ABSTRACT

Inevitably, this approach has its limitations – not least the fact that artists do not purport to be social theorists. Moreover, employing art as an adjunct to (or an embellishment of) theory is almost unprecedented in mainstream criminology.27

26 One could, of course, turn to the lesser-discussed work of Ferdinand Tönnies, or even Werner Sombart, but even here the emphasis was more on the negative aspects of the city (Tönnies famously loathed cities) rather than the changing psychological moods and emotional states precipitated by metropolitan life.