What are the primary modifications of the classical school made by neoclassical criminology?
Define moral panic according to Stanley Cohen. Compare the concept to the disaster analogy, especially the politics of media construction of particular moral panics.
In your opinion what is the significance of “crime waves as ideology.” Include a discussion of the relationship of crime themes to crime waves. How do media exploit or take advantage of this relationship in constructing crime stories?
To get the answer to the first question, you can start by understanding what the classical and neoclassical schools of criminology are.
The classical school of criminology, developed in the 18th century by thinkers like Cesare Beccaria and Jeremy Bentham, focused on the idea that individuals have free will and choose to commit crimes. It also emphasized the importance of punishment as a deterrent.
Neoclassical criminology, on the other hand, emerged in the late 19th and early 20th centuries as a response to criticisms of the classical school. Neoclassical theorists, such as Enrico Ferri, Raffaele Garofalo, and Cesare Lombroso, incorporated factors like social, psychological, and economic influences into their understanding of crime.
Now, to answer your question, the primary modifications made by neoclassical criminology to the classical school include:
1. The consideration of individual differences: Neoclassical criminology emphasizes that people have different predispositions to criminal behavior due to factors like genetics, personality, and socialization.
2. Focus on situational factors: Neoclassical theorists recognize that environmental circumstances and social influences can impact an individual's decision to engage in criminal activities. They also consider the concept of "opportunity" when analyzing criminal behavior.
3. The use of empirical research methods: Neoclassical criminology relies on scientific methods to study crime, such as statistical analysis and case studies, to develop a more objective understanding of criminal behavior.
Moving on to the second question about moral panic and its comparison to the disaster analogy, particularly the politics of media construction. To answer this, we need to look at the definition provided by Stanley Cohen and analyze the relationship between moral panics and media politics.
According to Stanley Cohen, moral panic refers to "a condition, episode, person, or group of persons that emerges to become defined as a threat to societal values and interests." It involves the exaggeration, distortion, and amplification of certain social issues or events that are portrayed as a threat to the moral fabric of society.
The disaster analogy, on the other hand, refers to the idea that moral panics are constructed similarly to how media portrays natural disasters. It suggests that the media plays a central role in constructing, amplifying, and perpetuating moral panics by creating a sense of urgency, alarm, and fear through their reporting and agenda-setting.
The politics of media construction in moral panics refers to the power dynamics and interests involved in shaping public narratives and responses to perceived social threats. The media, influenced by commercial, political, and social factors, may selectively highlight certain issues, use inflammatory language, and focus on specific groups to generate attention and boost ratings.
As for the significance of "crime waves as ideology" and the relationship between crime themes and crime waves, we need to understand that crime waves refer to perceived increases in criminal activity within a specific period. "Crime waves as ideology" suggests that the way society perceives and responds to crime waves is influenced by ideological factors, such as political agendas, media narratives, and public discourse.
Crime themes are the dominant narratives or storylines that emerge during crime waves. They can be shaped by media, political figures, or societal fears and values. Media exploit this relationship by constructing crime stories that align with popular crime themes to attract viewership and create sensational headlines. They may exaggerate the extent of the crime wave, demonize specific individuals or groups, and foster a sense of fear and moral panic among the public.
In summary, understanding neoclassical criminology requires recognizing its modifications of the classical school, including the consideration of individual differences, situational factors, and the use of empirical research. Moral panics, as defined by Stanley Cohen, involve the construction and amplification of perceived societal threats, with media playing a significant role in shaping public response. "Crime waves as ideology" refers to the ideological influences on public perception of crime waves, and the media exploits this relationship by constructing crime stories that align with popular crime themes.