Toward a Dramaturgical Theory of Crime (<Symposium>Contemporary Society and Sociology of Crime : in Search of New Perspective)

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  • ドラマ論的犯罪社会学を目指して (<特集>現代社会と犯罪社会学 : 批判・模索・展望)
  • ドラマ論的犯罪社会学を目指して--ポスト・ラベリング・パースペクティブ
  • ドラマロンテキ ハンザイ シャカイガク オ メザシテ ポスト ラベリング パー
  • ポスト・ラベリング・パースペクティブ
  • Post-labeling Perspective

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Many criminologists who have turned their attentions to the labeling perspective in the early 1970's, returned recently to the control (or bond) theory. Against the prevailing view, I believe, both of 'turn' and 'return' are symbolic phenomena of Durkheim Renaissance. If not, those switches in theory only mean that an existing paradigm has been persistently unable to solve "puzzles", or at least to explain a new type of crime. (Or would puzzles have been exhausted ?) Since no criminologist (as a scientist) can work in a theoretical vacuum, when a paradigm or a research program loses its ability to produce new 'facts', and I am afraid, it will often go into a "degenerative" phase. Therefore, the aim of this essay is to present a new perspective which is named as the dramaturgical theory of crime. Of course, I know this new theory is only a different rather than a better way of looking at reality. But in this essay I suggest the significance of this new theoretical orientation. For example, I propose that Goffman's Frame analysis could be effectively utilzed to make analytical sense of empirical facts. A schematic overview of my argument is illustrated in the following diagram. [figure]


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