Dissertations / Theses: 'Prisons, fiction'

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Duguet, Emmanuelle. "Fiction et inter/dits : comment et pourquoi intervenir en prison par le biais d'ateliers de pratiques artistiques participatives ?" Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30057/document.

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L'objet du présent travail et sa fonction sont d'élaborer et de partager une pratique de la mobilité de l'expression, de la liberté de fiction
The purpose of this work and its function are to develop and share a practice of the mobility of expression, of freedom of fiction

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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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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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McAvinchey, Caoimhe. "Possible fictions : the testimony of applied performance with women in prisons in England and Brazil." Thesis, Queen Mary, University of London, 2007. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1678.

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This thesis is based on a practice based research project with women in prison led by Lois Weaver, Peggy Shaw and myself. The project, Staging Human Rights II, took place in two prisons in England, HMP Highpoint and HMP and YOI Bullwood Hall, and two prisons in Brazil, Presidio Nelson Hungria and Penetenciaria Talavera Bruce. The research was conducted between September 2001 and June 2003. The project was part of a larger, umbrella programme, Staging Human Rights, which sought to find ways, through performance methodologies, in which the language of human rights could incorporate the everyday lives and experiences of people within the criminal justice system. Within this context, Weaver and Shaw called upon non-cognitive, postmodern performance strategies through which the women in prison witnessed their own lives through the testimony of performance. Theoretical considerations of witness and testimony frame the thesis, situating performance as an act of witness, and positioning testimony as an urgent and critical epistemological act in the field of Applied Performance. My research was guided by two questions: what can be known of the possibilities of performance by working with women in prison? What can be known of the context of women's prisons through performance? The thesis is structured into two sections. Section I, made up of Chapters 1-5, considers the theoretical and practical contexts in which the practice based research was undertaken. Section II, Chapter 6, considers each of the five performance residencies and In The House, the performance event in which the research culminated on 23 June 2003. This section calls upon performative writing to both describe and reflect upon the practice and its context. Through writing this thesis, I am bearing witness to what I have come to understand of the possibilities of performance and the experiences of women in prison through performance practice with women in prison.

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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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Arsac, Marie. "Les prismes de l'illusion dans l'oeuvre d'Alessandro Baricco." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3065.

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Cette thèse se propose d'étudier les aspects de la relation entre littérature, illusion et sens dans le corpus d'Alessandro Baricco, comprenant aussi bien son travail d’essayiste que ses œuvres de fiction. Nous convoquons de la sorte ses recueils de Barnum (1995) à Una certa idea di mondo (2013), des essais comme Next ou I barbari (2002 et 2008) et ses romans de Castelli di rabbia (1991) à La Sposa giovane (2015) – qui peuvent être analysés de différentes manières, stylistiquement, thématiquement, de manière détaillée ou partielle selon les besoins de l’argumentation. Compte tenu de l'ampleur du sujet, relevant tout autant de problématiques philosophiques que de questions sémiologiques, l’étude est focalisée sur la dialectique entre illusion de (la) réalité et vérité fictionnelle, à travers plusieurs prismes. Nous parcourons ainsi les illusions de la postmodernité en tant que nouvelle ère culturelle et littéraire, les remises en cause de l’illusion référentielle, notamment par le biais de l’aspect figural, soit l’exemplarité des personnages baricchiens. Symptomatiques de la tension entre fiction et réalité, eux-mêmes porteurs de thématiques dialoguant avec l’illusion, telles que le désir, le rêve, l’idée de destin, ils nous permettront d’ouvrir la réflexion sur les influences, la résistance, voire la subversion d’une voix narrative qui répond au réel, le conteste ou le diffracte jusqu’à l’émergence d’une autre signifiance
This thesis intends to study the aspects of the relationship between literature, illusion and meaning in Alessandro Baricco’s corpus, including both essays and novels. We take interest in his collections, from Barnum (1995) to Una certa idea di mondo (2013), as well as his essays such Next or I barbari (2002 and 2008) and his novels from Castelli di rabbia (1991) to La Sposa giovane (2015) – which can be analyzed in various manners, stylistically, thematically, in detail or partially according to the argumentation’s needs. Given the extent of the subject, raising as many philosophical problems as semiotic questions, the study is focused on the dialectic between illusion of (the) reality and fictional truth, through several prisms. We traverse this way the illusions of postmodernity, as a new cultural and literary era, the reassessment of the referential illusion, especially through the figural aspect, that is the exemplary nature of baricchiens characters. Symptomatic of the tension between fiction and reality, they carry themselves themes relating to the illusion, such as desire, dream, the idea of fate. They will enable us to open reflection on the influence, resistance, even the subversion of a narrative voice that responds to reality, contests it or diffracts it until the emergence of another significance

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Parkinson, John. "Teaching creatively in prison education : an autoethnography of the ground." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/teaching-creatively-in-prison-education-an-autoethnography-of-the-ground(a6b8be1e-8758-4961-8135-8e38e946a894).html.

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This thesis portfolio presents an autoethnographic account of a prison educator engaged in a research project that explores creative approaches to arts, prison education, work and training in custodial settings. The position of the researcher is located in-between and across professional practices including arts in prisons, prison education, work and training environments, which have conflicting agendas that, nevertheless, share the same institutional space. Policymakers and management bodies regulating these professional practices expect education and training to contribute to reducing reoffending. Procedurally, the research process was precariously balanced between, on the one hand, performing to measures of quality based on the requirement to reduce recidivism, and on the other, crude outcome measures driven by a utilitarian marketization of prison education that includes course completion rates calculated on the basis of minimum contact time. This broader context created an uncertain and constantly shifting context for the research, which began with my search for an effective creative practice in a Performing Arts Department (PAD) and ends in a Functional English classroom (FEC). Conceptually, the research draws on the What Works debate (McGuire, 1995; Brayford et al. 2010), which continues to create a disjuncture between policy and implementation resulting from unrealistic assumptions that arts and education programmes in prison might prevent reoffending, with evidence relying solely upon randomisation, reductive causation and numerical calculation. It also draws on desistance theory (Maruna, 2001; McNeil, 2006), which argues that desistance from crime can be understood as an indirect process, rather than an event. From an examination of my efforts to implement and develop creative approaches to education via autoethnographic tools, including fictional performative writing, I argue two main points. Firstly, the autonomy required by the creative prison educator engaged in an advanced research project re-positions the professional in a particular relationship with the bewildering processes of power, protectionism and performance management in the criminal justice system. Secondly, and as demonstrated through fictional performative writing, I argue that research methods engaging voices from the frontline of educational environments, can reveal seemingly small details relating to the challenges and possibilities of creative education in prisons that, nonetheless, have significant implications for developing productive and innovative approaches to desistance from crime. Moreover, from this grounded, yet restricted position, I speculate how such approaches might extend both creativity and creatively beyond the validation of this doctorate qualification.

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Olsen, Andrew J. "Easy Hearts: A Novel." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/2322.

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Easy Hearts is a novel set in contemporary Texas. Justin Borchard, just paroled after three and-a-half years in prison, returns to his hometown in East Texas where his wife, Melinda, has been tending bar at the Shortleaf Inn. After Melinda confesses to a brief affair with a local oil executive named Waylon Goodwin, an affair she has ended, and facing limited prospects in their hometown, Melinda and Justin make the hard choice to accept a proposition from Waylon: they will leave home for Hearts County, a desolate swatch of hardpan in the Permian Basin of West Texas, where Waylon has arranged steady work for Justin in the oil fields. When Melinda vanishes from their trailer home, Justin must re-cross Texas, avoiding the law and dangerous railway men, so he can confront his troubled past, his increasingly mysterious wife, and the secrets sown around them.

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Morrissey, Priska. "Naissance d'une profession, invention d'un art : l'opérateur de prises de vues cinématographiques de fiction en France (1895-1926)." Paris 1, 2008. http://www.theses.fr/2008PA010636.

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Cette thèse retrace l'histoire du métier d'opérateur de prise de vues cinématographiques de fiction, en France, de 1895 a 1926. La première partie est consacrée au cinéma des premiers temps. Et, à la naissance du metier, de l'heritage de la photographie a l'apparition de cet opérateur de cinéma, corps mobilisé auprès de la camera. La deuxième partie s’étend de 1906, date de la seconde industrialisation, à 1914: la figure de l'operateur se dessine et prend corps. Bénéficiant indirectement de la sédentarisation du spectacle cinématographique qui conduit les opérateurs de projection à s'organiser et se syndicaliser et de la rationalisation de la production, les opérateurs de prise de vues prennent conscience de leur propre identité. Enfin, la troisième partie s étend de 1914 a 1926. La Première Guerre mondiale signe la sortie de I'anonymat de l'opérateur tandis que la première moitié des années 1920 constitue une sorte d'age d'or de l'opérateur, nouveau « bras droit» du metteur en scène.

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Abbott, Sarah J. "The Future Perfect." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/30.

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In the prison society of Circadia, the Jury doesn’t need chains or locks to keep citizens tame, only routine—but Valerie and Brennan break the routine. Valerie allows a hospital patient who hurt her in the past to die from cardiac arrest. Her twelve-year term will be reset if anyone finds out she didn’t try to save him; she’ll start over in the dangerous Twelfth Circle. With 455 days left in Circadia, she must lie not only to the authorities but also to her family. And she’s a terrible liar. Most conversations halt near Brennan, the Warden’s son, but even he catches the whispers after a police officer attempts to escape from Circadia. When Brennan learns that his mother and a Juror are rigging the officer’s public trial, they give him a choice: side with the Circadians and lose his safety, or side with the Jury and lose his self-respect. Structured in chapters that alternate between Valerie and Brennan, this novel—influenced by George Orwell, Suzanne Collins, and Michel Foucault—suggests that the best prison makes you comfortable. It makes you want to stay.

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Hale, Jacob S. "Reading Street Lit with Incarcerated Juveniles: The Myth of Reformative Incarceration." University of Dayton / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1523966308255071.

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12

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.

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Responding to African American literary criticism's recent engagements with contemporary U.S. imprisonment, From Slave Ship to Supermax traces the development of a heretofore un-theorized tradition in African American literature in which fiction writers bring to light the voice, critical thinking, and literary production of actual prisoner abuse survivors. This dissertation treats novelists James Baldwin, Toni Morrison, Charles Johnson, and Ernest Gaines as the contemporary prison's literary intermediaries, as writers whose fictional narratives of jailhouse beatings, rape and wounding on slave ships, and state-sponsored execution are inspired and haunted by the critically-unexamined abuse stories of late-twentieth century prisoners. Drawing from the field of African American literary theory, political prisoners' writings, as well as prisoners' low-circulating zines, journals, and pamphlets, I argue that the production and distribution of abuse narratives by African American fiction's captive characters illuminate the clandestine and insurgent literary practices of actual abused prisoners. This revelatory work accomplished by Baldwin, Morrison, Johnson, and Gaines demonstrates the radical utility of African American fiction at a moment in which prisoner abuse is widespread, underrepresented, and rarely documented in a way that affords the abused prisoner any measure of authorial control. In contradistinction to the victimization narratives that typify mainstream prisoner abuse stories, stories which appear in the human rights literature of advocacy organizations like Human Rights Watch and Amnesty International, this dissertation concludes that contemporary African American novelists emphasize the authorial control of abused captives and thus make apparent the rich complexities of their interior lives and the way in which the repressive spaces to which

they are confined are also generative sites for reimagining the self and community.

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Reilly, Géza Arthur George. ""Escape from the prison-house of the known": reading weird fiction in its historical contexts." 2014. http://hdl.handle.net/1993/24451.

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Weird fiction criticism has been largely focused on either analyzing texts via the biographies of weird fiction authors, or concentrating on the words on the page to a degree that ignores all outside context. Although these approaches are valuable, more utility is to be found in analyzing weird fictions via their specific historical locations. This dissertation demonstrates the validity of this approach by surveying the works of five American weird fiction authors from the Twentieth Century (Lovecraft, Smith, Howard, Bloch, and Ligotti), and giving new interpretations that are based on an understanding of their placement within specific historical milieus (respectively, anti-WWI sentiment, surrealism and the problem of representation, Southern and Southwestern regionalism, pastiche and publishing culture, and metafiction and genre fiction). This survey supports the need for a new critical approach to weird fiction as described in this dissertation, and furthers our understanding of weird fiction by investigating hitherto unexplored perspectives on weird texts.

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Petrescu, Maria. "L'image de la prison dans la litt??rature fran??aise et qu??b??coise du 20e si??cle." Thesis, 2013. http://hdl.handle.net/10012/7454.

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Cette th??se se consacre ?? l???analyse de l???image de la prison dans la litt??rature fran??aise et qu??b??coise du 20e si??cle et du d??but du 21e si??cle. Elle examine un corpus vaste et vari?? constitu?? d???ouvrages de fiction et de t??moignage traitant de la prison et de l???exp??rience carc??rale ??crits entre 1910 et 2010. L???objectif de cette th??se est de d??finir la conceptualisation et les repr??sentations litt??raires de la prison et de l???enfermement dans la p??riode analys??e. Elle essaie de montrer que l???exp??rience carc??rale suscite un type particulier de r??flexion qui s???exprime par l???interm??diaire d???un genre litt??raire mixte, o?? l???autobiographie et la fiction s???entrecroisent. L???analyse se situe dans la perspective des ??tudes litt??raires et culturelles. La m??thodologie r??unit plusieurs approches : les th??ories sur le genre litt??raire des ouvrages carc??raux (Andrew Sobanet), les th??ories sur le t??moignage et sur la m??moire (Paul Ric??ur et Gis??le Mathieu-Castellani), les th??ories sur l???espace et le temps (Gaston Bachelard, Maurice Blanchot, Georges Mator?? et Pierre Bourdieu), et l???approche historique et sociologique (Michel Foucault, Gilles Chantraine, Marion Vacheret et Guy Lemire, Jacques Laplante). L???originalit?? de cette th??se r??side dans l???image d???ensemble qu???elle cherche ?? fournir de la repr??sentation de la prison de 1910 ?? 2010. La sp??cificit?? des ??crits de prison sera cern??e ?? partir d???un corpus complexe et d???une s??rie de questions bien d??limit??es : la mani??re dont les r??formes du syst??me p??nitentiaire sont refl??t??es dans la litt??rature carc??rale, la sp??cificit?? du t??moignage comme genre litt??raire issu de cette exp??rience d???enfermement dans les prisons fran??aises et canadiennes du 20e si??cle et les strat??gies fictionnelles de la litt??rature sur la prison.

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Rozšafná, Michaela. "Mediální ohlas literární tvorby s vězeňskou tematikou Jiřího Stránského a Karla Pecky." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-344167.

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The master diploma thesis "Media response of literary work with the prison theme by Jiri Stransky and Karel Pecka" maps the beletric works of Jiri Stransky and Karel Pecka which are influenced by their time in Communist prisons. The work deals with critical reviews of these literary works and it is based on contemporary reviews published in literary and other periodicals. Qualitative and quantitative analysis of reviews is included in a practical part of the master diploma. It is preceded by a theoretical part. In the theoretical part we shortly think about the importance of literary criticism but mostly important we clarify the conditions which led to the creation of Stransky's and Pecka's works. Thanks to the preserved documents from The National Archive and from The Archive of Security Forces we can now read about Stransky's and Pecka's arrest, interrogation and imprisonment in Communist prisons in the 1950s. Jiri Stransky was imprisoned in the years 1951-1960 and Karel Pecka between 1949 and 1959. The preserved documents outline also other repressions of Karel Pecka towards the State security, which occurred after his repase from prison in the sixties. In the theoretical part of master diploma we think about literary critism and we draw from works of Ansgar Nünning, Winfried Schulz, Hans-Gregor...

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Chamberlain, Marlize. "The carceral in literary dystopia: social conformity in Aldous Huxley’s Brave new world, Jasper Fford’s Shades of grey and Veronica Roth’s Divergent trilogy." Diss., 2020. http://hdl.handle.net/10500/26525.

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Includes bibliographical references (leaves 123-127)
This dissertation examines how three dystopian texts, namely Aldous Huxley’s Brave New World, Jasper Fforde’s Shades of Grey and Veronica Roth’s Divergent trilogy, exhibit social conformity as a disciplinary mechanism of the ‘carceral’ – a notion introduced by poststructuralist thinker Michel Foucault. Employing poststructuralist discourse and deconstructive theory as a theoretical framework, the study investigates how each novel establishes its world as a successful carceral city that incorporates most, if not all, the elements of the incarceration system that Foucault highlights in Discipline and Punish. It establishes that the societies of the texts present potentially nightmarish future societies in which social and political “improvements” result in a seemingly better world, yet some essential part of human existence has been sacrificed. This study of these fictional worlds reflects on the carceral nature of modern society and highlights the problematic nature of the social and political practices to which individuals are expected to conform. Finally, in line with Foucault, it postulates that individuals need not be enclosed behind prison walls to be imprisoned; the very nature of our social systems imposes the restrictive power that incarcerates societies
English Studies
M.A. (English Studies)

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Dissertations / Theses on the topic 'Prisons, fiction'

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