Aurale Kriminologie: Unterschied zwischen den Versionen
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== Literatur == | == Literatur == | ||
*Hayward, Keith J. (2012) Five Spaces of Cultural Criminology. Br J Criminol 52 (3): 441-462. | *Hayward, Keith J. (2012) Five Spaces of Cultural Criminology. Br J Criminol 52 (3): 441-462. | ||
*[http://www.annualreviews.org/doi/abs/10.1146/annurev.soc.012809.102618 Roy, William G., and Dowd, Timothy J. (2010) What Is Sociological about Music? Annual Review of Sociology Vol. 36: 183-203 (Volume publication date August 2010)] | |||
Version vom 22. April 2014, 15:39 Uhr
Gegenstand der von Keith Hayward (2012: 458-459) vorgeschlagenen aural criminology sollten u.a. sein:
“the everyday noise pollution associated with neighbour noise and other forms of anti-social behaviour; the use of infrasound crowdcontrol devices, acoustic torture and other military noise weapons (Goodman 2010); illegal pirate radio broadcasts and other sub rosa transmission cultures; the politics of rhythm associated with political protest and social resistance (Labelle 2010: 107–25); the role of music in military recruitment, as a tool for intensifying the battle experience (Pieslak 2009) and even as a means of garnering support for terrorism (Cottee 2011: 742–5).”
Literatur
- Hayward, Keith J. (2012) Five Spaces of Cultural Criminology. Br J Criminol 52 (3): 441-462.
- Roy, William G., and Dowd, Timothy J. (2010) What Is Sociological about Music? Annual Review of Sociology Vol. 36: 183-203 (Volume publication date August 2010)