for example), on Brazilian literature (Machado de Assis and others), on Brazilian cultural life and politics, and on general problems of criticism (the relations between sociology and criticism, and the problem of literature in underdeveloped countries). Of particular interest is a long piece on Teresina Carini Rocchi, an Italian immigrant to Brazil, who was a lifelong socialist.

Originally published in 1995.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Howard S. Becker zahlt zu den wichtigsten US-amerikanischen Soziologen der Gegenwart. Sein umfangreiches Werk umspannt weit mehr als ein halbes Jahrhundert und steht in der Tradition der interaktionistischen und interpretativen Soziologie, wie sie an der University of Chicago in den 1920er Jahren begrundet wurde. Becker hat nicht nur hoechst einflussreiche Schriften u.a. zur soziologischen Methodologie, zur Soziologie der Professionen, des Abweichenden Verhaltens und der Kunst vorgelegt, die allesamt zu Klassikern wurden, sondern gehoert auch zu den fruhen Pionieren und Wegbereitern der soziologischen Auseinandersetzung mit visuellen und anderen kunstlerischen Ausdrucksformen. Der vorliegende Band prasentiert nun zum ersten Mal in deutscher Sprache seine umfassenden vergleichenden Reflexionen dazu, was das soziologische "Erzahlen uber Gesellschaft" mit anderen, kunstlerischen Erzahlformaten gemeinsam hat - und was es davon unterscheidet. Sein leidenschaftliches Pladoyer fur eine prazise Soziologie verbindet sich darin disziplinuberschreitend mit einer anregenden Diskussion von kunstlerischen Formen der Darstellung gesellschaftlicher Phanomene und den vielfaltigen Moeglichkeiten, die sich daraus auch fur die soziologische Phantasie ergeben, ihre Erzahlungen uber Gesellschaftliches nicht nur diesseits, sondern vor allem auch jenseits ihrer kanonisierten Formate vorzustellen.

"Der Mensch mit abweichendem Verhalten ist ein Mensch, auf den diese Bezeichnung erfolgreich angewandt worden ist; abweichendes Verhalten ist Verhalten, das Menschen als solches bezeichnen": Es ist einer der klassischen Satze der Devianzsoziologie in einem der Klassiker des Feldes. Howard S. Becker betont fernab von alten und simplistischen Fragen danach, "warum Menschen Regeln brechen", welche Situationen und welche Prozesse dazu fuhren, dass Menschen in Positionen geraten, in denen sie als "Regelbrecher" betitelt werden, wie sie mit diesen Positionen umgehen und sich auch gegen diese wehren. "Aussenseiter" erschien erstmals 1963 in New York und wurde 1981 bei S. Fischer in deutscher UEbersetzung publiziert. Seit den fruhen neunziger Jahren vergriffen, liegt seit 2014 eine von Michael Dellwing uberarbeitete Version vor. In der nun neuesten Auflage enthalt der Band zudem zwei neue Kapitel von Howard Becker, in denen er die Geschichte seiner Forschung reflektiert.

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.

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.

Drawing on more than four decades of experience as a researcher and teacher, Howard Becker now brings to students and researchers the many valuable techniques he has learned. "Tricks of the Trade" will help students learn how to think about research projects. Assisted by Becker's sage advice, students can make better sense of their research and simultaneously generate fresh ideas on where to look next for new data. The tricks 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. Becker's 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.
Becker has extracted these tricks from a variety of fields such as art history, anthropology, sociology, literature, and philosophy; and his dazzling variety of references ranges from James Agee to Ludwig Wittgenstein. Becker finds the common principles that lie behind good social science work, principles that apply to both quantitative and qualitative research. He offers practical advice, ideas students can apply to their data with the confidence that they will return with something they hadn't thought of before.
Like "Writing for Social Scientists, Tricks of the Trade" will bring aid and comfort to generations of students. Written in the informal, accessible style for which Becker is known, this book will be an essential resource for students in a wide variety of fields.
"An instant classic. . . . Becker's stories and reflections make a great book, one that will find its way into the hands of a great many social scientists, and as with everything he writes, it is lively and accessible, a joy to read."--Charles Ragin, Northwestern University

Here Howard Becker makes available for an English-speaking audience a collection of the provocative work of Antonio Candido, one of the leading men of letters in Brazil. Trained as a sociologist, Candido conceives of literature as a social project and is equally at home in textual analyses, discussions of literary theory, and sociological, anthropological, and historical argument. It would be impossible to overstate his impact on the intellectual life of his own country, and on Latin American scholars who can read Portuguese, but he is little known in the rest of the world. In literary, women's, and cultural studies, as well as in sociology, this book contributes a sophisticated and unusual perspective that will dazzle readers unfamiliar with Candido's work. Emphasizing the breadth of Candido's interests, the essays include those on European literature (Dumas, Conrad, Kafka, and Cavafy, for example), on Brazilian literature (Machado de Assis and others), on Brazilian cultural life and politics, and on general problems of criticism (the relations between sociology and criticism, and the problem of literature in underdeveloped countries). Of particular interest is a long piece on Teresina Carini Rocchi, an Italian immigrant to Brazil, who was a lifelong socialist. Originally published in 1995. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Students and researchers all write under pressure, and those pressures - most lamentably, the desire to impress your audience rather than to communicate with them - often lead to pretentious prose, academic posturing, and, not infrequently, writer's block. Sociologist Howard S. Becker has written the classic book on how to conquer these pressures and simply write. First published nearly twenty years ago, Writing for Social Scientists has become a lifesaver for writers in all fields, from beginning students to published authors. Becker's message is clear; in order to learn how to write, take a deep breath and then begin writing. Revise. Repeat. It is not always an easy process, as Becker wryly relates. Decades of teaching, researching, and writing have given him plenty of material, and Becker neatly exposes the foibles of academia and its "publish or perish" atmosphere. Wordiness, the passive voice, inserting a "the way in which" when a simple "how" will do - all these mechanisms are a part of the social structure of academic writing. By shrugging off such impediments - or at the very least, putting them aside for a few hours - we can reform our work habits and start writing lucidly without worrying about grades, peer approval, or the "literature."In this new edition, Becker takes account of major changes in the computer tools available to writers today, and also substantially expands his analysis of how academic institutions create problems for them. As competition in academia grows increasingly heated, Writing for Social Scientists will provide solace to a new generation of frazzled, would-be writers.

"I Remember," one of French writer Georges Perec's most famous pieces, 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 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, for artists interested in saying something about society, and for anyone interested in communicating knowledge in unconventional ways.

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.

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.

This anthology introduces some of the most influential literature shaping our understanding of the social and cultural foundations of education today. Together the selections provide students a range of approaches for interpreting and designing educational experiences worthy of the multicultural societies of our present and future. The reprinted selections are contextualized in new interpretive essays written specifically for this volume.