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For the past four decades, a rich scholarship has investigated the emergence of the prison in Europe and North America, mainly the connection between institutional architecture, techniques of social control, and mechanisms of discipline. Prison Architecture and Punishment in Colonial Senegal asks if these connections did exist in colonial Senegal since prisons in Africa had never been the focus of such scholarship. This book addresses three main themes. First, it analyzes prison buildings and their changing architectural forms throughout the colonial period to highlight how the French used prison architecture to control Africans. Second, it describes the connections between the internal layout of prison spaces and punishment to show how the design of prisons expressed the notions of punishment and reforms. The book also undertakes a critical assessment of inmates’ agency in reshaping the world of prisons in colonial Senegal. Finally, it discusses the legacy of colonial prisons in independent Senegal. By providing a comprehensive history of prison architecture in Senegal, the book helps insert Africa into a more global history by offering a uniquely comparative study of colonialism, architecture, and punishment.
This book details and contextualizes the trial of Hissène Habré, who was prosecuted by a court in Senegal for his role in atrocities committed against Chadian citizens during the 1980s. It employs an innovative combination of first-person accounts from direct actors and academic analysis from leading experts on international criminal justice.
Over the last 30 years, a substantial literature on the history of American and European prisons has developed. This collection is among the first in English to construct a history of prisons in Africa. Topics include precolonial punishments, living conditions in prisons and mining camps, ethnic mapping, contemporary refugee camps, and the political use of prison from the era of the slave trade to the Rwandan genocide of 1994.
Faith in Empire is an innovative exploration of French colonial rule in West Africa, conducted through the prism of religion and religious policy. Elizabeth Foster examines the relationships among French Catholic missionaries, colonial administrators, and Muslim, animist, and Christian Africans in colonial Senegal between 1880 and 1940. In doing so she illuminates the nature of the relationship between the French Third Republic and its colonies, reveals competing French visions of how to approach Africans, and demonstrates how disparate groups of French and African actors, many of whom were unconnected with the colonial state, shaped French colonial rule. Among other topics, the book provides historical perspective on current French controversies over the place of Islam in the Fifth Republic by exploring how Third Republic officials wrestled with whether to apply the legal separation of church and state to West African Muslims.
Prisons are on the increase from the United States to China, as ever-larger proportions of humanity find themselves behind bars. While prisons now span the world, we know little about their history in global perspective. Rather than interpreting the prison's proliferation as the predictable result of globalization, Cultures of Confinement underlines the fact that the prison was never simply imposed by colonial powers or copied by elites eager to emulate the West, but was reinvented and transformed by a host of local factors, its success being dependent on its very flexibility. Complex cultural negotiations took place in encounters between different parts of the world, and rather than assigning a passive role to Latin America, Asia, and Africa, the authors of this book point out the acts of resistance or appropriation that altered the social practices associated with confinement. The prison, in short, was understood in culturally specific ways and reinvented in a variety of local contexts examined here for the first time in global perspective.
Through studies of beheaded Irish traitors, smugglers hung in chains on the English coast, suicides subjected to the surgeon's knife in Dresden and the burial of executed Nazi war criminals, this volume provides a fresh perspective on the history of capital punishment. The chapters 'Introduction: A Global History of Execution and the Criminal Corpse' and 'The Gibbet in the Landscape: Locating the Criminal Corpse in Mid-Eighteenth-Century England' are open access under a CC BY 4.0 license.
A groundbreaking contribution to the study of nontheatrical film exhibition, Carceral Fantasies tells the little-known story of how cinema found a home in the U.S. penitentiary system and how the prison emerged as a setting and narrative trope in modern cinema. Focusing on films shown in prisons before 1935, Alison Griffiths explores the unique experience of viewing cinema while incarcerated and the complex cultural roots of cinematic renderings of prison life. Griffiths considers a diverse mix of cinematic genres, from early actualities and reenactments of notorious executions to reformist exposés of the 1920s. She connects an early fascination with cinematic images of punishment and execution, especially electrocutions, to the attractions of the nineteenth-century carnival electrical wonder show and Phantasmagoria (a ghost show using magic lantern projections and special effects). Griffiths draws upon convict writing, prison annual reports, and the popular press obsession with prison-house cinema to document the integration of film into existing reformist and educational activities and film's psychic extension of flights of fancy undertaken by inmates in their cells. Combining penal history with visual and film studies and theories surrounding media's sensual effects, Carceral Fantasies illuminates how filmic representations of the penal system enacted ideas about modernity, gender, the body, and the public, shaping both the social experience of cinema and the public's understanding of the modern prison.
This book is a richly textured social and cultural study exploring the profound effects and lasting repercussions of superimposing Western-derived models of repentance and rehabilitation on traditional categories of crime and punishment.
"A powerful document of the inner lives and creative visions of men and women rendered invisible by America’s prison system. More than two million people are currently behind bars in the United States. Incarceration not only separates the imprisoned from their families and communities; it also exposes them to shocking levels of deprivation and abuse and subjects them to the arbitrary cruelties of the criminal justice system. Yet, as Nicole Fleetwood reveals, America’s prisons are filled with art. Despite the isolation and degradation they experience, the incarcerated are driven to assert their humanity in the face of a system that dehumanizes them. Based on interviews with currently and formerly incarcerated artists, prison visits, and the author’s own family experiences with the penal system, Marking Time shows how the imprisoned turn ordinary objects into elaborate works of art. Working with meager supplies and in the harshest conditions—including solitary confinement—these artists find ways to resist the brutality and depravity that prisons engender. The impact of their art, Fleetwood observes, can be felt far beyond prison walls. Their bold works, many of which are being published for the first time in this volume, have opened new possibilities in American art. As the movement to transform the country’s criminal justice system grows, art provides the imprisoned with a political voice. Their works testify to the economic and racial injustices that underpin American punishment and offer a new vision of freedom for the twenty-first century."