The Interactionist Imagination

This book outlines the history and developments of interactionist social thought through a consideration of its key figures. Arranged chronologically, each chapter illustrates the impact that individual sociologists working within an interactionism framework have had on interactionism as perspective and on the discipline of sociology as such. It presents analyses of interactionist theorists from Georg Simmel through to Herbert Bulmer and Erving Goffman and onto the more recent contributions of Arlie R. Hochschild and Gary Alan Fine. Through an engagement with the latest scholarship this work shows that in a discipline often focused on macrosocial developments and large-scale structures, the interactionist perspective which privileges the study of human interaction has continued relevance. The broad scope of this book will make it an invaluable resource for scholars and students of sociology, social theory, cultural studies, media studies, social psychology, criminology and anthropology.

Written by experts in interpretive sociology, this volume examines semiotic models in a sociological context. Contributors offer case studies to demonstrate ‘how to do things’ with semiotics. Synthesizing a diverse and fragmented landscape, this is a key reference work for understanding the connection between semiotics and sociology.

In this compendium of related and cross-referential essays, David R. Maines draws from pragmatist/symbolic interactionist assumptions to formulate a consistent new view of the entire field of sociology. Suitable for courses in social theory, qualitative methods, social psychology, and narrative inquiry, this volume will change the way the general public looks at interpretive sociology.This book is organized as an expression of the centrality of interactionism to general sociology. Each chapter is designed to articulate this view of the field. Symbolic interactionism, the way Maines has come to understand and use it, is essentially the concerted application of pragmatist principles of philosophy to social inquiry.There are four basic elements to this characterization. First, people transform themselves: people are self-aware beings who reflexively form their conduct and thus are capable of adjusting their lines of action and creating new ones. Second, people transform their social worlds: human action takes place in contexts of situations and social worlds. People can modify the social matrices in which they act, and thus people are agents of change. Third, people engage in social dialogue: communication is generic and is at the heart of both stability and change. A fourth element is that people respond to and deal with their transformations. Humans construct situations and societies; they establish social structures and cultures. These are the consequences of human action and, once formed, they reflexively function to direct and channel conduct.Maines argues that when people do things together they can create enduring group formations, such as divisions of labor, rules for inheritance, wage-labor relations, or ideologies. These are instances of group characteristics that influence human conduct and indeed are not reducible to the traits of individuals making up the group or society.

The book discusses the creative mental processes of the prehistoric and contemporaryartists, as well as of the archaeologists studying them from the perspective ofcognition and art. Its intention is to highlight the artistic thinking within theimagination of the archaeologist, as well as to discuss the concepts of imagination andart in the current scientific research.From this perspective the book suggests a type of research closer to the complexity ofthe human nature and human thinking that can approach cultural and psychologicalsubjects ignored until now.It is hoped that one of the results of the book will be the formulation of new meaningsfor art from the perspective of archaeology.Responding to the recent ongoing growing interest in the art-archaeology interaction,the editor has carefully selected papers written by a series of eminent European andAmerican scholars with a background in ancient and contemporary art, symbolicthinking, semiotics, and archaeological imagination, with the intention of introducingnew arguments and discussions into the emerging art-archaeology discourse. Thebook is composed of three parts: “Art and the ancient mind”, “Experiencing theancient mind”, and “Exploring the act of creation”.

Symbolic interactionism has a long history in sociology, social psychology, and related social sciences. In this volume, the editors and contributors explain its history, major theoretical tenets and concepts, methods of doing symbolic interactionist work, and its uses and findings in a host of substantive research areas.

Norman K. Denzin has gathered a team of leading experts to explore and showcase a variety of topics in the field of symbolic interaction.Some of the topics explored include extending dramaturgical and grounded theory, and new empirical and theoretical inquiries into fashion, journalism, stigma, police body work, autobiography, and gender studies.

One of the longest standing traditions in sociology, interactionism is concerned with studying human interaction and showing how society to a large part is constituted by patterns of interaction. In spite of the work of figures such as Robert E. Park, Everett C. Hughes, Erving Goffman, Herbert Blumer, Norman K. Denzin and Gary Alan Fine, interactionism – perhaps owing to its association with the perspective of symbolic interactionism – remains something of an odd man out in mainstream sociology. This book seeks to rectify this apparent neglect by bringing together critical social theories and microsociological approaches to research, thus revealing the critical and cultural potentials in interactionism – the chapters arguing that far from being oriented towards the status quo, interactionism in fact contains a critical and cultural edge. Presenting the latest work from some of the leading figures in interactionist thought to show recent developments in the field and offer an overview of some of the most potent and prominent ideas within critical and cultural criminology, Critical and Cultural Interactionism will appeal to scholars of sociology with interests in interactionism, social theory research methods and criminology.

The conventional way of understanding what musicians do as performers is to treat them as producers of sound; some even argue that it is unnecessary to see musicians in performance as long as one can hear them. But musical performance, counters Philip Auslander, is also a social interaction between musicians and their audiences, appealing as much to the eye as to the ear. In Concert: Performing Musical Persona he addresses not only the visual means by which musicians engage their audiences through costume and physical gesture, but also spectacular aspects of performance such as light shows. Although musicians do not usually enact fictional characters on stage, they nevertheless present themselves to audiences in ways specific to the performance situation. Auslander’s term to denote the musician’s presence before the audience is musical persona. While presence of a musical persona may be most obvious within rock and pop music, the book’s analysis extends to classical music, jazz, blues, country, electronic music, laptop performance, and music made with experimental digital interfaces. The eclectic group of performers discussed include the Beatles, Miles Davis, Keith Urban, Lady Gaga, Nicki Minaj, Frank Zappa, B. B. King, Jefferson Airplane, Virgil Fox, Keith Jarrett, Glenn Gould, and Laurie Anderson.