This paper provides an analysis of the dynamics of secrecy and the secrets business. Secrets are defined as bits of information that, for one reason or another, are kept hidden or controlled so as to elude attention, observation or comprehension. Three conceptual lenses — the micro-analytic focusing on self-deception, the social-psychological focusing on self-disclosure, and the macro-analytic focusing on public secrets — are probed. Secrecy at each of the three levels is revealed to be a janusfaced issue providing undeniable benefits (...) to Homo sapiens in their efforts to adapt to a changing world yet also creates undeniable problems. While secrecy provides the occasion for the demonstration of loyalty and intimacy, it also generates the conditions for exclusion and betrayal. The contemporary impulse to create public forums in which all is revealed, in which sunlight prevails, is too simple a panacea to those who use the topic of secrecy as an occasion to correct social, political and economic problems. (shrink)

The text deals with Harold Garfinkels theorizing of what Karl Mannheim called ‘documentary meaning’, and established as a foundation of all historical disciplines, and what Garfinkel calls the ‘documentary method’ of lay and professional sociological reasoning. The commentary tries to establish the systematical position of the chapter in Garfinkel’s ‘Studies in Ethnomethodology’, and, indeed, in Garfinkel’s social theory at the time of publication. This position involves, and redefines, Weber’s definition of sociology, Schütz’s sociology of knowledge and especially, the very idea (...) of a common stock of. typifications, and the discovery of ‘historical time’, or ‘Geschichtlichkeit’ in each micro-sequential interaction. Some consequences are drawn, or sketched, for ethnomethodology as a steady thorn in the side of sociology, and vice versa: for lay and professional sociology as an equally steady thorn in the midst of ethnomethodology. (shrink)

Whether it pertains to what is not considered, what cannot be determined, what is not allowed to be known, or what is deliberately concealed, absences figure as the constant shadows of what is made present by social research. This article explores the relation between what is presented and what is not by treating it first as a vexing conundrum for representation and then as a vehicle for understanding. The matters under examination include what is written about the social world as (...) well as the methods of writing employed. This article seeks an orientation toward both aspects that attends to the binds, contradictions, and possibilities of depicting what is missing. That involves addressing how authors labor to render absences present, the criteria for assessment, as well as the metaphors that guide activities. (shrink)

Whether it pertains to what is not considered, what cannot be determined, what is not allowed to be known, or what is deliberately concealed, absences figure as the constant shadows of what is made present by social research. This article explores the relation between what is presented and what is not by treating it first as a vexing conundrum for representation and then as a vehicle for understanding. The matters under examination include what is written about the social world as (...) well as the methods of writing employed. This article seeks an orientation toward both aspects that attends to the binds, contradictions, and possibilities of depicting what is missing. That involves addressing how authors labor to render absences present, the criteria for assessment, as well as the metaphors that guide activities. (shrink)

In this paper I present an exemplar of interpretive writing based on my engagement with the movie, My Life as a Dog. The film is a series of vignettes about Ingemar, a young boy, who is processing the events which arise from the difficulties wrought by his mother’s illness. This is not the typical coming of age film where the child becomes an adult through the initiation into life’s painful circumstances. The film ends with the character still in his boyhood. (...) Nevertheless, the intermittent voice-over conveys the impression that Ingemar is narrating in retrospect, in a build up to his emergence from a state of innocence to awareness, and acceptance of pain and loss. I attended to the principles of hermeneutic practice outlined by several scholars to frame my understanding of what it means to enter the hermeneutic circle to explore the topic which addressed me: Secrecy. (shrink)