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Merton anomie theory essay
Essay on Cultural deviance theory
Anomie theory by robert merton
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When the Punk Movement emerged in the mid-1970s in both the United States and United Kingdom, it spanned into such areas as fashion, music, as well as youth mentality and thus became its own type of subculture. However, this movement can also be considered a form of social deviance when viewed through the lens of Robert Merton’s theory of anomie. This deviance stems from the anti-social and anti-conventional nature of the movement’s members in response to lower and middle class socio-economic strain. Therefore, the Punk Movement can be categorized as a combination of two of Merton’s types of adaptation to strain, including retreatism and rebellion, due to the subculture’s rejection of capitalist values, withdrawal from the workforce and apathetic attitude. To begin, in application to Merton’s concept of anomie, the Punk movement can be explained as a type of adaptation to societal strain. According to Merton’s theory, anomie is a situation wherein “individuals are unable to attain the legitimate, institutionalized means to achieve socially approved cultural goals that connote success” (Palmer, 31). That is to say, there is a discrepancy between the societal need to achieve success, specifically the American Dream, and the means of achieving this success. This happens when the desire to achieve socio-economic success has become so strong and engrained in society, that the individual feels that this is what must attain at any cost. At this point, the discrepancy between the means and the goal occurs as a result of factors including class, education, occupation and poverty or financial stability situation. In all of these cases, it is poverty or low economic status, lack of education, low level occupation that contributes t... ... middle of paper ... ... Muggleton, D. (2000). Inside Subculture: Postmodern Meaning of Style. Oxford: Oxford International Publishers Ltd. Palmer, S. (1990). Deviant Behaviour. New York: Plenum Press. McCaghy, C.H., Capron, T., Jamieson, J.D., Carey, S. (2008). Deviant Behaviour: Crime, Conflict, and Interest Groups. United States: Pearson Education Inc. Moyer, I. (2001). Criminology. Traditional and Non Traditional Voices and Themes. United States: Sage Publications. Moore, R. (2004). Postmodernism and punksubculture: Cultures of authenticity and deconstruction. Retrieved from https://docs.google.com/gview?url=http://www.stevenlaurie.com/wp-content/uploads/2012/01/moore-punkauthenticity.pdf&chrome=true Clark, D. (2003). The death and life of punk: The last subculture. Retrieved from http://utoronto.academia.edu/DylanClark/Papers/32839/The_Death_and_Life_of_Punk_The_Last_Subculture
Criminology. The. New York: McGraw-Hill, 2012. Print. The. Shakur, Sanyika.
Schmalleger, Frank. Criminology: A Brief Introduction. Upper Saddle River, NJ: Pearson Education, Inc., Publishing as Prentice Hall., 2011.
In Justin Pearson's memoir, From the Graveyard of the arousal Industry, he recounts the events that occured from his early years of adolesence to the latter years of his adulthood telling the story of his unforgiving and candid life. Set in the late 1970s "Punk" rock era, From the Graveyard of the Arousal Industry offers a valuable perspective about the role culture takes in our lives, how we interact with it and how it differs from ideology.
Within this essay I will discuss Widdicombe and Wooffitt’s suggestions made within their book ‘The Language of Youth Subcultures’ regarding resistance and will use the subculture example of punks to portray a clear conclusion. This book is about how different identities, both social and personal are established, maintained and managed within their everyday language. Widdicombe and Wooffitt seem to narrow in specifically on youth subcultures, particularly interviews with punks. We will look carefully at the language used by them to construct their identities and why they ‘resist’ being seen of members when approached in interview situations.
Hickey, T. J. (2010). Taking Sides: Clashing Views in Crime and Criminology, 9th Edition. New York, NY: The McGraw-Hill Companies, Inc.
"1991: The Year Punk Broke" is a documentary about the leading punk figures in the nineties such as Sonic Youth and Nirvana. In the continuation of the documentary, the viewer finds Thurstoon Moore of Sonic Youth asking young music enthusiats: “People see rock and roll as youth culture, and when youth culture becomes monopolized by big business, what are the youth to do?". In addition to the question, he states, "I think we should destroy the bogus capitalist process that is destroying youth culture by mass marketing and commercial behavior control and the first step to do is to destroy the record companies.” "The bogus capitalist process" that Moore talks about refers to the aggressive capitalist side of any market, but more
Siegel, L. J. (2008). Critical criminology: It's a class thing. Criminology: The core (pp. 173-196). Belmont, CA: Wadsworth Publishing.
The term Punk was coined by music reviewer Dave Marsh in 1971 to define a new and emerging style in music and culture. Anti-establishment in nature, Punk took its influence from the culture clashes of the 1960’s, creating a new style and sound that had a tremendous effect on fashion, art and youth culture in America and around the world. The effects of Punk are still felt on the cultural world today and the lifestyle is now being carried on by a new generation of young people.
The American rock band Nirvana impacted American culture and society by paving the way for the punk rock subculture into mainstream corporate America. Punk rock music stems from the rock genre but has its own agenda. The crux of punk rock is that it is a movement of the counterculture against the norms of society. Punk rock in itself is made up of a subculture of people who rejected the tameness of rock and roll music during the 1970s. (Masar, 2006, p. 8). The music stresses anti-establishment and anti-authoritarian ideas in its lyrics as well as scorns political idealism in American society. Before Nirvana unintentionally made punk rock a multi-million dollar commercialized genre of music, underground rock paved the way for the punk rock genre by creating core values that punk rockers drew upon.
During the “Beat Generation” there were three types of members: the wild boys, the hipsters, and the young politicians. They all have their different personalities and actions they use. The wild boys “drink to `come down’ or to `get high,’ not to illustrate anything.”(2) This shows a change in how they drank. They drank for themselves and to calm their feelings and feel better about them, not to show off to anyone. The wild boys’ characteristics make them `beat’ because are living life to the fullest, without any regret of tomorrow. They drink till they can’t drink no more or party till they can’t stand. This causes them to not worry about what will happen or how they are going to live tomorrow; they only care about the present. The hipsters they want to make “a mystique of bop, drugs and the night life, there is no desire to shatter the `square’ society in which he lives, only to elude it.”(3) The hipsters don’t care for society or care what it tells them to do. They go about their ways and do what they want. They don’t want to change the rules or the laws but only to make sure they don’t get swept up in ideas or thoughts that society gives them. The hipsters’ characteristics are `beat’ because they go against what is told to be the proper or correct way. They may get beat down in the beginning and face hard times, but later on they will find new ways of doing things and those will be the new way society sees things. The young politician looks up to “Badditt as a cultural hero.”(3) He goes along with what society has showed him to do. The characteristics of the politician make him beat because he doesn’t do anything for his own; he does what is right to do, and what will get him far in life. When society catches up to him he wil...
Lilly, J. Robert, Francis T. Cullen, and Richard A. Ball. 2011. Criminological Theory: Context and Consequences. 5th ed. Thousand Oaks, CA: Sage Publications.
Hickey, T.J. (2010) Taking Sides: Clashing Views in Crime and Criminology, 9th Edition, New York: McGraw-Hill Companies, Inc.
“I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix,” This opening line of Allen Ginsberg’s 1955 poem Howl truly depicts what the Beat generation was really like. He writes that his ‘generation was destroyed by madness’ meaning that the people of his generation became the victims of drug abuse, alcohol addiction, and violence. The Beat generation, or beatniks for short, consisted of some of Americas most celebrated writers including William Burroughs, Allen Ginsberg, Neal Cassidy, and of course its leader, Jack Kerouac. The beats were a unique group of writers who strongly opposed social norm. They were very independent people who were known for breaking the law whenever they needed to. They were also drifters who spent most of their lives on the road, a motif which especially fascinated Jack Kerouac.
One theme that is prevalent throughout much of the literature we have covered so far is that it is very critical of the conformist values of late 1950s society. In an era of Levittowns and supermarkets and the omnipresent television, there was a call to leave the conformist suburban culture in search of something higher. Two major proponents of the individual as opposed to society were Jack Kerouac and Allen Ginsberg, two of the central figures in the Beat movement. Through their work one can gain a perspective on the anti-conformity spirit that was brewing under the surface in the Beat culture.
According to the United Nations, the earth is populated by 7.3 billion people (United Nations, 2015). Many of these people who inhabit the earth have lifestyles that are considered “normal”, but some choose lifestyles that others would consider “abnormal”. These “abnormal” lifestyles are referred to by society as subcultures. One such subculture is the punk subculture.