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Rechercher

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L’interface de recherche est composée de trois sections : Rechercher, Explorer et Résultats. Celles-ci sont décrites en détail ci-dessous.

Vous pouvez lancer une recherche aussi bien à partir de la section Rechercher qu’à partir de la section Explorer.

Rechercher

Cette section affiche vos critères de recherche courants et vous permet de soumettre des mots-clés à chercher dans la bibliographie.

  • Chaque nouvelle soumission ajoute les mots-clés saisis à la liste des critères de recherche.
  • Pour lancer une nouvelle recherche plutôt qu’ajouter des mots-clés à la recherche courante, utilisez le bouton Réinitialiser la recherche, puis entrez vos mots-clés.
  • Pour remplacer un mot-clé déjà soumis, veuillez d’abord le retirer en décochant sa case à cocher, puis soumettre un nouveau mot-clé.
  • Vous pouvez contrôler la portée de votre recherche en choisissant où chercher. Les options sont :
    • Partout : repère vos mots-clés dans tous les champs des références bibliographiques ainsi que dans le contenu textuel des documents disponibles.
    • Dans les auteurs ou contributeurs : repère vos mots-clés dans les noms d’auteurs ou de contributeurs.
    • Dans les titres : repère vos mots-clés dans les titres.
    • Dans tous les champs : repère vos mots-clés dans tous les champs des notices bibliographiques.
    • Dans les documents : repère vos mots-clés dans le contenu textuel des documents disponibles.
  • Vous pouvez utiliser les opérateurs booléens avec vos mots-clés :
    • ET : repère les références qui contiennent tous les termes fournis. Ceci est la relation par défaut entre les termes séparés d’un espace. Par exemple, a b est équivalent à a ET b.
    • OU : repère les références qui contiennent n’importe lequel des termes fournis. Par exemple, a OU b.
    • SAUF : exclut les références qui contiennent le terme fourni. Par exemple, SAUF a.
    • Les opérateurs booléens doivent être saisis en MAJUSCULES.
  • Vous pouvez faire des groupements logiques (avec les parenthèses) pour éviter les ambiguïtés lors de la combinaison de plusieurs opérateurs booléens. Par exemple, (a OU b) ET c.
  • Vous pouvez demander une séquence exacte de mots (avec les guillemets droits), par exemple "a b c". Par défaut la différence entre les positions des mots est de 1, ce qui signifie qu’une référence sera repérée si elle contient les mots et qu’ils sont consécutifs. Une distance maximale différente peut être fournie (avec le tilde), par exemple "a b"~2 permet jusqu’à un terme entre a et b, ce qui signifie que la séquence a c b pourrait être repérée aussi bien que a b.
  • Vous pouvez préciser que certains termes sont plus importants que d’autres (avec l’accent circonflexe). Par exemple, a^2 b c^0.5 indique que a est deux fois plus important que b dans le calcul de pertinence des résultats, tandis que c est de moitié moins important. Ce type de facteur peut être appliqué à un groupement logique, par exemple (a b)^3 c.
  • La recherche par mots-clés est insensible à la casse et les accents et la ponctuation sont ignorés.
  • Les terminaisons des mots sont amputées pour la plupart des champs, tels le titre, le résumé et les notes. L’amputation des terminaisons vous évite d’avoir à prévoir toutes les formes possibles d’un mot dans vos recherches. Ainsi, les termes municipal, municipale et municipaux, par exemple, donneront tous le même résultat. L’amputation des terminaisons n’est pas appliquée au texte des champs de noms, tels auteurs/contributeurs, éditeur, publication.

Explorer

Cette section vous permet d’explorer les catégories associées aux références.

  • Les catégories peuvent servir à affiner votre recherche. Cochez une catégorie pour l’ajouter à vos critères de recherche. Les résultats seront alors restreints aux références qui sont associées à cette catégorie.
  • Dé-cochez une catégorie pour la retirer de vos critères de recherche et élargir votre recherche.
  • Les nombres affichés à côté des catégories indiquent combien de références sont associées à chaque catégorie considérant les résultats de recherche courants. Ces nombres varieront en fonction de vos critères de recherche, de manière à toujours décrire le jeu de résultats courant. De même, des catégories et des facettes entières pourront disparaître lorsque les résultats de recherche ne contiennent aucune référence leur étant associées.
  • Une icône de flèche () apparaissant à côté d’une catégorie indique que des sous-catégories sont disponibles. Vous pouvez appuyer sur l’icône pour faire afficher la liste de ces catégories plus spécifiques. Par la suite, vous pouvez appuyer à nouveau pour masquer la liste. L’action d’afficher ou de masquer les sous-catégories ne modifie pas vos critères de recherche; ceci vous permet de rapidement explorer l’arborescence des catégories, si désiré.

Résultats

Cette section présente les résultats de recherche. Si aucun critère de recherche n’a été fourni, elle montre toute la bibliographie (jusqu’à 20 références par page).

  • Chaque référence de la liste des résultats est un hyperlien vers sa notice bibliographique complète. À partir de la notice, vous pouvez continuer à explorer les résultats de recherche en naviguant vers les notices précédentes ou suivantes de vos résultats de recherche, ou encore retourner à la liste des résultats.
  • Des hyperliens supplémentaires, tels que Consulter le document ou Consulter sur [nom d’un site web], peuvent apparaître sous un résultat de recherche. Ces liens vous fournissent un accès rapide à la ressource, des liens que vous trouverez également dans la notice bibliographique.
  • Le bouton Résumés vous permet d’activer ou de désactiver l’affichage des résumés dans la liste des résultats de recherche. Toutefois, activer l’affichage des résumés n’aura aucun effet sur les résultats pour lesquels aucun résumé n’est disponible.
  • Diverses options sont fournies pour permettre de contrôler l’ordonnancement les résultats de recherche. L’une d’elles est l’option de tri par Pertinence, qui classe les résultats du plus pertinent au moins pertinent. Le score utilisé à cette fin prend en compte la fréquence des mots ainsi que les champs dans lesquels ils apparaissent. Par exemple, si un terme recherché apparaît fréquemment dans une référence ou est l’un d’un très petit nombre de termes utilisé dans cette référence, cette référence aura probablement un score plus élevé qu’une autre où le terme apparaît moins fréquemment ou qui contient un très grand nombre de mots. De même, le score sera plus élevé si un terme est rare dans l’ensemble de la bibliographie que s’il est très commun. De plus, si un terme de recherche apparaît par exemple dans le titre d’une référence, le score de cette référence sera plus élevé que s’il apparaissait dans un champ moins important tel le résumé.
  • Le tri par Pertinence n’est disponible qu’après avoir soumis des mots-clés par le biais de la section Rechercher.
  • Les catégories sélectionnées dans la section Explorer n’ont aucun effet sur le tri par pertinence. Elles ne font que filtrer la liste des résultats.

Bibliographie complète 692 ressources

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Résumés
  • Hallam, S., & Creech, A. E. (2010). Music Education in the 21st Century in the United Kingdom: Achievements, Analysis and Aspirations. Institute of Education - London.

    The landscape of music education in the UK is constantly shifting and developing. This book provides a timely and unique overview of this restless sector by considering the achievements of music education, analysing its current performance and setting out aspirations for the future. "Music Education in the 21st Century in the United Kingdom" addresses the power of music to influence and change human behaviour, analyses current and future issues in music education and casts a spotlight on particular areas of education, including early years, the primary school, the secondary school, further education, universities and conservatoires, music services, the music studio and the role of music leaders and community musicians. Written by experts in the field of music education, the book provides an authoritative account of the current status of music education in the UK. While essential to understand the current and future context in the UK, the book will be invaluable to those involved in music education internationally, as it includes chapters on the provision of music education for all children, listening, the role of singing, playing an instrument, creativity, the role of technology, issues of performance and assessment, learning through the lifespan and the initial and ongoing education of music teachers. It also includes a range of case study examples and evaluations of practice. The book is a landmark publication in the field of music education and will be essential reading for policy-makers, practitioners, music students, trainee music teachers and those who provide music services in the UK and internationally. This book contains three parts. Part I, "Introduction", contains: (1) The power of music: its impact on the intellectual, personal and social development of children and young people (Susan Hallam); and (2) Contextualising music education in the UK (Pauline Adams, Hilary McQueen, and Susan Hallam). Part 2, "Current Issues in Music Education", contains: (3) Music for all (Graham Welch and Adam Ockelford); (4) Listening (Susan Hallam); (5) The role of singing (Jo Saunders, Maria Varvarigou and Graham Welch); (6) Learning to play an instrument (Susan Hallam and Andrea Creech); (7) Creativity (Susan Hallam and Lynne Rogers); (8) The role of technology (Evangelos Himonides and Ross Purves); (9) Issues of assessment and performance (Ioulia Papageorgi and Susan Hallam); (10) Learning through life (Hilary McQueen and Maria Varvarigou); and (11) The initial and ongoing education of music teachers (Colin Durrant and Kate Laurence). Part 3, "Contexts of Learning", contains: (12) Music in the early years (Andrea Creech and Jessica Ellison); (13) Music in the primary school (Jessica Ellison and Andrea Creech); (14) Music in the secondary school (Hilary McQueen and Susan Hallam); (15) Music in further education colleges (John Conlon and Lynne Rogers); (16) Music in universities and conservatoires (Helena Gaunt and Ioulia Papageorgi); (17) Music Services (Lynne Rogers and Susan Hallam); (18) The music studio (Andrea Creech); (19) The role of music leaders and community musicians (Andrea Creech); and (20) Where now? (Susan Hallam and Andrea Creech). This book also contains: Acknowledgements; Preface; Notes on contributors; and Index.

  • Graham, K., Wells, S., Bernards, S., & Dennison, S. (2010). “Yes, I Do but Not with You”: Qualitative Analyses of Sexual/romantic Overture-Related Aggression in Bars and Clubs. Contemporary Drug Problems, 37(2), 197–240. https://doi.org/10.1177/009145091003700203

    Assaultive and aggressive behaviors related to sexual overtures are common in commercial drinking establishments (bars, pubs, and clubs). In this article, we examined the thematic content of 251 incidents of verbal and physical aggression related to sexual/romantic overtures documented by researcher-observers in a study of Toronto bars and clubs. Aggression was examined as it emerged in the following stages of the social interaction process: (a) sexual/romantic overtures that began aggressively; (b) initiators of sexual/romantic overtures who became aggressive later in the social interaction process; (c) aggression by targets of overtures; and (d) aggression by third parties. From these thematic analyses we identify the distinctions between predatory and genuine overtures and explore the potential role of the effects of alcohol.

    Consulter sur doi.org
  • Chappell, L. (2010). Comparative Gender and Institutions: Directions for Research. Perspectives on Politics, 8(1), 183–189. https://doi.org/10.1017/S1537592709992751

    A comparative politics of gender offers an opportunity to consider in detail the operation of gender within political institutions. As such, it contributes to a deeper understanding of the roles and experiences of men and women within political institutions, of the policies, laws and norms that are the outcomes of these institutions, and of the relationship between these institutions and social actors. This essay proposes a multi-directional strategy for undertaking comparative gender and institutional research that includes taking account of similarities and differences within and across states, between states and international institutions, across space as well as across time. It argues that through this research strategy it is possible to gain a more nuanced understanding of gender processes and outcomes, which is valuable to those working both inside and outside political institutions to advance a women's equality agenda.

    Consulter sur www.cambridge.org
  • Kavanaugh, P. R., & Anderson, T. L. (2009). Managing Physical and Sexual Assault Risk in Urban Nightlife: Individual- and Environmental-Level Influences. Deviant Behavior, 30(8), 680–714. https://doi.org/10.1080/01639620902854639

    In this article we use interview and direct observation data to examine the experiences of young people in two Philadelphia nightlife scenes, and the ways in which they manage risk of physical and sexual assault. Our analysis reveals several environmental-level factors that shape risk exposure, as well as a number of individual-level tactics used to manage risk. Our observations are discussed in terms of their implications for developing a risk management framework that accounts for the role of individual- and environmental-level factors in shaping victimization.

    Consulter sur doi.org
  • Sainsbury, D., & Bergqvist, C. (2009). The Promise and Pitfalls of Gender Mainstreaming. International Feminist Journal of Politics, 11(2), 216–234. https://doi.org/10.1080/14616740902789575

    This article examines gender mainstreaming in Sweden, which is an interesting case because several favorable conditions make its implementation likely. It addresses two main questions: (1) to what extent has gender mainstreaming been implemented and (2) what are the consequences? The article first discusses the pros and cons of gender mainstreaming as reflected in the international feminist debate. It then briefly describes the favorable conditions of the Swedish case and subsequently maps out the introduction of gender mainstreaming since 1994, focusing on the process and its politics. It concludes with a discussion of the Swedish experience in terms of the promise and pitfalls of gender mainstreaming identified in the feminist debate and the implications of the Swedish case for feminist theorizing on gender mainstreaming.

    Consulter sur doi.org
  • McRobbie, A. (2009). The Aftermath of Feminism: Gender, Culture and Social Change. SAGE Publications.

    Congratulations to Dr. McRobbie! This book has been named to the list of books for the 2009 Critics Choice Book Award of the American Educational Studies Association (AESA).These essays show Angela McRobbie reflecting on a range of issues which have political consequence for women, particularly young women, in a context where it is frequently assumed that progress has been made in the last 30 years, and that with gender issues now 'mainstreamed' in cultural and social life, the moment of feminism per se is now passed. McRobbie trenchantly argues that it is precisely on these grounds that invidious forms of gender -re-stabilisation are able to be re-established. Consumer culture, she argues, encroaches on the terrain of so called female freedom, appears supportive of female success only to tie women into new post-feminist neurotic dependencies. These nine essays span a wide range of topics, including - the UK government's 'new sexual contract' to young women, - popular TV makeover programmes, - feminist theories of backlash and the 'undoing' of sexual politics, - feminism in a global frame- the 'illegible rage' underlying contemporary femininities.

  • Pitts, S. E., & Spencer, C. P. (2008). Loyalty and Longevity in Audience Listening: Investigating Experiences of Attendance at a Chamber Music Festival. Music and Letters, 89(2), 227–238. https://doi.org/10.1093/ml/gcm084

    There is currently much concern among arts organizations and their marketing departments that audiences for classical music are in decline, yet there has been little investigation so far of the experiences of long-term listeners that might yield insights into audience development and retention. This paper presents a case study of the Music in the Round chamber music festival, conducted over a three-year period that included the retirement of the host string quartet, the appointment of a new resident ensemble, and associated changes in audience attitudes and priorities. Questionnaire and interview data revealed the challenges faced by audience members in shifting their loyalty to a new ensemble and reappraising their own listening habits and stamina. The interaction between individual listening and collective membership of an audience is discussed, and the potential considered for understanding classical concert-goers as ‘fans’ or ‘consumers’.

    Consulter sur doi.org
  • MacKay, R. (2008). The Experiences of Canadian Women in Popular Music: “even on the worst sick no gas freezing canadian middle of january rockie mountain or halifax breakdown there is nothing better to do for a living” [Thèse de master, Université Queen’s]. . http://hdl.handle.net/1974/1091
  • Philaretou, A. G., & Young, C. L. (2007). [POSITIF: à ajouter ?|The Social Construction of Female Sexuality in a Sexualized Work Environment (SWE): The Case of a Comedy Club. Sexual Addiction & Compulsivity, 14(1), 41–62. https://doi.org/10.1080/10720160601150139

    This qualitative investigation seeks to identify the sociocultural determinants and psychoemotional ramifications of essentialist gender scripting on female employees in a sexualized work environment (SWE), such as a comedy club. Sexualized work environments incorporate work and sexuality and exist on a continuum according to the frequency and intensity of the sexual economic exchange that takes place within them. In this study, interviews were conducted with 13 female employees at a comedy club in Southwest Michigan to explore the social construction of female sexuality in such an environment.

    Consulter sur doi.org
  • Grazian, D. (2007). The Girl Hunt: Urban Nightlife and the Performance of Masculinity as Collective Activity. Symbolic Interaction, 30(2), 221–243. https://doi.org/10.1525/si.2007.30.2.221

    The purpose of this article is to document the collective nature of gender performance and sexual pursuit, activities typically associated with individual rather than group behavior. Drawing on narrative accounts, I analyze how young heterosexual male students employ the power of collective rituals of homosociality to perform sexual competence and masculine identity by “girl hunting” in the context of urban nightlife. These rituals are designed to reinforce dominant sexual myths and expectations of masculine behavior, boost confidence in one's performance of masculinity and heterosexual power, and assist in the performance of masculinity in the presence of women. This analysis illustrates how contemporary courtship rituals operate as collective strategies of impression management that men perform not only for women but for other men. In doing so, interaction rituals associated with the girl hunt reproduce structures of inequality within as well as across the socially constructed gender divide between women and men.

    Consulter sur onlinelibrary.wiley.com
  • Bannister, M. (2006). ‘Loaded’: indie guitar rock, canonism, white masculinities. Popular Music, 25(1), 77–95. https://doi.org/10.1017/S026114300500070X

    Indie alternative rock in the 1980s is often presented as authentically autonomous, produced in local scenes, uncaptured by ideology, free of commercial pressures, but also of high culture elitism. In claiming that the music is avant-garde, postmodern and subversive, such accounts simplify indie's historical, social and cultural context. Indie did not simply arise organically out of developing postpunk music networks, but was shaped by media, and was not just collective, but also stratified, hierarchical and traditional. Canon (articulated through practices of archivalism and connoisseurship) is a key means of stratification within indie scenes, produced by and serving particular social and cultural needs for dominant social groups (journalists, scenemakers, tastemakers, etc.). These groups and individuals were mainly masculine, and thus gender in indie scenes is an important means for deconstructing the discourse of indie independence. I suggest re-envisioning indie as a history of record collectors, emphasising the importance of rock ‘tradition’, of male rock ‘intellectuals’, second-hand record shops, and of an alternative canon as a form of pedagogy. I also consider such activities as models of rational organisation and points of symbolic identification.

    Consulter sur www.cambridge.org
  • Cragin, B., & Simonds, W. (2006). The Study of Gender in Culture. In J. S. Chafetz (Ed.), Handbook of the Sociology of Gender (pp. 195–212). Springer US. https://doi.org/10.1007/0-387-36218-5_10
    Consulter sur doi.org
  • Larsen, J. K. (2006). Sexism and misogyny in American hip-hop culture [Master thesis]. https://www.duo.uio.no/handle/10852/25447

    The proliferation of hip-hop culture today is so great that we may speak of a modern-day pop-cultural phenomenon. This phenomenon has found its way from the ghetto areas in the Bronx to white suburbia in the U.S. and Europe over the last thirty years. The specific subject for my study is the overt sexism that is present in this culture. Sexism can take on a variety of forms and expressions, as there are various degrees and definitions of this concept. Hence, my aim is to locate some of these definitions and relate them to hip-hop’s expression. The development from a black sub-culture to an immensely successful genre in music is of great interest to my study, in terms of hip-hop as a pop-cultural and sociological phenomenon. There are also cultural, gender, and racial concerns to be considered in this respect, and my account of these includes an exploration of the time and place for the birth and development of hip-hop. The extent of sexism, and even outright misogyny, in hip-hop today is so pervasive, that protests have started to come from every direction of America’s pop-cultural, feminist, and academic sphere. The sociological and pop-cultural factors that are present in this discussion, is related to the topic of gender roles and relationships in African American culture. In my discussion on the hip-hop industry’s responsibility for distributing these negative depictions of women in hip-hop videos and lyrics, I have included some examples from studies that focus on the racial stereotypes in connection to gangsta-rap. The concept of image and authenticity is important in this respect, and there is a level of deliberate marketing strategies behind the lifestyle-oriented aliases of the rap artists. Since hip-hop and rap music traditionally have been overwhelmingly masculine expressions, it is necessary to take a look at the role of female artists within the hip-hop community. In this respect, I find that women have traditionally been rejected or hindered to participate in hip-hop’s brotherhood. Women in hip-hop have thus either tried to make careers for themselves, or adapt into the mass-marketed and male-defined stereotype that in many ways relate to the sexist images that are currently so pervasive. The sexist attitudes represent a point of view that I believe is derived from popularised representations in the media. These representations tally well with the already existing prejudiced opinions that have been created in terms of race discrimination and patriarchal values. Part of the problem with these representations is the lack of alternative images. If there are no counter-images that will speak against the existing sexist depictions, then there will be no progress in terms of addressing sexism directly. The constructed images of African Americans that the media are chiefly responsible for distributing, are what many non-black citizens believe to be the truth about black people. As long as people do not interact socially across ethnic borders, these representations will continue to circulate. In hip-hop culture, this is still ubiquitous in terms of the stereotyping of race. An interesting, and perhaps surprising aspect to some, is the fact that most of hip-hop’s buying audience is white. The negative stereotyping in hip-hop which was initiated by the gangsta-era, was displayed mainly by African American men who acted as criminal gangsters (hence the name), and who lived up to their role as “bad”, thus confirming the stereotyped conception that many non-blacks had of black people. The badness is then articulated within hip-hop’s boundaries through violence and as a glorification of the “thug life” by the men, whereas for women it is commonly expressed as commodified sexuality. Contemporary hip-hop resembles the minstrel shows of the 19th century in this respect, where working class white men dressed up as plantation slaves.

    Consulter sur www.duo.uio.no
  • Radio-Canada. (2005, September 14). La fondation de Nathalie Simard voit le jour. Radio-Canada. https://ici.radio-canada.ca/nouvelle/269983/simard-fondation

    « Il faut briser le silence », a déclaré Nathalie Simard lors du lancement de sa fondation qui viendra en aide aux organismes supportant les victimes de pédophilie.

    Consulter sur ici.radio-canada.ca
  • Radio-Canada. (2005, May 28). Véronique Cloutier condamne les gestes de son père. Radio-Canada. https://ici.radio-canada.ca/nouvelle/250454/cloutier-pere

    Commentant pour la première fois les agressions sexuelles commises par Guy Cloutier, l'animatrice dit trouver « inacceptables » les gestes posés par son père à l'endroit de Nathalie Simard et de l'autre victime.

    Consulter sur ici.radio-canada.ca
  • Mozingo, K. A. (2005). Lesbian Lacunae: Invisible Spaces in Dance Education. Journal of Dance Education, 5(2), 58–63. https://doi.org/10.1080/15290824.2005.10387286

    Recent research about sexuality and dance has begun to address the needs of gay male dancers, yet the needs of lesbian dancers have remained mostly absent from scholarly discourse. Exploring the lesbian lacunae, or invisible spaces of dance education, reveals the personal, political, and pedagogical implications of their existence within the dance community. The experiences of lesbian dancers “on the fringe” combined with new approaches to acknowledging lesbian artists and perspectives within dance history suggest the need for re-envisioning lesbian invisibility as a “liminal presence” within dance. In addition, ways dance educators can reduce the effects of heterocentrism within their institutions and celebrate the contributions of lesbian artists and educators to the field are proposed. By reconfiguring the invisibility of lesbian dancers as a liminal presence, we make visible the borders and limits of the dance profession's notions of sexuality and gender, acceptance and equality, and thereby strengthen our potential for dancing beyond them.

    Consulter sur doi.org
  • Vastel, M. (2005). Briser le silence: Nathalie. Éditions Libre Expression.
  • Radio-Canada. (2004, December 20). Guy Cloutier écope de trois ans et demi. Radio-Canada. https://ici.radio-canada.ca/nouvelle/219477/cloutier-sentence

    Le producteur et impresario Guy Cloutier a été condamné ce matin à 42 mois de prison par le juge Robert Sansfaçon. Cloutier avait avoué en novembre avoir agressé sexuellement deux enfants pendant de nombreuses années.

    Consulter sur ici.radio-canada.ca
  • Doe, J. (2004). The Story of Jane Doe: A Book About Rape. Vintage Canada.
  • Hobbs, D., Hadfield, P., Lister, S., & Winlow, S. (2003). Bouncers: Violence and Governance in the Night-time Economy. Oxford University Press.

    "In recent years, the expansion of night-time leisure has emerged as a key indicator of post-industrial urban prosperity, attracting investment, creating employment and re-generating the built environment. These leisure economies are youth-dominated, focusing upon the sale and consumption of alcohol. Unprecedented numbers of young people now flock to town centres that are crammed with bars, pubs and clubs, and the resulting violent disorder has over-run police resources that remain geared to the drinking patterns and alcohol cultures of previous generations. Post-industrial re-structuring has spawned an increasingly complex mass of night-time leisure options through which numerous licit and illicit commercial opportunities flow. Yet, regardless of the fashionable and romantic notions of many contemporary urban theorists, it is alcohol, mass intoxication and profit rather than 'cultural regeneration,' which lies at the heart of this rapidly expanding dimension of post-industrial urbanism. Private security in the bulky form of bouncers fills the void left by the public police. These men (only 7% are women), whose activities are barely regulated by the State, are dominated by a powerful subculture rooted in routine violence and intimidation. Using ethnography, participant observation and extensive interviews with all the main players, this book charts the emergence of the bouncer as one of the most graphic symbols in the iconography of post-industrial Britain." Argumentaire de l'ouvrage.

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