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Burkey, Adam P. "Prisoners of Loss: Melancholia in Contemporary American Literature." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1374594525.
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Boyle, Brenda Marie. "Prisoners of war formations of masculinities in Vietnam war fiction and film /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060873937.
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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.
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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defined them as the “criminal type,” but I argue prisoners were also depicted in more ambiguous ways that aligned them with “respectable” members of society. I focus on images that compare the worlds inside and outside the prison, which reveal instabilities in representations of “the prisoner” and the ways this figure was defined against a societal norm. Such images draw attention to the act of looking at prisoners and often challenge a notion of the prison as a space of one-sided surveillance.
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Wood, Rebecca. "THE TRAUMA-RELATED MENTAL HEALTH ISSUES OF FEMALE PRISONERS: THE NEED FOR TRAUMA-SPECIFIC INTERVENTION. A REVIEW OF THE LITERATURE." Thesis, Malmö universitet, Fakulteten för hälsa och samhälle (HS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-24839.
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Mental illness is far higher among prisoners than in general populations, especially for female prisoners. Previous research has discovered that traumatic experience plays a crucial role in the development of psychiatric disorder and other mental health issues in female prisoners. The present paper reviews eight articles, investigating into the negative outcomes associated with trauma-related mental health issues for female prisoners, and how their trauma-related mental health needs are addressed in prison. Systematic text condensation was used to discover similar themes and meanings throughout the articles. The results found a high prevalence of unrecognized and misdiagnosed trauma-related mental health issues across the articles, in particular post-traumatic stress disorder, with treatment having too much focus on substance abuse rather than addressing trauma directly. The review concludes that current prison screening measures and interventions do not identify trauma-related mental health issues adequately or address trauma directly. As a result, prison services do not meet the complex trauma needs of women. Further research needs to be conducted in this area for this population, as trauma-specific treatment is in its infancy.
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French, Larry T. "POW/MIC: Prisoners of Words/Missing in Canon: Liberating the Neglected British War Poets of The Great War." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1857.
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Since the First World War ended in 1918 and anthologies began to emerge, limited attention has been paid to the poets of this era. While a few select male poets have achieved canonicity, women war poets of this era have fallen into enigmatic obscurity.
The intention of this paper is to expound, explicate, and expose the difficulties relating to gaining entry into the canon of English literature, especially where the poets of The Great War are concerned. This paper discusses the absence of the most profound and foreshadowing poems written during the war through research of scholarly journals and out-of-print poems. The paper also seeks to prove that the defenses offered up which exclude certain poems in the anthologies have had repercussions extending into the twenty-first century.
Beyond all human imagination, the excluded poetry of The Great War is languishing, wanting, and imploring for exploration and canonicity.
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Kenderian, Nanor. "Prison to prison : the prison novels of Hagop Oshagan and Armenian penological literature." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:2352bc99-62be-4d32-8d44-f0453fb9ea48.
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The prison novels (Haji Murat, Haji Abdullah and Süleyman Effendi) of Western Armenian writer Hagop Oshagan (1883-1948) articulate two unprecedented sociocultural critiques of Armenian experience. Like much of Oshagan's works, these novels, comprising the cycle Haryur Mék Tarvan [101 Years' Imprisonment] (1933), have scarcely been studied. The task of this study is to reveal the nature of Oshagan's critique, and to revise two chief Armenian literary critical trends: that of either de-contextualizing or instrumentalizing these novels' nationalist preoccupations; that is, either overlooking their contextual relevance as responses to contemporaneous nationalist dogmas, or distorting them to seem ideologically sympathetic. Oshagan's novels rather deploy the prison trope to foreground and question the aesthetic and ideological influence of late 19th century Armenian nationalist-revolutionary movements. They moreover undermine the persisting paradigm borne of nationalist-revolutionary rhetoric that collectively represents Armenians and Turks as victims and victimizers respectively. The present study reads Oshagan in the wider context of Armenian penological literature, and locates his engagement with nationalist-revolutionary ideology as an overtly critical, rather than sympathetic project. It provides an unprecedented appraisal of such political movements' primarily negative impact upon late 19th and early 20th century Western Armenian literature, a tradition that has presented 'Armenianness' through an almost exclusive narrative of subjection. This literary historical background allows Oshagan's singularity to appear. He is the first to recognize the prison trope as the preferred nationalist-revolutionary literary convention, a trope he then reconfigures in order to formulate an alternative, a literary mode of nationalism - namely, mystic nationalism - informed by his readings of Dostoevsky's novels. Oshagan imagines and articulates anew the Armenian-Turk relationship in terms that complicate, subvert and transcend the normative master/slave model instituted by nationalist-revolutionary rhetoric. In the process, he elaborates a conception of these movements as inadvertently complicit in the discursive - and, ultimately, also political - (self)-subjection of Armenians culminating as experiences of absolute subjection. After Oshagan, this study constitutes the first comprehensive analysis of literary renderings of both Armenian-Turk relations and nationalist-revolutionary ideology.
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Briney, Carol E. "My Journey with Prisoners: Perceptions, Observations and Opinions." Kent State University Liberal Studies Essays / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1373151648.
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Riotto, Angela M. "Beyond `the scrawl'd, worn slips of paper’: Union and Confederate Prisoners of War and their Postwar Memories." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1522870860356426.
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Silva, Pablo Augusto. "O mundo como catastrofe e representação : testemunho, trauma e violencia na literatura do sobrevivente." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279004.
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Orientador: Maria Lygia Quartim de MoraesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-07T03:43:04Z (GMT). No. of bitstreams: 1 Silva_PabloAugusto_M.pdf: 882543 bytes, checksum: 8dffa4b5e16f321374f88b76ace65eb8 (MD5) Previous issue date: 2006
Resumo: Este trabalho é uma análise de obras autobiográficas de indivíduos que tiveram uma experiência traumática com a realidade, vivenciada nas instituições carcerárias do Brasil contemporâneo (1970-2000). Há nestas narrativas, enquanto exercícios de rememoração, uma grande riqueza que nos permite compreender a trajetória social de indivíduos que sofreram a experiência - única - do trauma. O encarceramento como o centro de suas vidas, o evento que no bem e no mal marcou toda a sua existência. Esse novo modo de fazer literatura - que pode ser chamado de literatura carcerária e/ou das prisões - emerge nos anos 1980, ganhando visibilidade principalmente no início dos anos 1990. Atualmente, vem tendo êxito no mercado editorial, despertando e dividindo o interesse da crítica cultural pelo tema. Portadoras de um teor testemunhal - como as obras de escritores que tratam da experiência judaica nos campos de concentração (Lagers) durante a 11 Guerra Mundial, e de escritores latino-americanos que narram a violência sofrida durante as ditaduras nos anos 1950/60/70 -, tais autobiografias são, antes de tudo, o testemunho do Sobrevivente da Era da Catástrofe, como pode ser resumido o breve século xx
Abstract: This work consists of an analysis of auto-biographical accounts written by individuais who have undergone traumatic experiences with reality in correctional facilities in contemporary Brazil (1970-2000). These accounts, as exercises in recollection, contain a great wealth of material and enable us to better understand the social history of individuais who have undergone a unique experience of trauma. The trauma, in this case, is the experience of imprisonment as the center of their lives, the event that, for better or for worse, marked their entire existence. This new mode of literary production - known as prison literature - arose in the 1980s and took on greater visibility in the early 1990s. It has been successful on the editorial market and aroused the interest of cultural critics of the topic. It has also been the object of some controversy. These autobiographies are similar to the writings of Jews who described their experiences in concentration camps (Lagers) during World War 11, and like a number of Latin-American writers who described the violence they were subjected to during the dictatorships of the 1950s, 1960s and 1970s. Above ali else, the accounts are the testimony of Survivors of the Era of Catastrophe, as the brief 20th century might be called.
Mestrado
Sociologia
Mestre em Sociologia
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Lima, Mônica Cristina Ribeiro Alexandre d'Auria de. "Estratégias para o controle da tuberculose no sistema prisional: revisão integrativa da literatura." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/22/22133/tde-08052015-165959/.
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As instituições prisionais são tidas como um reservatório para doenças transmissíveis, entre estas a tuberculose. O estudo objetivou analisar na produção cientifica as estratégias para o controle da tuberculose no sistema prisional. Assim, elegeu-se a revisão integrativa da literatura a qual se deu com a busca de artigos científicos originais nas bases de dados PubMed, Literatura Latino-Americana em Ciências de Saúde, Cumulative Index to Nursing and Alied Health Literature, Web of Science e Scopus, lançando mão de diferentes estratégias de buscas com a utilização de descritores controlados e não controlados, cuja seleção dos artigos foi pautada em critérios de inclusão e exclusão. Após as buscas nas bases de dados com a leitura de título e resumo das publicações, foi possível pré-selecionar para esta revisão 33 artigos científicos originais e, conseqüente à leitura na íntegra dos mesmos chegou-se à amostra final de 22 artigos, que compõem este estudo. Pela leitura dos artigos foi possível identificar 11 estratégias, todas direcionadas à detecção da doença, e agrupá-las em três categorias \"Busca Ativa como estratégia para o controle da tuberculose\", \"Busca Ativa como estratégia para identificação de tuberculose latente\" e \"Utilização de imagem para diagnóstico da tuberculose\". A partir dos estudos incluídos nesta revisão pode-se evidenciar que quando as estratégias são desenvolvidas como complementares e realizadas periodicamente proporciona maiores chances do controle efetivo da tuberculose no sistema prisionalPrison institutions are known as reservoirs for transmittable diseases, such as tuberculosis. The study aimed to analyze the strategies for the control of tuberculosis in the prison system, trough scientific work. Thus, integrative review was chosen, happening through the search of original scientific articles in the PubMed, Literatura Latino-Americana em Ciências de Saúde, Cumulative Index to Nursing and Alied Health Literature, Web of Science and Scopus databases, including different search strategies using controlled and non-controlled descriptors, selecting articles based on inclusion and exclusion criteria. After the database search using titles and summaries, it was possible to pre-select 33 original scientific articles for this review and, consequent to full reading of those articles, come to a final of 22, which compose the study. Through the reading of such articles it was possible to identify 11 strategies, all aimed to the detection of the disease, and group them into three categories \"Active Case-finding as a strategy for control of tuberculosis\", \"Active Case-finding as a strategy for identifying latent tuberculosis\" and \"Use of image to diagnose tuberculosis\". Through the studies included in this review it\'s possible to make clear that when all strategies are developed as complementary and performed periodically they can provide higher chances of effective control of tuberculosis in the prison system
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Cox, Devon. "Stages of captivity : Napoleonic prisoners of war & their theatricals, 1808-1814." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/103472/.
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In 2011, the Performance and Theatre Collection at the Victoria and Albert Museum in London acquired an archive of materials relating to the French prisoners of war held at Portchester Castle from 1810 to 1814. This archive consisted of scripts, playbills, and abstracts from the prisoners’ Théâtre des Variétés built and operated in the basement of the castle’s keep. These materials have provided new and unique insights into the experiences of Napoleonic prisoners of war and have served as a catalyst for this first major critical study of Napoleonic prisoners-of-war theatricals. The majority of the theatre’s sociétaires were captured in the French defeat at the Battle of Bailen in July 1808. This study will be charting the journey of these French prisoners through their captivity in Spain, the Baeleric Islands, and Britain. While this particular group of prisoners has been the subject of previous historic surveys, their theatrical endeavours have been sidelined or relegated to footnotes or dismissed as a way to pass the time. In this study I will draw the prisoners’ theatricals to the centre of critical discussion examining their repertoire in greater detail underlining the vital role that theatre served in the prisoners’ emotional and psychological survival in captivity.
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Chott, Laurence R. "The artist as prisoner in the fiction of Bernard Malamud." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/440948.
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The general idea of imprisonment in Bernard Malamud's ficiton manifests itself in his artists, who may be understood as "prisoners" dramatizing the artistic process as Malamud views it.Malamud's artists' struggle to balance art and life is expressed through the idea of imprisonment. When overemphasizing art, the artist is isolated, "imprisoned" in his or her work. Although this imprisonment is necessary temporarily, the artist must meet worldly responsibilities to find the freedom to create art, though artistic success is not guaranteed.Malamud's artists are always somehow imprisoned. In "The Girl of My Dreams" (1953), the writer Mitka rejects an uncooperative world, whereas the writer Olga transcends poverty and accepts the world. In "Man in the Drawer" (1968), the writer Levitansky is trapped in a totalitarian state. In "Rembrandt's Hat" (1973), the failed sculptor Rubin perseveres in art. And in "The Model" (1983), Elihu, mistaking himself for an artist, dehumanizes his model, Ms. Perry.In Pictures, Qj Fidelman (1969), Fidelman is imprisoned in artistic perfectionism. I n the Tenants (1971), writers Harry Lesser and Willie Spearmint are imprisoned in their obsessions. And in Dubin's Lives (1979), dubin is trapped in a false self-image.Malamud's artists are of two types: (1) the successful whose continued fulfillment is in question and (2) the so-far unsuccessful. Subtypes in the first group are the liberated (Dubin), the potentially liberated (Mitka, Levitansky), and the perpetually imprisoned (Lesser). Subtypes in the second group are the liberated (Fidelman, Ms. Perry) and the perpetually imprisoned (Rubin, Willie, Elihu).The exception is the successful a liberated Olga. Appearing in an early (1953) story, Olga embodies an answer to the problems of the artist; twenty-six years later, in Dubin's Lives (1979), Malamud's answer is the same: Maintain balance between art and life; keep the demands of art subordinate to those of life.The idea of the artist as prisoner in Malamud's fiction implies the difficulty of artistic endeavor. Malamud's artists, like his other characters, face suffering. Their art is a potentially imprisoning complication, not an escape from life's problems. Ultimately, the artist must face the world and its demands.
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Pike, Holly Jane. "No/bodies : carcerality, corporeality, and subjectivity in the life narratives by Franco's female prisoners." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5939/.
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This thesis examines female political imprisonment during the early part of Spain’s Franco regime through the life narratives by Carlota O’Neill, Tomasa Cuevas, Juana Doña, and Soledad Real published during the transition. It proposes the foregrounding notion of the ‘No/Body’ to describe the literary, social, and historical eradication and exemplification of the female prisoner as deviant. Using critical theories of genre, gender and sexuality, sociology and philosophy, and human geography, it discusses the concepts of subject, abject, spatiality, habitus, and the mirror to analyse the intersecting, influential factors in the (re)production of dominant discourses within Francoist and post-Francoist society that are interrogated throughout the corpus. In coining the concept of the ‘No/Body’ as a methodological approach, a narrative form, and a socio-political subject position, this thesis repositions the marginal and the (in)visible as an essential aspect of female carcerality. Read through this concept, the narratives begin to dismantle and rewrite dominant narratives of gender and genre for the female prisoner in such a way that the texts foreground the ‘No/Body’. This thesis thus presents the narrative corpus of lost testimonies as a form of radical textual and political practice within contemporary Spanish historiography.
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Migdissova, Svetlana. "An analysis of a Russian cultural phenomenon: A.S. Pushkin's prisoner of the caucasus and beyond." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103520.
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This thesis is an analysis of works derived from Russian literature and cinematography as grouped by the morphemes 'kavkaz' and 'plen' in their titles. During the last 200 years at least ten such works have appeared, the most famous being Pushkin's Prisoner of the Caucasus. These have become a fascinating phenomenon of Russian culture and the goal of my study is to analyze the intertextual links among these works. The study as a whole is based on the approaches developed by Lotman, Barthes, Zholkovsky, Likhachev and others. Thus it takes into account the specific social, historical and cultural background, underlying the phenomenon. Motif structures and its significant elements, such as 'plen', 'smert', 'zhizn', 'zerkalo', etc. are also taken into account. This is new to scholarly literature and has not previously been attempted.La thèse présente une analyse de contenu d'oeuvres issues de la littérature et du cinéma russes regroupées par l'apparition des morphèmes «kavkaz» et «plen» dans leurs titres. Depuis deux siècles, au moins dix œuvres similaires sont apparues dont la plus connue Prisonnier du Caucase d'Alexandre Pouchkine. Celles-ci sont devenues un fascinant phénomène de la culture russe et l'objectif de mon étude est d'analyser l'intertextualité des liens parmi ces œuvres. L'étude est basée dans son ensemble sur les approches développées par Lotman, Barthes, Zholkovsky, Likhachev, et autres. L'étude prend aussi en considération de façon spécifique l'arrière-plan social, historique et culturel, soulignant le phénomène. La structure des thèmes et ses éléments fondamentaux tels «plen», «smert», «zhizn», «zerkalo», etc. ont aussi été pris en considération. Cela est donc nouveau dans une publication académique et n'a jamais été tenté auparavant. Cette étude développe donc des clés d'interprétation pour ces textes. Elle réinterprète les thèmes sur lesquels les textes sont fondés et souligne les thèmes qui n'ont jamais été utilisés précédemment dans la littérature.
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Young, Richlynn C. "Prison Privatization: A Multi-State Comparison Content Analysis." Youngstown State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1310737776.
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Balfour, Michael. "Theatre in prisons and probation : an investigation of a drama-based, cognitive-behavioural approach to working with violent offenders." Thesis, Lancaster University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264131.
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Pessoa, Fabiola Meirelles Israel. "Violência sofrida por mulheres antes do seu encarceramento: revisão integrativa da literatura." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/22/22131/tde-16012017-173821/.
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Trata-se de uma Revisão Integrativa da Literatura, com objetivo de identificar e analisar estudos que abordam a violência sofrida por mulheres antes do seu encarceramento. Procedeu-se à seleção dos estudos, por meio da utilização de três palavras-chaves: Mulheres, Prisões e Violência, junto às bases de dados:LILACS, PUBMED e PsycInfo. Delimitou-se estudos publicados nos últimos 5 anos. Dos 208 estudos recuperados, derivou-se uma amostra final de 16 estudos. Houve predomínio de pesquisas realizadas nos Estados Unidos. Identificaram alta prevalência de violência com as mulheres antes do encarceramento. Abordaram a violência interpessoal, durante a infância, quando adulto, por parceiro intimo e na comunidade. Essas experiências estão fortemente associadas aos problemas de saúde mental. Destaque para tentativa de suicídio, sintomas psicóticos, transtorno de estresse pós-traumático e abuso de substâncias. O tipo de violência na infância e a frequência em que ocorre, indicam importantes preditores ao agravo da saúde. As mulheres são mais revitimizadas se comparado aos homens, principalmente por abuso sexual, o que pode estar associado às múltiplas formas de abuso durante a vida. Geralmente o abusador é um membro da família ou o parceiro íntimo. A regulação emocional total tem um papel fundamental para as mulheres estarem mais vulneráveis àrevitimização e manterem comportamento sexual de risco. Os estudos sugeriram que os serviços de saúde considerem as experiências traumáticas e ofereçam tratamentos e intervenções específicas de gênero. Conclui- se que o abuso sexual e a violência intrafamiliar trouxeram maiores implicações na saúde das mulheres encarceradas. São necessárias iniciativas políticas e científicas, para desenvolver estratégias de intervenções específicas, para as mulheres encarceradas que sofreram violência antes do seu encarceramentoThis is an Integrative Review of Literature, with the purpose of identify and analyze studies about the violence against women before incarceration. The study was selected through the use of three main words: Women, Prison and Violence, along with the databases: LILACS, PUBMED e PsycInfo. The studies were limited to publications from the past five years. From 208 recovered studies, a final sample of 16 studies was selected. Most of the researches were conducted in the United States. Identified high prevalence of violence against women before incarceration. They approached the interpersonal violence during childhood and adulthood, with an intimate partner and in the community. These experiences are strongly associated with problems of mental health. The studies highlighted suicide attempts, psychotic symptoms, post-traumatic stress disorder and substance abuse. The type of violence during childhood and the frequency that it occurs, indicates important predictors to health deterioration. Women are more revictimized compared to men, especiallyregarding for sexual abuse that might be associated to multiple forms of abuse during life. Usually the offender is a family member or an intimate partner. The emotional regulation plays an important role to women, making them more vulnerable to there victimization and maintaining a risky sexual behavior. The studies suggested the Health Serviceshould consider the traumatic experiences and offer specific treatments and interventions. In conclusion that sexual abuse and family violence brought major implications to the health of incarcerated women. It is necessary more political and scientific initiatives, to develop strategies of specific interventions, to incarcerated women that suffered violence before their incarceration
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Martinsson, Pernilla. "”Them Azkaban guards give me the collywobbles” : Det kusliga i J.K. Rowlings Harry Potter and the Prisoner of Azkaban." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67607.
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I den här uppsatsen står den tredje boken om Harry Potter, The Prisoner of Azkaban, i fokus. Analysen fokuserar på vilka exempel på det kusliga som förekommer i boken och vilken funktion dessa element får i boken. Detta undersöks främst utifrån Freuds teori om det kusliga (unheimlich). Exempel på det kusliga återfinns både i miljöerna, animerade objekt, magiska varelser och några av karaktärerna. De kusligaste elementen i boken hämtar främst sin kuslighet från nära kopplingar till döden eller de dödas återkomst, bland annat både Dementorerna och Sirius Black, men även osäkerhet spelar en viktig roll i uppbyggnaden av kusliga element. Däremot blir de magiska objekten aldrig kusliga i samma omfattning i och med att deras oväntade beteende blir en viktig del i förmedlandet av en magisk miljö.This essay focuses on the uncanny in the third Harry Potter book, The Prisoner of Azkaban, and the effects of such elements. Freud’s theory of the uncanny (unheimlich) is used throughout the essay to establish the uncanny elements in the book and their effect. Examples of the uncanny can be found in the environment, animated objects, magical beings and some of the characters. The elements with a high uncanniness are foremost related to death or the return of the dead, this includes both the Dementors and Sirius Black, but the element of uncertainty also plays an important role in creating an uncanny feeling. The magical objects do not reach the same level of uncanniness, mostly because they play an important part in the creation of the magical world.
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Tardivo, Marie-Aude. "Aleksandr Solzhenitsyn's 'The Gulag Archipelago' : the self before the law." Thesis, Keele University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368977.
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Berchtold, Jacques. "Les prisons du roman XVIIe-XVIIIe siècle : lectures plurielles et intertextuelles de "Guzman d'Alfarache" à "Jacques le fataliste" /." Genève : Libr. Droz, 2000. http://catalog.hathitrust.org/api/volumes/oclc/46430631.html.
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Ducellier, Aurore. "Les voix résilientes. La poésie carcérale sous le premier franquisme." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA056.
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Cette étude exhume la poésie créée dans les espaces carcéraux du premier franquisme, depuis l’occupation progressive de l’Espagne par le camp national, entre 1936 et 1939, jusqu’à la fin de la Seconde Guerre mondiale voire des années cinquante selon les incarcérations. Ce phénomène, souvent réduit en Espagne à deux figures héroïsées (Miguel Hernández et Marcos Ana), recouvre pourtant une multitude de cas, allant du poète emprisonné, dont les ambitions littéraires sont entravées, aux prisonniers de guerre ou politiques qui s’essayent au romance pour tuer le temps : au-delà de la valeur littéraire de l’œuvre, on s’intéresse à la poésie de témoignage autant qu’à la poésie lyrique, aux poèmes en prose et en vers, oraux ou écrits, à travers un corpus varié, tant sur le plan générationnel qu’idéologique, d’une soixantaine d’auteurs. José Luis Gallego (1913-1980) est un exemple paradigmatique, puisqu’il compose une vingtaine de recueils en prison de 1939 à 1942 puis de 1943 à 1960, dont seulement trois ont été publiés. Toute la géographie espagnole est concernée (notamment Madrid, l’île de Saint Simon ou les Canaries) et divers espaces carcéraux, dont des camps. Si certains symboles singularisent un auteur, la culture ou la situation espagnole, cette poésie carcérale relève globalement d’une poétique de la libération, visant à fuir l’espace-temps oppressant de l’enfermement, tout en évacuant les émotions douloureuses dans des moules métriques qui disent la contrainte, et en glissant occasionnellement une subversion entre les vers. On envisage également les processus de création et de diffusion de ces œuvres lyriques, l’enjeu de la collaboration avec le pouvoir dans les pages de l’hebdomadaire pénitentiaire Redención et le destin de vers confiés aux réseaux semi-clandestins ou exposés à un silence éditorial. À partir d’archives familiales et nationales, on analyse ces voix lyriques d’une résilience difficile, inédites ou méconnues, en tension entre l’enfermement dans l’intimisme de l’insilio et l’extériorisation subtile d'une dissidence répriméeThis study sets out to uncover the poetry created in carceral spaces during early Francoism, from the progressive advancement of the Nationalist faction in Spain, between 1936 and 1939, to the end of the Second World War, up until the late fifties in some cases in line with the duration of imprisonment. This phenomenon, mainly reduced in Spain to the two heroicized figures of Miguel Hernández and Marcos Ana, nonetheless, involves a vast number of others, ranging from the jailed poet, whose literary ambitions are thwarted, to the prisoners of war or political prisoners who try their hand at romances to kill time. The focus of this study is not limited to the literary value of a poem, but also considers testimonial as well as lyrical poetry, prose poems and verse, both written and orally-transmitted. The corpus in question varies widely both in terms of generation and ideology and spans sixty authors. José Luis Gallego (1913-1980) is paradigmatic, since he composed around twenty collections of prison poems from 1939 to 1942 and then from 1943 to 1960, of which only three were published. The whole of Spanish geography is covered (especially Madrid, San Simón island and the Canaries) and several prison spaces, including prison camps. Even if certain symbols underline the specific circumstances of a particular author, specific cultural aspects or the Spanish situation on the whole, the prison poetry discussed here mainly derives from a poetics of liberation, whose goal is to leave behind the oppressive space-time of imprisonment. At the same time, the poetry acts as a release for painful emotions expressed and compressed into metrical moulds indicative of the constraint, occasionally letting slip subversive comments between the lines. In addition, the process of creation and diffusion of these lyrical works, the implications of collaborating with power in the pages of the prison weekly Redención and the destiny of those verses that were entrusted to semi-clandestine networks or met with editorial silence are examined. Taking family and national archives as the starting point, these lyrical voices of a difficult resilience, unpublished or unappreciated, in constant tension between being locked into the intimism of the insilio and the subtle exteriorization of a repressed dissidence
Este estudio exhuma la poesía creada en los espacios carcelarios del primer franquismo, desde el avance progresivo en España del bando nacional, entre 1936 y 1939, hasta el final de la Segunda Guerra Mundial, incluso de los años cincuenta según los encarcelamientos. Este fenómeno, que suele reducirse en España a dos figuras heroizadas (Miguel Hernández y Marcos Ana), abarca sin embargo una multitud de casos, que van desde el poeta encarcelado, cuyas ambiciones literarias son obstaculizadas, hasta los prisioneros de guerra o políticos que se ejercitan escribiendo romances para matar el tiempo: más allá del valor literario de la obra, nos interesamos tanto por la poesía testimonial como por la poesía lírica, por los poemas en prosa o en verso, orales o escritos, a través de un corpus variado, tanto a nivel generacional como ideológico, de unos sesenta autores. José Luis Gallego (1913-1980) es un ejemplo paradigmático, ya que compone una veintena de poemarios en prisión de 1939 a 1942, y de 1943 a 1960, de los cuales solamente tres han sido publicados. Se aborda toda la geografía española (especialmente Madrid, la isla de San Simón o las Canarias), y diversos espacios carcelarios, como los campos. Si bien algunos símbolos singularizan a un autor, la cultura o la situación española, esta poesía carcelaria implica en general una poética de la liberación, que apunta a huir del espacio-tiempo opresivo del encierro a la vez que evacua las emociones dolorosas en unos moldes métricos que expresan la coerción, y desliza a veces una subversión entre los versos. Igualmente, contemplamos los procesos de creación y de difusión de estas obras líricas, la cuestión de la colaboración con el poder en las páginas del semanario penitenciario Redención y el destino de unos versos confiados a redes semiclandestinas o expuestas al silencio editorial. A partir de archivos familiares y nacionales, analizamos esas voces líricas de una resiliencia difícil, inéditas o desconocidas, en tensión entre el encierro en el intimismo del insilio y la exteriorización sutil de una disidencia reprimida
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Lipke, Alan Thomas. "The Strange Life And Stranger Afterlife Of King Dick including His Adventures in Haiti and Hollywood With Observations On The Construction Of Race, Class, Nationality, Gender, Slang Etymology And Religion." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4530.
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Richard "King Dick" or "Big Dick" Crafus, Cephas, or Seaver(s) first attracted attention by his size, strength and the authority he exercised as leader of U.S. African American Prisoners of War in Britain during the War of 1812. After the War he was celebrated as a boxing pioneer, ceremonial King of Boston's black community and almost certainly auxiliary law officer. Very little has been known about his life, and much of that obscured by his black working-class status; his true standing within his own community remains mysterious. Yet paradoxically he's been made much of, in academic writing and fiction alike right up to the present day. Although his life resisted the reduction of himself and his people to irrelevance and invisibility, I argue that his most prominent role has been as a palimpsest, a used canvas or marked screen onto which scholars and fiction-writers alike, as intellectual workers, have projected their images of the place of Blacks, blackness and racialized Others in the Americas and the Americanized world, including Haiti and Arabia. This thesis attempts to reconstruct his life and interpret his myriad reconstructions, to illuminate both dominant white and less-accessible minority discourses. The particular characteristics inscribed into Big Dick's figure have helped define class and caste structures, public morality and the use of public space, and the working of the U.S. capitalist and cultural imperium in the marketplace of discourses.
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Lockyer, Sharon. "An eye to offensiveness : the discourse of offence and censure in Private Eye." Thesis, Loughborough University, 2001. https://dspace.lboro.ac.uk/2134/6785.
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This thesis is an empirical examination of the articulation of comic offence and the practices of comic censure as conducted in media discourse. Making complaints about comic discourse is a risky endeavour. The joker can retort that it was `just a joke' or can charge the complainer with lacking a sense of humour and libels can fail and be very costly. The main focus is on the discursive strategies and practices used when claiming that comedy has caused offence. This is an under-researched area in humour studies. The ambivalence involved in negotiations between ethical and comic discourse is a central tenet of the thesis. Two main avenuesf or expressing comic offence are used in the thesis: letters of complaint written to the editor of comic discourse and charges of offensive comedy made through the law of defamation. The thesis adopts an eclectic approach to data collection and analysis. The research draws on different data sources: letters pages and readers' letters printed in the satirical magazine Private Eye, newspaper articles reporting on libel cases brought against Private Eye and interviews with editors, journalists, cartoonists and libel lawyers working for Private Eye. Content analytic techniques are used when analysing the readers' letters to provide a clear overview of the general pattern of complaint involved and the common consequences of such complaint. Composition analysis is used to assess how the editor of Private Eye constructs the letters page. Here I explore the strategies employed by the editor when defendingc criticisms that offence has been causeda nd assessh ow the editor discursively treats the offended reader. To examine in closer detail the characteristic ways in which reader's structure their expression of grievance, I then employ more qualitative modes of analysis: linguistic discourse analysis and symbolic cultural analysis. Attention then shifts to the second main avenue for expressing comic offence: the law of defamation. I conduct a quantitative content analysis of Private Eye's libel litigation history to provide an overview of the types of individual who utilise the law of defamation and the bases on which reputations are damaged. Textual analysis is used to assessh ow newspapersre port libel casesb rought against Private Eye in order to explore the press' role in the debate of comic offence and comic censure. In my conclusion I discuss what the thesis suggests about the ethical considerations of humour and comedy and I highlight the importance of the thesis for humour studies. The thesis finishes with some recommendations for future research.
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Abbas, Hossam Said Abouelseoud. "La poésie des prisons chez quelques poètes français et arabes contemporains : Etude comparée." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSES028.
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La poésie des prisons est composée dans des circonstances exceptionnelles et pendant des moments pénibles de la vie des poètes : derrière les murs de la prison où la plume est enfermée. Écrire au fond de la cellule permet au poète d’exercer une forme de liberté, liberté d’assembler les mots, de maîtriser le rythme de sa propre vie, cadencée par des horaires et des contraintes qui n’ont pas été choisies. Notre étude est consacrée à cette création poétique carcérale particulière chez quelques poètes français et arabes contemporains. Nous présentons le contexte historique et littéraire dans lequel se situe cette création. Notre travail montre que cette poésie reflète le désir du poète prisonnier d’affirmer son humanité tout en refusant le lent processus de déshumanisation qui accompagne l’incarcération. La création poétique pendant l’incarcération forme la mémoire de l’homme en prison. Les poèmes composés en prison prennent une dimension éthique plus qu’analytique et s’attachent à des expériences vécues plus qu’à des systèmes de pensée où l’engagement des poètes vient au-devant de la scène. Dans une perspective comparatiste, notre travail examine la relation entre la poésie et la politique, représentée dans la poésie des prisons. Les interrogations sociales et humaines qui occupent les poètes prisonniers sont aussi au centre de notre étude tout comme la poétique et les structures du poème-emprisonné. La thèse étudie également les procédés intertextuels qui nourrissent la poésie des prisons : religieuse, mythique et historique. L’intertextualité constitue une caractéristique fondamentale de cette poésie et occupe une place importante dans notre recherche. En bref, la poésie des prisons prouve que les poètes sont vraiment « les maîtres des mots », ceux qui ignorent le « taisez-vous », adressé aux prisonniers, grâce à la hauteur de leur langage poétique qui exprime leurs différents messages. La création poétique pendant l’emprisonnement montre que les poètes prisonniers sont capables de « dire la prison », chacun dans sa singularité, tout en s’engageant dans la Cité où ils viventPrison poetry is composed in the midst of exceptional circumstances and during painful moments of the life of poets; behind the prison walls where the pen is imprisoned. Writing at the bottom of the cell allows the poet to exercise a form of freedom, a freedom to put together words, to master the rhythm of his own life, timed by schedules and constraints that are not chosen. The present study is devoted to this particular creation written in prison by a number of contemporary French and Arab poets. It previews the historical and literary context in which this creation is located. It shows that this type of poetry reflects the prisoner poet's desire to assert his humanity while rejecting the slow process of dehumanization that accompanies incarceration. Poetic creation during incarceration shapes the memory of the man in prison. Poems composed in prison adopt an ethical dimension more than analytical and focus on lived experiences more than systems of thought where the commitment of poets comes to the fore. From a comparative perspective, the study addresses the relationship between poetry and politics, represented in prison poetry. The social and human questions that occupy the imprisoned poets are also at the center of the study as the poetics and the structure of the imprisoned-poem. The thesis copes with the intertextual processes that nourish the poetry of prisons in many forms: religious, mythical and historical. Hence, Intertextuality is a fundamental feature of this poetry and will be considered in our research. In short, prison poetry proves that poets are really "the masters of words", those who ignore the "shut up", addressed to prisoners, thanks to the height of their poetic language that expresses their different messages. The poetic creation during imprisonment shows that jailed poets are able to "say prison", each in its own uniqueness, and to get involved in the City to which they belong
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Peters, Friedrich Ernst. "Der heilsame Umweg." Universität Potsdam, 2012. http://opus.kobv.de/ubp/volltexte/2012/5726/.
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„Der heilsame Umweg”, 1939 mit dem Schleswig-Holsteinischen Literaturpreis ausgezeichnet, gehört zu der Gattung der deutsch-französischen Verständigungsromane, die in den dreißiger Jahren des 20. Jahrhunderts sehr erfolgreich waren. Der Roman beschreibt das Leben französischer Kriegsgefangener in einem holsteinischen Dorf während des Ersten Weltkriegs und ist das fiktionale Pendant zu den Kriegserinnerungen von F.E. Peters, der selbst von 1914 bis 1920 Gefangener in Frankreich war und dort als Dolmetscher eingesetzt wurde.
Im Mittelpunkt der Handlung steht die junge Elisabeth Tormählen, die sich von der weltfremden Schülerin eines Mädchenpensionats zu einer tüchtigen Bäuerin und reifen Ehefrau entwickelt. Während ihr Mann an der Front ist, entspinnt sich eine kurze harmlose Romanze zwischen ihr und dem französischen Dolmetscher Gaston Marzais, die schnell beendet ist, als Elisabeth endgültig zu ihrem Mann findet und dieser sich nach Kriegsende von ihrer Treue überzeugen kann.
Das vielschichtige Werk beschreibt unter Verzicht auf die gängigen nationalen Stereotypen oder mittels deren Demontage Deutsche und Franzosen als in ihrer Unterschiedlichkeit sehr ähnlich. Durch zahlreiche Symmetrie-Effekte und konsequent durchgeführte Perspektivwechsel, die sowohl die deutsche als auch die französische Sicht zu berücksichtigen suchen, wird das Gleiche im Fremden hervorgehoben. Gleicher Patriotismus und gleiche Opferbereitschaft auf beiden Seiten, aber auch gleiche Friedenssehnsüchte und gleiches Leiden unter den Grausamkeiten des Krieges sowie gleiche fachliche Kompetenz – denn auch die gefangenen Franzosen sind erfahrene Bauern und bewähren sich im täglichen Zusammenleben. Fanatiker wie die verbitterte Soldatenwitwe Greta Harders oder der hasserfüllte Brandstifter Maurice Thaudière werden als lebensuntüchtig dargestellt und begehen Selbstmord.
Den ideologischen Grundtenor des Werkes betonen zum Schluss noch einmal die Intellektuellen: Gaston Marzais und sein deutscher Freund, der Jurist Georg Schmitt, beide erfüllt von dem Wissen um und dem Respekt vor der Kultur des anderen. Gemeinsam wollen sie nach der deutschen Niederlage weitere deutsch-französische Kriege verhindern und beschwören die pazifistische Vision eines Europas der Toleranz und der Aufklärung.
„Der heilsame Umweg“ ist darüber hinaus eine Hymne an bäuerliche Kultur und familiäre Werte. So bewundert Marzais Interieur und Kleidung der alten Bäuerin Abel Schierholdt. Auch ein traditionelles norddeutsches Begräbnisritual wird detailliert beschrieben. Frankreichs Landleben ist präsent durch nostalgische Evozierungen der Gefangenen und deutliche Anklänge an den am Anfang des letzten Jahrhunderts sehr beliebten Roman von Henry Bordeaux „Les Roquevillard“ (1906), den F.E.Peters während seiner Kriegsgefangenschaft übersetzt hat.
Schließlich reflektiert der Roman Macht und Ohnmacht von Sprache sowie die autobiographische Dimension literarischer Produktions- und Rezeptionsprozesse. Seine Heldin - und mit ihr der Leser - erkennt, "dass Dichtung nur echt ist als erlittenes Leben und dass sie nur aus der Erfahrung des Leides verstanden wird."
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Quinton, Laurent. "Une littérature qui ne passe pas : récits de captivité des prisonniers de guerre français de la Seconde Guerre mondiale (1940-1953)." Phd thesis, Université Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00194520.
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Tout comme les récits de déportation politique et raciale, les récits de captivité des prisonniers de guerre français de la Seconde Guerre mondiale présentent un intérêt non négligeable, du point de vue historique, documentaire, idéologique, mais aussi littéraire.Entre 1940 et 1953, pas moins de 188 récits — témoignages, journaux, romans — furent publiés, qui constituent un corpus riche qui n'a pas été étudié jusqu'à présent. Cette thèse de doctorat entreprend de démêler, à travers l'étude du contexte littéraire et politique de l'époque, les différents enjeux qui gravitent autour de ces récits.
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Izarra, Salomon de. "L'écriture de l'enfermement : de la narration de de l'incarcération aux perspectives et illusions d'évasion et de métamorphose." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2020/document.
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Cette thèse a pour but d’analyser les caractéristiques d’une métamorphose dans la littérature carcérale, à travers l’analyse d’oeuvres de Jean Genet, de Victor Hugo, de Jack London et d’Oscar Wilde. Elle consiste donc à mettre en valeur les différentes étapes de ce processus, d’en comprendre les causes et les conséquences. Nous nous intéressons donc à l’histoire des systèmes carcéraux en Californie, en Angleterre et en France, puis aux clichés qui sont légion dans la littérature carcérale. Nous nous attardons ensuite sur les causes de la métamorphose à travers les méfaits de la prison et la réponse en conséquence des détenus. Enfin, notre dernière partie concerne les aspects plus inattendus de la carcéralité et le difficile retour à la vie civileThe goal of this thesis is to analyze caracteristics of a metamorphosis in the prison literature, by the analysis of works by Jean Genet, Victor Hugo, Jack London and Oscar Wilde. Therefore, it consists in highlighting the different stages of this processus, of understanding its causes and consequences. We focus on the history of prison systems in California, England and France, then to the clichés, which are numerous into the prison literature. Then we look at the causes of the metamorphosis through the mischiefs of prison and the answer accordingly of the detainees. Finally, our last part concerns the unexpected aspects of the imprisonment, and the difficult return to civil life
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Croisy, Marion. "La prison dans la littérature française du XIXe siècle. Représentations romanesques et imaginaire social de la modernité carcérale." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA145.
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Au XIXe siècle, les représentations de la prison par la littérature sont nombreuses. Études de mœurs et tableaux parisiens explorent l’univers carcéral, et un certain nombre de romans racontent des épisodes d’emprisonnement (Sue, Les Mystères de Paris, Balzac, Splendeurs et misères des courtisanes, Goncourt, La Fille Élisa). La fascination que suscite la prison dépasse largement la seule communauté des hommes de lettres : enquêteurs, hygiénistes, théoriciens du système pénal, s’emparent aussi de cette question. Le XIXe siècle constitue dans l’historiographie contemporaine un moment déterminant de l’histoire pénale. La prison, depuis la Révolution, est perçue comme la clef de voûte d’un nouveau système de sanction. Cette étude, qui privilégie le regard extérieur sur la prison – celui de l’homme qui n’y est pas enfermé – et le récit à la troisième personne pour les fictions romanesques, s’intéresse aux représentations littéraires de la prison à la lumière de cette mutation historique. Tissant des liens avec les domaines du savoir qui accompagnent l’avènement de la prison pénale, la littérature prend une part importante au discours social qui représente, autant qu’il la construit, la modernité carcérale. De ce discours, le lecteur ne pourra manquer de relever les ambivalences et les contradictions. Roman d’aventures et roman de mœurs sentimental, roman de l’enquête sociale et roman édifiant, roman réaliste et roman naturaliste seront tour à tour explorés pour témoigner de la diversité des figurations. Les implications politiques et morales, esthétiques et poétiques de la représentation par la fiction de l’expérience de l’incarcération constituent un enjeu majeur de cette thèseIn the 19th century, there were many representations of the prison in literature. Studies of customs and parisian paintings explore the prison and novels describe scenes of imprisonment (Sue, Les Mystères de Paris, Balzac, Splendeurs et misères des courtisanes, La Fille Élisa). The fascination of prisons achieved popularity well beyond literary people : investigators, hygienists, theorists of the penal system, also questioned the issue of imprisonment. Contemporary historiographical views see the 19th century as a pivotal moment in penal history. Since the Revolution, the prison has been perceived as being the corner stone of a new system of punishment. In light of this historical change, this study analyses the literary representations of prisons from an outside point of view, the view of someone who is not imprisoned, and, the narrative using the third person in novels. Forging links with the areas of knowledge that accompagny the introduction of criminal prison, literature plays an important part in the social narrative that represents the modernity of prison life. In this seminar, the reader will not fail to recognize the ambivalences and contradictions. Novels of adventure and romance, social commentaries and moralistic novels, works of realism and of naturalism will all in turn be explored to reflect the diversity of representations. The political and moral implications, but also aesthetic and poetic figuration by the fiction of the experience of incarceration, are a major challenge of this study
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Nguimbi, Arnold. "Le monde carcéral dans la littérature africaine : lecture de "Toiles d'araignées" d'Ibrahima Ly, "Prisonnier de Tombalbaye" d'Antoine Bangui et "Parole de vivant" d'Auguste Moussirou Mouyama, "Le mort vivant" d'Henri Djombo." Phd thesis, Université Paris-Est, 2008. http://tel.archives-ouvertes.fr/tel-00462161.
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La notion de prison est obsédante en littérature africaine d'expression française. Le dispositif d'enfermement des hommes dans un espace clos remonte véritablement à la période coloniale. Les nombreuses méthodes punitives qui avaient cours en Afrique précoloniale privilégiaient davantage d'autres formes de sanction que la prison. Il y avait par exemple le bannissement, la réparation immédiate, l'exil et la lapidation. Avec l'installation occidentale, l'habitat africain s'est doté d'une structure particulière et singulière. La prison fait désormais partie des politiques pénales de premier choix. Les écrivains, Ibrahima Ly dans "Toiles d'araignées", Henri Djombo dans "Le mort vivant", Auguste Moussirou Mouyama à travers "Parole de vivant" et Antoine Bangui dans "Prisonnier de Tombalbaye" montrent la complexité de ce nouveau phénomène. Ils évoquent les conditions de vie atypiques à savoir : la surpopulation, l'hygiène, la rareté d'aliments etc. La prison avilit l'homme au lieu de l'aider à prendre conscience de l'intérêt de sa peine par rapport à la société offensée. La resocialisation qui est la logique de justification de la prison qui allie la peine aux principes des droits de l'homme est fortement compromise. Mais malgré ces privations, la prison peut être un véritable chemin pouvant permettre à ceux qui ne succombent aux violences, de repenser la société. Ils combattent tout ce qui peut empêcher à l'homme de s'épanouir. C'est ainsi que l'on peut entendre l'héroïne de "Toiles d'araignées "souhaiter un monde libre
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Tarouilly, Julie. "Le mythe du forçat dans le roman français du XIXe siècle ou Prométhée désenchaîné." Thesis, Brest, 2012. http://www.theses.fr/2012BRES0023.
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En un siècle troublé, né du séisme de 1789, le bagne, lieu de fracture, peut se comprendre comme le modèle spatial du doute, de la contrainte et de la souffrance, des fins et des commencements. Surtout, il est le fondateur du forçat, personnage de tous les paradoxes, repoussant les limites, animé de la fièvre des résurrections. Dans un roman cherchant à affirmer son identité, au milieu des récriminations d’une Histoire en mouvement, que signifie le surgissement en littérature, comme une invitation à imaginer l’inimaginable, de cet homme déchu, de ce coupable révélé, qui ne se satisfait d’aucune finitude et représente pourtant la finitude elle-même ? A la frontière de la réalité et du mythe, le bagnard, cet être du dehors, éclairé de la lumière étrange que projette sur lui le lieu extrême du bagne, apparaît comme un personnage nécessaire à la mise en place du roman, pêle-mêle vindicatif d’observations et d’inventions, composé du silence et de la parole. Il réunit en effet les cheminements de la différence et de la quête propres aux drames romanesques. Cet être de l’opposition – chez Victor Hugo, Balzac, Paul Féval ou encore George Sand – s’impose donc ainsi qu’un héros. L’imagination des romanciers le transfigure et lui offre le pouvoir du symbole. Comme le Titan révolté de l’Antiquité, le forçat romanesque du XIXe siècle suggère la vérité mythique d’une humanité à la recherche du sensIn a troubled century, ensuing from the upheaval of 1789, the penal colony, place of divide, can be interpreted as a spatial model of doubt, constraint and suffering, of endings and beginnings. Above all, it is the founder of the convict, character of multiple paradoxes, pushing back the limits, motivated by the heat of resurrections of a History in motion, what is the meaning of the emergence, in literature, as an invitation to imagine the unimaginable, of that fallen man, that uncovered culprit, who is not satisfied with any finiteness yet stands for finiteness himself? Halfway through reality and myth, the convict, that man from outside, lit up by the weird light that the extreme place that is the penal colony sheds on him, appears as a necessary character for the setting up of the novel, vindictive hodge-podge of observations and inventions, made of silence and speech. It links, indeed, the development of the notions of difference and quest that are inherent to fictional drama. This being of opposition – in the works of Victor Hugo, Balzac, Paul Féval or else George Sand – imposes himself as a hero. The imagination of the novelist transfigures him and gives him the power of the symbol. As the rebellious Titan of Antiquity, the convict of the 19th century suggests the mythic truth of mankind in search of meaning
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Ndlovu, Isaac. "An examination of prison, criminality and power in selected contemporary Kenyan and South African narratives." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5159.
Full textAbstract:
Thesis (PhD (English))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: This thesis undertakes a comparative examination of South African and Kenyan auto/biographical narratives of crime and imprisonment. Although some attention is paid to narratives of political imprisonment, the study focuses primarily on autobiographical accounts by criminals, confessional narratives, popular fiction about crime and prison experience, and journalistic accounts of prison life. There is very little critical work at this moment that refers to these forms of prison writing in South Africa and Kenya. Popular prison narratives and to a certain extent the autobiographical in general are characterised by an under-theorised dialecticism. As academic concepts, both the popular and the autobiographical form are characterised by an unstable duality. While the popular has been theorised as being both a field of resistance to power and of consent to its demands, the autobiographical occupies a similar precariously divided position, in this case between fact and fiction, a place where the „I‟ that narrates is simultaneously the subject and object of the narrative. In examining an eclectic body of texts that share the prison as common denominator, my study problematises the tension between self and world, popular and canonical, political and criminal, factual and fictional. In both settings, South Africa and Kenya, the prison as a material and discursive space does not only mirror society but effects shifts and changes in society, and becomes a space of dynamic adaptation and also a locus that disturbs certain hegemonic relations. The way in which the experience of prison opens up to a fundamentally unsettling ambiguity resonates with the ambivalence that characterises both autobiography as genre and the popular as a theoretical concept. My thesis argues that during the entire historical period covered by the narratives that I examine there is a certain excess that attends on the social production of criminality and the practice of imprisonment, both as material realities and as discursive concepts, which allows them to have a haunting effect both on individuals‟ notions of „the self‟ and the constitution of national identities and nationhoods. I argue that the distinction between the colonial and the postcolonial prison is hazy. Therefore a comparative study of Kenyan and South African prison literature helps us understand how modern prisons and notions of criminality in contemporary Africa are intertwined with the broad European colonial project, reflecting larger issues of state power and control over the populace. In relation to South Africa, my study begins with Ruth First‟s 117 Days (1963), and makes a selection of other prisons narratives throughout the apartheid era up to the post-apartheid period which was ushered in by Mandela‟s Long Walk to Freedom (1994). Moving beyond Mandela, I examine other forms of South African crime and prison narratives which have emerged since the publication of Pumla Gobodo-Madikizela‟s A Human Being Died that Night (2003) and Jonny Steinberg‟s The Number (2004). In Kenya, I begin with Ngugi wa Thiongo‟s Detained (1981). I then focus on popular narratives of crime and imprisonment which began with the publication of John Kiriamiti‟s My Life in Crime (1984) up to the first decade of the 21st century, marked yet again by the publication of Kiriamiti‟s My Life in Prison (2004). Besides Kiriamiti‟s two narratives, the other Kenyan texts which I examine are John Kiggia Kimani‟s Life and Times of a Bank Robber (1988) and Prison is not a Holiday Camp (1994), Benjamin Garth Bundeh‟s Birds of Kamiti (1991), and Charles Githae‟s, Comrade Inmate (1994).
AFRIKAANSE OPSOMMING: My proefskrif onderneem ‟n vergelykende studie van Suid-Afrikaanse en Keniaanse auto/biografiese narratiewe van misdaad en gevangeneskap. Hoewel aandag tot ‟n mate geskenk word aan verhale van politieke gevangeneskap, is die primêre fokus van die studie eerder op autobiografiese narratiewe deur misdadigers, konfessionele narratiewe, populêre fiksie met betrekking tot misdaad en gevangenis-ondervindinge, sowel as joernalistieke verslae oor gevangenes se lewens agter tralies. Min kritiese werk is tot dusver in verband met hierdie vorme van gevangenis-narratiewe in Suid-Afrika en Kenia gedoen. Populêre prisoniers-narratiewe, en tot ‟n mate autobiografieë oor die algemeen, word deur ‟n onder-geteoriseerde dialektisisme gekenmerk. As akademiese konsepte word beide die populêre en die autobiografiese vorme deur ‟n onstabiele dualisme gekenmerk. Terwyl die populêre tipe geteoretiseer word as sowel ‟n vorm van weerstand teen mag as van toegee daaraan, word aan die autobiografiese tipe ‟n soortgelyke onstabiele, verdeelde rol toegeskryf – in hierdie geval, tussen feitelikheid en fiksie, ‟n plek waar die “ek” wat vertel terselfdertyd die subjek en objek van die verhaal is. Deur middel van ‟n eklektiese versameling van tekste wat die gevangenis as verwysingspunt deel, problematiseer my verhandeling die spanning tussen self en wêreld, die populêre en die gekanoniseerde, die politieke en die kriminele, die feitelike en die fiktiewe. In beide kontekste, Suid-Afrika en Kenia, weerspieël die gevangenis as diskursiewe spasie nie alleenlik die gemeenskapsomgewing nie, maar veroorsaak dit ook veranderings en verskuiwings in die gemeenskap – sodoende word die gevangenis self ‟n ruimte van dinamiese verandering en ‟n plek wat sekere hegemoniese verhoudings versteur. Die manier waarop die ondervinding van gevangeneskap lei tot ‟n fundamentele versteurende dubbelsinningheid resoneer met die dubbelsinnigheid wat beide die autobiografiese as genre en die populêre as teoretiese konsep karakteriseer. My tesis voer aan dat, gedurende die ganse historiese tydperk wat gedek word deur die narratiewe wat ek hier betrag, daar ‟n sekere oormaat is wat die sosiale produksie van misdaad en die toepassing van gevangesetting begelei, beide as stoflike werklikhede en as diskursiewe konsepte, wat hulle toelaat om ‟n kwellende effek uit te oefen beide of individuele mense se sin van „self‟ en die samestelling van nasionale identiteite en nasionaliteite. Ek voer aan dat die onderskeid tussen die koloniale en die postkoloniale gevangenis onduidelik is, en dat ‟n vergelykende studie van Keniaanse en Suid-Afrikaanse gevangenes-narratiewe ons dus help om te verstaan hoe moderne tronke en idees oor misdaad in Afrika deureengevleg is met die breë Europese koloniale projek, en groter kwessies van staatsmag en beheer oor die bevolking weerspieël. In Suid Afrika begin my studie met Ruth First se 117 Days (1963), en maak dan ‟n seleksie van ander gevangenes-narratiewe van die apartheid-era tot en met die post-apartheid oomblik wat deur Mandela se Long Walk to Freedom ingelui word. Ek vestig dan my aandag op ander vorme van Suid-Afrikaanse misdaad- en gevangenes-narratiewe wat sedert die publikasie van Pumla Gobodo-Madikizela se A Human Being Died that Night (2003) en Jonny Steinberg se The Number (2004) verskyn het. In Kenia begin ek met Ngugi wa Thiongo se Detained (1981), en kyk dan ten slotte na populêre narratiewe van misdaad en gevangeneskap wat hulle aanvang vind met die publikasie van John Kiriamiti se My Life in Crime (1984) tot en met die eerste dekade van die 21ste eeu, nogmaals gemerk deur die publikasie van Kiriamiti se My Life in Prison (2004).
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Oswald, Eirwen Elizabeth. "Writing in hostile spaces: a critical examination of South African prison literature." Thesis, 2007. http://hdl.handle.net/10210/27.
Full textAbstract:
Prison, a place that no one can call home, a place where all that was familiar no longer exists, a place where a friendly face is nowhere to be seen, a place that is full of hostility. That which becomes ‘home’ is nothing more than a concrete space, a hole in which one is expected to live. Those with whom the prisoners come into contact are hostile, unkind and unfair. Thus, as a means by which to retain sanity and show the world what happens on the ‘inside’, prisoners begin to write – they begin to write in hostile spaces. This study will argue that the body of writings that constitute ‘South African prison literature’ is both substantial and under-researched. For both of these reasons it warrants closer examination. Another argument that this thesis will advance is that specific authors have made major contributions to this collection of works, with Herman Charles Bosman being the foremost of these. Bosman not only pioneered the prison novel in South Africa, but also set the mould within which most of the other prison-authors have patterned their works. Herman Charles Bosman is often referred to as the ‘father’ of South African prison literature. Such a statement of course presupposes that there is a discernible body of writing that can be called ‘prison literature’. This study will attempt to show that within the larger corpus of South African literature there is indeed a body of writing that can usefully be categorized under the broad rubric ‘prison literature’. Undertaking such a categorization, however, requires generating certain criteria, and then applying these criteria to determine whether specific works adhere to them. For the purposes of this study, the most important criterion is that, for a work to be considered as belonging to the corpus of South African prison literature, it must be about the writer’s personal experience of prison. In other words, fictional (imaginative) narratives about prison life will fall beyond the purview of this study. While it must be conceded that this criterion is not unarguable and self-evident, as the study proceeds it will, I believe, be seen that there is good sense in excluding purely fictional works. (Chapter Three advances the argument for this criterion in more detail.) Other variables have been accommodated – for example, from which prison the prisoner is writing, whether the prisoner writes about his or her experience during or after imprisonment, the nature of the crime committed and when the imprisonment took place. In addition, there is no rigidity about the number of criteria a particular work must fulfil in order to be included in this study (Chapter Three also discusses these criteria at length). One of the questions this thesis will attempt to answer is why prisoners write in the first place. Society’s stereotypical view of a criminal – someone lacking in morals and education – is no doubt dominant, and the notion of a ‘criminal’ adding value to the study of literature is not often conceptualized by many. Writing becomes a powerful tool for the authors examined here, often for different reasons and purposes, but a tool nonetheless. Paul Gready says that, “the word is a weapon that both inflicts pain and secures power. Prisoners are relentlessly rewritten within the official ‘power of writing’… Within this process the prisoner’s sense of self and world is undermined, pain is made visible and objectified in writing and converted into state power [but] prisoners write to restore a sense of self and world, to reclaim the ‘truth’ from the apartheid lie, to seek empowerment in an oppositional ‘power of writing’ against the official text of imprisonment” (1993: 489). The thesis will attempt to show that, notwithstanding their considerable diversity, individual works within the corpus of South African prison literature share many common characteristics. Despite this the study will show also that, even though the prison writings have many common threads running through them, there are many differences within individual writings and the body of literature as a whole. It could be argued that, in earlier years, the works that are the subject of this study were quite satisfactorily regarded as part of other genres (for example, autobiography). So is the whole process of reclassification necessary? In other words, is there any point in attempting to argue for a distinct category of writing (‘prison literature’)? One of the points that will be made in detail later is that frequently the prison writings of a particular writer are only a small aspect of his or her larger oeuvre, and these writings have merely been included in more general discussions of the author’s body of work as a whole. Clearly, this does not do justice to the distinct nature of such a writer’s prison writings. It is the purpose of this study to give the works that make up the corpus of South African prison literature their due. The thesis begins with a brief summation of the prison system in South Africa. This chapter puts the experiences that follow into context. Many of the laws under which these writers were held no longer exist and so, in the interest of better understanding, these are explained in the first chapter as well. This is followed by a brief survey of prison literature. Chapter Two attempts to provide a concise and up-to-date list of the primary and secondary sources that make up the category ‘prison literature.’ Chapter Three introduces the term ‘prison literature’. The chapter includes many of the common characteristics found in prison writing, and outlines the essential criteria of this body of writing. This is followed by a brief examination of the various theories of literature that can be found in prison literature. Chapter Four introduces a vital aspect of the thesis and the argument provided within it. An examination of the theories of Foucault takes place in this chapter. He offers a thread that binds all prison literature together when he states that the prison system is put in place to punish an offender. Modern power to punish is based on the supervision and organization of bodies in time and space. The thesis will then argue that it is in this very space that prisoners write. Thus the hostile space of prison and prison life provides the context in which the literature under examination can be created.The second section of the thesis contains the close examinations of the prison writings of various authors. This section begins with a fairly comprehensive chapter on Cold Stone Jug (Chapter Five), and attempts to describe the foundation that Bosman laid in the writing of this novel. The chapters thereafter include comparisons between each individual prisonauthor’s work and Bosman’s seminal novel, noting the similarities and differences. Each of these chapters (Chapters Six to Nine) also provides a justification for the selection of each of the authors discussed and attempts to show why their writing must be considered some of the greatest prison literature produced in South Africa. Chapter Six examines the prison novel as exemplified in the writings of Breyten Breytenbach and Hugh Lewin. Chapter Seven introduces the concept of prison poetry. It is shown how poets like Jeremy Cronin and Dennis Brutus have also followed the example of Bosman, despite the generic difference in their work. This chapter also attempts to show why poetry must be considered an important part of this novel-dominated category of writing. This argument continues in Chapter Eight, in which prison letters and diaries are discussed and shown to be a vital part of prison literature. The main focus of this chapter is the writings of Ahmed Kathrada. Chapter Nine introduces the writing of women prisoners. This writing shares the typical characteristics found in the works of the prisoners’ male counterparts. No one novelist or poet is examined in detail. This section rather examines women’s writing as a topic in terms of the study as a whole. Importantly, however, it shows that prison writing is not gender- or race-specific. The thesis concludes by discussing the notion that these authors wrote and lived in hostile spaces not only during their imprisonment, but also afterwards: life after imprisonment becomes a hostile space too. The conclusion argues that a clear development can be found in this writing – vii from the publication of Cold Stone Jug in 1949 up until the publication of the final documents from Robben Island in the 1990s.
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Smith, Anderson Patrick Collin. "Empowerment and Revelation Through Literature: a Digital Book Club for Post-incarceration." Thesis, 2020. https://doi.org/10.7916/d8-4a2j-yp08.
Full textAbstract:
Bibliotherapy—the use of books to facilitate the recovery of people in distress from an emotional disturbance—has a history of nurturing metacognition to achieve a cathartic expression by verbal and nonverbal means. The support of a community with shared traumatic experiences, such as incarceration, can help sustain the benefits of bibliotherapy. This exploratory qualitative research study is focuses on a digital book club consisting of men and women with criminal conviction histories (CCH), along with the ways in which a work of fiction could promote self-reflection and resilience necessary for self-rehabilitation. Post-Incarceration Syndrome (PICS) is the leading cause of recidivism among both males and females in the United States, many of whom may have other mental disorders as well. Among those with PICS, incarceration transcends a physical location and becomes a state of mind: mental incarceration. The study’s participants were people who had served over one year of time in a minimum- to maximum-security or federal prison, and who had agreed to participate in an optional four-week digital book club focused on a selected work of fiction. This study contributes to the body of literature surrounding self-rehabilitation and social change by informing administrators, faculty, and staff involved in correctional education that a digital book club could be a viable means of self-empowerment for a person with a CCH, post-incarceration.
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Hainze, Emily Harker. "Wayward Reading: Women's Crime and Incarceration in the United States, 1890-1935." Thesis, 2016. https://doi.org/10.7916/D8QC03W7.
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This dissertation, “Wayward Reading: Women’s Crime and Incarceration in the United States, 1890-1935” illuminates the literary stakes of a crucial, yet overlooked, moment in the history of American incarceration: the development of the women’s prison and the unique body of literature that materialized alongside that development.
In the late 19th and early 20th century, the women’s prison became a testing ground for the study of women’s sexuality: social scientists sought to assimilate their “patients” into gendered and racialized citizenship by observing the minutiae of women’s everyday lives and policing their sexual and social associations. Ultimately, this experimental study of women’s sexuality served to reinforce racial stratification: sociologists figured white women’s waywardness as necessitating rescue and rehabilitation into domesticity, and depicted black women’s waywardness as confirming their essential criminality, justifying their harsher punishment and consignment to contingent labor. I argue that women’s imprisonment also sparked another kind of experimentation, however, one based in literary form. A wide range of writers produced a body of literature that also focused on the “wayward girl’s” life trajectory. I contend that these authors drew on social science’s classificatory system and cultural authority to offer alternate scales of value and to bring into focus new forms of relationship that had the potential to unsettle the color line. In Jennie Gerhardt, for instance, Theodore Dreiser invokes legitimate kinship outside the racialized boundaries of marriage, while women incarcerated in the New York State Reformatory for Women exchanged love poetry and epistles that imagine forms of romance exceeding the racial and sexual divides that the prison sought to enforce. Wayward Reading thus draws together an unexpected array of sociological, legal and literary texts that theorize women’s crime and punishment to imagine alternate directions that modern social experience might take: popular periodicals such as the Delineator magazine, criminological studies by Frances Kellor and Katharine Bement Davis, the poetry and letters of women incarcerated at the New York State Reformatory for Women, and novels by W.E.B Du Bois and Theodore Dreiser.
To understand how both social difference and social intimacy were reimagined through the space of the women’s prison, I model what I call “wayward” reading, tracing the interchange between social scientific and literary discourses. I draw attention to archives and texts that are frequently sidelined as either purely historical repositories (such as institutional case files from the New York State Reformatory) or as didactic and one-dimensional (such as Frances Kellor’s sociological exploration of women’s crime), as well as to literary texts not traditionally associated with women’s imprisonment (such as W.E.B. Du Bois’ The Quest of the Silver Fleece). Reading “waywardly” thus allows me to recover a diverse set of aesthetic experiments that developed alongside women’s imprisonment, and also to reconsider critical assumptions about the status of “prison writing” in literary studies. A number of critics have outlined the prison as a space of totalizing dehumanization that in turn reflects a broader logic of racialized domination structuring American culture. As such, scholars have read literary texts that describe incarceration as either enforcing or critiquing carceral violence. However, by turning our attention to the less-explored formation of the women’s prison, I argue that authors mobilized social science not only to critique the prison’s violence and expose how it produced social difference, but also to re-envision the relationships that comprised modern social life altogether.
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Parra, Jamie Luis. "Prisoners of Style: Slavery, Ethics, and the Lives of American Literary Characters." Thesis, 2016. https://doi.org/10.7916/D8T72H9W.
Full textAbstract:
This dissertation reconsiders the relationship between fiction and slavery in American literary culture. “Prisoners of Style” shows how writers from the middle of the nineteenth to the middle of the twentieth century, including Hannah Crafts, Mark Twain, Charles Chesnutt, and William Faulkner, wrestled with enslavement. They found it not only a subject to be written about, but also a problem of characterization. Slavery and the ontological sorcery through which it produced a new kind of individual—the individual who is also a thing—led these authors to rethink basic formal assumptions about realist fiction, especially about what constitutes a literary character. The writers I discuss did not set out to argue for the slave’s humanity or to render her interiority, but instead sought to represent the systematic unmaking of black personhood perpetrated by the laws and institutions that governed chattel slavery in the US. They set out to reveal the ideological violence perpetrated against enslaved blacks, and they did so by writing characters who embodied the categorical uncertainty of the slave, characters who were not allegories for real, full people. The tradition of writing I describe does not represent the fullness of enslaved “persons”; instead it renders something far more abstract: the epistemology that undergirded enslavement—those patterns of thought that preconditioned slavery itself.
The authors I study understood fictionality as a thorny ethical, epistemological, and political problem. In my chapter on Crafts, for example, I look at The Bondwoman’s Narrative alongside a set of non-fiction texts about Jane Johnson, the slave who preceded her in John Hill Wheeler’s household. Reading the novel against legal documents, pamphlets, and histories about Johnson and her escape from Wheeler, the chapter explores what fiction could do that these other modes of writing could not. In moments of sleep, amnesia, and daydreaming, Crafts resists the normative logic of subjecthood and individual rights that underpins the representations of Johnson. In the second half of the project, I demonstrate the significance of fictionality to American literary realism’s evolution into modernism. The final chapter, on Faulkner, places two of his Yoknapatawpha novels within the context of his interest in modernist painting and sculpture. Work by Picasso, Matisse, and other visual artists inspired his concern with surfaces and flatness, leading to a meditation on artifice that runs throughout his major novels. I argue that his flatness—his insistence on the non-referential quality of fiction—is crucial for understanding his characterization and philosophy of history history, in particular the history of Southern plantation slavery.
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Gould, Rebecca. "The Political Aesthetic of the Medieval Persian Prison Poem, 1100-1200." Thesis, 2013. https://doi.org/10.7916/D85M6BF1.
Full textAbstract:
The Political Aesthetic of the Medieval Persian Prison Poem, 1100-1200 traces the dissemination of the medieval Persian prison poem (habsiyyat) from South Asia to the Caucasus in the context of the contemporaneous developments in literary and political theory that shaped this genre. Varying attitudes towards figuration in Persian literary criticism are examined in terms of an aesthetics of incarceration that, I argue, extended the political boundaries of medieval Persian literary culture. Drawing on the pioneering works of Zafari (1985) and Akimushkina (2006), I elucidate the prison poem's strategies for making the medieval experience of incarceration available to literary representation. In documenting the dialectic between the sultan's material power and the poet's discursive sovereignty, I show how medieval Persian prison poetry critically engaged with medieval punitive practices. Ultimately, this dissertation traces the relation between the increased use of incarceration as a mode of punishment by regional sultanates and the discursive elevation of poetry that is Persian literature's greatest contribution to world literature. Concomitantly with investigating the twelfth-century aesthetics of incarceration, this dissertation documents how twelfth-century Persian poetry was transformed by idioms of literary knowledge articulated through a Persianized Arabo-Islamic rhetoric. Exegeses of specific prison poems by Mas'ud Sa'd Salman of Lahore (d. 1121), Khaqani Shirwani (d. 1199), and of other prison poets from these regions, are offered alongside documentary explorations into the status of non-Muslim minorities in Saljuq domains, the transformation of a predominantly panegyric genre into an instrument of political critique, and demonstrate the political importance of the habsiyyat to the historiography of incarceration as well as of Persian literature. By examining the literary archive of incarceration from Lahore in South Asia to Shirwan in the Caucasus, this study aims to expand the scope of investigations into the aesthetics of power as registered by literary form, to extend the temporal dimensions of the historiography of incarceration, and to contribute to classical Persian literary theory's conceptualization of genre. Chapter one offers a synoptic and global history of incarceration in the medieval world. Chapter two considers what the prison poem as a genre has to offer global literary theory. Chapter three studies the complex modulation of the qasida form through the prison poem's emphasis on the poet's lyric subjectivity. Chapter four traces the appropriation of the motifs of prophecy by Persian prison poets who aspired for a sovereignty that exceeding the boundaries of material power. Chapter five offers detailed exegeses of the two most significant texts in the medieval Persian archive of incarceration: Khaqani's Christian qasida and his qasida on the ruins of Mada'in. Chapter six documents the devolution of authority onto prison poetry and the reconstitution of material power through discursive sovereignty. Collectively, these chapters show that, just as medieval Persian prison poets protested the terms of their social contracts and thus suffered imprisonment, so did the prison poem genre contest the distribution of sovereignty in the medieval world by transferring prophecy, and prophecy's concomitant authority, to the poet.
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Aarons, Michelle Sandra. "Prison experience in the work of some South African writers from Lessing to Cronin." Thesis, 2014.
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Booth-Yudelman, Gillian Carol, and Gillian Carol Booth Yudelman. "South African political prison-literature between 1948 and 1990 : the prisoner as writer and political commentator." Thesis, 1997. http://hdl.handle.net/10500/15480.
Full textAbstract:
This thesis examines works written about imprisonment by
four South African political prison writers who were incarcerated
for political reasons. My Introduction focuses on current
research and literature available on the subject of political
prison-writing and it justifies the study to be undertaken.
Chapter One examines the National Party's policy pertaining to
the holding of political prisoners and discusses the work of
Michel Foucault on the subject of imprisonment as well as the
connection he makes between knowledge and power. This chapter
also considers the factors that motivate a prisoner to write.
Bearing in mind Foucault's findings, Chapters Two to Five
undertake detailed studies of La Guma's The Stone Country, Dennis
Brutus's Letters to Martha, Hugh Lewin's Bandiet and Breyten
Breytenbach's The True Confessions of an Albino Terrorist,
respectively. Particular emphasis is placed on the reaction of
these writers against a repressive government. In addition,
Chapters Two to Five reflect on the way in which imprisonment
affected them from a psychological point of view, and on the
manner in which they were, paradoxically, empowered by their
prison experience. Chapters Four and Five also consider capital
punishment and Lewin and Breytenbach's response to living in a
hanging jail. I contemplate briefly the works of Frantz Fanon in
the conclusion in order to elaborate on the reasons for the
failure of the system of apartheid and the policy of political
imprisonment and to reinforce my argument.English Studies
D. Litt. et Phil. (English)
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Thomas, Ruth. "“According to the fair play of the world let me have audience” : reading convict life-narratives of Van Diemen’s Land." Thesis, 2008. https://eprints.utas.edu.au/8560/1/Thomas_whole_thesis.pdf.
Full textAbstract:
This thesis examines published convict life-narratives of Van Diemen’s Land. I analyse eighteen self-referential accounts of convictism, written by male transportees and published in Britain, Ireland, America or Australia during the nineteenth century. I scrutinise how convict authors gained access to public autobiographical space and how they negotiated an authoritative speaking position within that space. My approach follows the precedent of autobiography theorists like Gillian Whitlock, Sidonie Smith and Julia Watson, who encourage readers of life-narrative to understand self-referential writing as an historically situated conversation between the personal and the public. I understand autobiographical narrative not as the story of a life as lived, but as a site where, as Smith and Watson suggest in Reading Autobiography: A Guide for Interpreting Life Narratives, “the personal story of a remembered past is always in dialogue with emergent cultural formations” (83). My thesis is underpinned by the assumption that publication attests to that dialogue. I conduct an historicist reading of the narratives and use the retrievable history of each text to situate it within the historical context of its first publication.
Chapter One interrogates the narrative and material forms of each text to locate evidence of how a personal recollection of crime and convictism was shaped and packaged for commercial readership. I borrow from Whitlock’s The Intimate Empire the notion of the “unlikely autobiographer.” I suggest that, like former slave Mary Prince, convict life-writers were disenfranchised and disempowered within the operative and discursive frameworks of convictism, which rendered their access to publication unlikely and the eighteen published accounts consequently exceptional. I identify five kinds of extra-textual conditions that facilitated the original publication of each extant narrative. I locate each text within the promotional, propagandist, political, pragmatic or historical conditions of its initial publication.
Chapter Two considers how the dictates of publication impacted upon convict writers’ autobiographical authority. Again, I borrow from readings of Mary Prince’s narrative, by both Whitlock and Moira Ferguson, which recover Prince’s agency within a highly scripted collaborative production. I argue that authorial employment of autobiographical space as a site for self-determination and self-reconstruction demonstrates some degree of protagonist and authorial agency in these texts. I then return to the notion of dialogue and consider several features of some accounts which complicate their status as autobiography. In this final discussion, I posit that convict life-narrative is a polyvocal site and that attending to this polyvocalism furnishes a fuller portrayal of the experiences, meanings and ramifications of convictism for individuals than does a reading that presumes life-narrative is a unitary utterance of a life as lived.
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Hašková, Arina. "Antologie sovětské lágrové prózy v českých překladech a české sociokulturní recepci." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-329050.
Full textAbstract:
The thesis focuses on contrastive analysis of Soviet prison and labour camp literature published in anthology Jen jeden osud. The Czech version of this compilation was translated in 2009. The main task is to explore the adequacy of employed methods and approaches in translation. The thesis consists of two parts. The first part is focused on detailed analysis of original anthology and its translation to Czech. It explores types of memoirs containing the Russian anthology Доднесь тяготеет (Dodnes tyagoteyet (2004)), its variability of literary genres and its time radius. Then it analyses, how these criteria are reflected in the Czech version of anthology. The second part is focused on contrastive analysis of two selected memoirs from Yekaterina Olitskaya На Колыме (Na Kolyme) and Yuriy Fidelgolts Беспредел (Bespredel). Analysis focuses mainly on different category of prisoners, i.e. division on political and criminal prisoners and different classes of criminal prisoners. The important part was dedicated to the analysis of the author's style and its reflection into the target language.
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Clemens, Colleen Ann Lutz. ""Prisoner of my own story": Women and the politics of veiling in postcolonial literature." 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3354744.
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Alexander, Patrick Elliot. "From Slave Ship to Supermax: The Prisoner Abuse Narrative in Contemporary African American Fiction." Diss., 2012. http://hdl.handle.net/10161/5492.
Full textAbstract:
Responding to African American literary criticism's recent engagements with contemporary U.S. imprisonment,
they are confined are also generative sites for reimagining the self and community.
Dissertation
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Makhathini, Bheka A. "Crossing borders : a critical study of Michael Dingake's My fight against apartheid (1987) and Helao Shityuwete's Never follow the wolf : the autobiography of a Namibian freedom fighter (1990)." Thesis, 1993. http://hdl.handle.net/10413/4181.
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VESELKOVÁ, Ivana. "Obraz nacistického a komunistického vězně v české literatuře 2. poloviny 20. století." Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-45527.
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The dissertation The theme of Nazi and Communistic prisoner in Czech literature in the 2nd half of the 20th century deals with political prison in prose of the given period. Its aim is to show the whole picture on both mentioned phases and regimes, on relations and attitudes of literary theory to the literature, which is related with political theme and firstly on psychological and social world of political prisoners of Nazi and Communist regime in the literature.
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"Cambiemos las Rejas: Crisis, Reform, and the Search for Justice in Colombia's Prisons, 1934-2018." Tulane University, 2018.
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Jürges, Christina. "Prisons et chez-soi dans la littérature migrante canadienne et allemande féminine : la construction de l'espace chez Agnant, Farhoud et Demirkan." Thèse, 2012. http://hdl.handle.net/1866/8807.
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Les littératures migrantes féminines canadienne et allemande contemporaine sont ancrées sur des questionnements de l’espace. Les auteures comme Abla Farhoud (Le bonheur a la queue glissante), Marie-Célie Agnant (La dot de Sara) et Renan Demirkan (Schwarzer Tee mit drei Stück Zucker) arrivent à transmettre les problèmes et questionnements liés à la condition migrante féminine de nos jours, à travers leur utilisation particulière de l’espace dans leurs romans. La métaphore de la prison aide à saisir la complexité de la situation de la femme et de son rapport avec l’espace. Il faut prendre en considération des facteurs comme le déracinement de la femme de la terre natale, sa domination par l’homme et son impuissance face aux événements liés à la migration, ainsi que son emprisonnement par autrui quand la femme est marquée par les préjugés et le racisme de la société d’accueil. La prison de la femme se manifeste également à un autre niveau, soit celui des théories spatiales : les théories spatiales masculines courantes (notamment celles de Bachelard, Merleau-Ponty, Lefebvre, De Certeau et Augé) négligent la situation particulière de la femme. Bien qu’elles aident à exposer ce que les espaces dans les romans nous communiquent et comment il faut lire les espaces, elles sont insuffisantes pour révéler le rapport femme migrante – espace dans toute sa complexité. De plus, la réalité spatiale de la femme telle qu’exposée par les théories féministes (notamment celles de Shands, Rose, Chapman et Massey) saisit seulement en partie le rapport spatial complexe de la femme migrante. La faiblesse des théories mentionnées ci-haut vient du fait qu’elles sont parfois trop simples. Elles ne tiennent pas compte de l’histoire de la femme migrante : due à son histoire particulière, sa conception des termes territoire, chez-soi et identité est tout à fait différente de celle des individus qui n’ont pas fait l’expérience d’un déracinement. En exposant les problèmes particuliers de ces femmes, cette thèse aide à sortir les femmes du silence qui les opprime. Par cette thèse, nous répondons donc à un besoin qui existe dans le champ d’étude : nous plaçons la femme migrante au centre de la réflexion théorique en insistant sur la complémentarité des théories masculines et féminines/féministes et sur la nécessité de combiner plusieurs points de vues théoriques. Par cette thèse, à l’aide de notre analyse des espaces dans les romans, nous précisons la situation nuancée de la femme migrante et apportons des perspectives éclairantes au sujet de son rapport complexe à l’espace.Contemporary Canadian and German female migration literature is closely linked to questions of space. Authors such as Abla Farhoud (Le bonheur a la queue glissante), Marie-Célie Agnant (La dot de Sara) and Renan Demirkan (Schwarzer Tee mit drei Stück Zucker) communicate problems and questions linked to today’s female migrant condition through their particular use of space in their novels. The prison metaphor helps to reveal the complex situation of the female migrant and her relationship with space: we have to take into consideration elements such as the uprooting from her birth country, her domination by men and her powerlessness regarding the events linked to migration, as well as her confinement by others. For example, these women are often subject to prejudices and racism on the part of the new country’s society. The woman’s prison becomes also obvious when it comes to theories of space: the current male theories of space (especially those by Bachelard, Merleau-Ponty, Lefebvre, De Certeau and Augé) are ignoring the woman’s particular situation. Even though they help to expose what the spaces in the novels are telling us and how we must interpret the spaces, they are unable to reveal the migrant woman’s relationship to space in all its complexity. Also, the spatial reality of women exposed by feminist theories (especially those by Shand, Rose, Chapman and Massay) can only partially understand the complex spatial relationship of migrant women. The weak points of the theories we mentioned here come mostly from the fact that they are too simple: they don’t include the history of the female migrant in their reflections. Due to the female migrant’s particular history, her conception of terms such as territory, home and identity are very different than those of individuals who have not been exposed to the experience of being uprooted. By exposing the particular problems faced by female migrants, this thesis helps break the silence that oppresses them. Therefore, through this thesis, we are filling a gap that exists in the field of research: we are placing the migrant woman in the center of the theoretical reflections, by exposing the complementarity of male and female/feminist theories and the necessity of combining different theoretical points of view. Through this thesis and our analysis of the spaces in the novels, we are giving a precise idea of the woman’s nuanced situation and are offering a clarifying perspective on her complex relationship to space.
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Motlalekgosi, Hendrik Puleng. "Systematic review of theoretical and evidence-based literature on offenders' treatment in South Africa : a penological perspective." Thesis, 2015. http://hdl.handle.net/10500/20678.
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The South African Department of Correctional Services has a legislative mandate of detaining offenders in safe custody whilst ensuring their human dignity amongst others. This stems from section 2 of the Correctional Services Act 111 of 1998 as amended. In addition to that, chapter 3 of this Act makes provision for conditions under which offenders should be treated, conditions of human dignity. This piece of legislation is effectively giving effect to the Bill of Rights as articulated in chapter two of the Constitution of the Republic of South Africa of 1996. It is expected of the department to treat offenders according to the provisions of not only this Constitution and Correctional Services Act 111 of 1998 as amended but also to comply with the international conventions and treaties.
Extensive empirical and non-empirical studies on the treatment of offenders have been conducted by various scholars in the field of penology but not much has been done to bring to the fore knowledge with regard to the developmental trend of the treatment of offenders. It is against this backdrop that a qualitative study through systematic review of literature was conducted to bring together and examine available literature. In other words, a systematic literature review was conducted to determine if there is a developmental trend towards the treatment of offenders in South Africa as required by the prescripts of the law. Furthermore, this study was conducted to also demonstrate the researcher’s knowledge in the field of penology.
The focus was on the central theories identified as offenders’ rights. The Department of Correctional Services identified eight offenders’ rights and sees them as its Constitutional mandate (Department of Correctional Services, 2013:8). This study has found a violation of the offenders’ right to equality to be diminishing over time. Apart from that, this study reveals a substantial violation of offenders’ rights because out of seven offenders’ rights, only one [freedom of religion] appears be successfully protected and promoted by the department. This study further present the recommendations and suggested areas of further research.Penology
D. Litt. et Phil. (Penology)
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Moyo, Robert. "Reading the prison narrative: An examination of selected Southern African Post - 2000 writings." Diss., 2018. http://hdl.handle.net/11602/1176.
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MA (English Literature)Department of English
This study examines a selection of Post-2000 Southern African prison narratives. It primarily focuses on fictional narratives that were written in South Africa and Zimbabwe. Little critical attention has been given to fictional prison writing in Southern Africa considering that much critical attention has been accorded to autobiographies by political prisoners. The demise of autobiographical writing has led to the rise in the production of prison novels, hence the need to examine this evolving genre. This study is driven by the need to examine the construction and representation of subjectivity in the selected narratives. It explores how the prison is experienced, by paying attention to issues of criminality, identity, gender and power. This study begins with the examination of criminality and the representation of the function of the prison in Red Ink by Angela Makholwa (2007), followed by the exploration of gender and identity issues in A Book of Memory by Petina Gappah (2015). It further examines how the notions of power and counter-discourse are portrayed in The Violent Gestures of Life by Tshifhiwa Given Mukwevho (2014). This study employs the method of close textual analysis of the selected narratives. It is underpinned by post-colonial theory, the paradigm of the Panopticon which is foregrounded by Michel Foucault in Discipline and Punish: The Birth of Prison (1977) and Daniel Roux’s perceptions of the prison in Doing Time under Apartheid (2013). This study contends that notions of detention and imprisonment continue to play a central role in the production of selfhood in literary works. It is clear in the study that the prison is used as an institution to critique different phenomena regarding the prison experience. In this study, I clearly show that the selected narratives can be read as platforms for resistance against social ills that prevail in the post-apartheid/post-colonial society. I also argue that there is a thin line between fiction and non-fiction, apartheid/colonial and post-apartheid/post-colonial prison systems. The narratives I explore in this study reveal more continuities than discontinuities from the apartheid/colonial prisons.
NRF
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Johnson, Kwesi. "Building Better Schools not Prisons: A Review of the Literature Surrounding School Suspension and Expulsion Programs and the Implications of such Programs on the Lives of Racial and Ethnic Minority Students." Thesis, 2012. http://hdl.handle.net/1807/33655.
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It has been argued, albeit with some degree of success, that the challenges facing the 21st century Canadian classroom are highly complex. A troubled economy riddled with cutbacks to the education system, ongoing enrolment decline and challenges in embracing a growth in the diversity of students are among the changes that have made classrooms increasingly difficult to navigate. Though the last assertion may be true, disciplinary policies and the tools used to address unwanted student behaviour have remained relatively unchanged within the education system. Using Critical Race Theory, the author examines the implications of school suspension and expulsion programs on students and provides an analysis of current literature on alternative disciplinary methods in public schools. Findings suggest that a mixture of strategies within various disciplinary programs can benefit some students, but more work must be done to address socioeconomic disparities plaguing the majority of students found in these programs.
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Sahaduth, Ummay Parveen. "Tahar Ben Jelloun: de l’univers carcéral à la libération." Thesis, 2011. http://hdl.handle.net/10500/4894.
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French textSi nous pouvons constater, d’une part, que l’univers carcéral occupe une place très importante dans les textes de Tahar Ben Jelloun, nous ne pouvons cependant ignorer, de l’autre, les efforts des personnages de la diégèse ben jellounienne pour trouver une libération quelconque. De ce fait, la libération constitue l’objet de notre étude par excellence. Nous avons choisi cinq textes de l’écrivain marocain : Moha le fou Moha le sage (1978), L’enfant de sable (1985), La nuit sacrée (1987), Cette aveuglante absence de lumière (2001) et Amours sorcières (2003). Après un survol rapide de l’incarcération sous ses différentes formes, allant des plus concrètes aux plus abstraites, nous étudions les paradigmes les plus communs vers lesquels l’homme maghrébin moderne se tourne dans le but de se libérer des carcans qui l’entravent et nous en relevons tour à tour les limitations ou lacunes. Ainsi, nous remettons en question le modèle matérialiste qui échoue pour ce qui de la libération de l’individu en raison de ses excès. Puis, nous étudions le modèle psychologique mettant l’accent sur ses limites dans la mesure où il comprend un mouvement vertical vers le bas. Or, sans un mouvement vers le haut, aucune libération n’est possible. Très particulière à la société maghrébine est la praxis islamique moderne qui, loin de libérer l’individu, ne fait que l’étouffer davantage. Ensuite, nous soulevons des questions au sujet de la sorcellerie et des dangers qu’elle comprend. Loin d’être un élément libérateur, elle constitue un piège. Nous arrivons éventuellement à la seule clé capable d’apporter la libération intérieure au Maghrébin : la métaphysique et, dans le contexte de la civilisation arabo-islamique, il s’agit de l’ésotérisme islamique ou le soufisme. Ce mémoire requiert une approche très scientifique telle que l’exige la nature même de notre problématique. Nous avons opté pour une approche métaphysique pour conduire notre étude à bon port.
If we cannot deny the fact that the realm of incarceration holds an important place in the texts of Tahar Ben Jelloun, we also have to acknowledge the endeavours of the characters to find liberation in some way or another. Therefore, above all else, liberation constitutes the object of our study. We have chosen five texts of the Moroccan author: Moha le fou Moha le sage (1978), L’enfant de sable (1985), La nuit sacrée (1987), Cette aveuglante absence de lumière (2001) and Amours sorcières (2003). After a quick glance at the different forms of incarceration, starting from the most tangible and moving to the most abstract ones, we study the most common paradigms to which the Moroccan turns to in order to free himself from the shackles that imprison him and we study simultaneously their shortcomings. Hence, we call into question the materialistic model that fails in liberating the individual on account of its excesses. Then, we study the psychological model laying emphasis on its limitations in that it comprises a vertical downward movement while no liberation is possible without an upward movement. Quite specific of the Moroccan society is the modern Islamic praxis that, in lieu of freeing the individual, only stifles him more. Afterwards, we raise questions concerning sorcery and dangers that it represents. Far from being a liberating agent, it constitutes a trap. Ultimately we come to the only key capable of bringing internal liberation to the Moroccan: metaphysics and, in the arabo-islamic context, it is Islamic esotericism or Sufism. This thesis requires a most scientific approach as demands the very nature of our problematic. We have thus chosen a metaphysical approach that best suits our study.
Classics and World Languages
M.A. (French)