This thesis analyses findings from a predominantly qualitative study of young (aged 18 to 24) imprisoned fathers interviewed in prison shortly before release, some of whom were also followed into the community. The research focused on the experiences of these men in prison, and how being a young father in prison affected their attitudes to offending, fatherhood and the future. Furthermore, this work investigated how these men then reintegrated back into the community and whether they managed to fulfil their hopes for change, focussing on what factors helped or hindered this process. This research applies desistance theory and identity theory to the lived experience of young imprisoned fathers; a group that has been largely ignored in previous research. The work is informed by both social-psychological (Maruna, 2001; Farrall, 2002; Meek, 2007a) and sociological perspectives (Laub and Sampson, 2003). This thesis adds to knowledge about the process of change for young offending fathers, highlighting it to be a gradual and active process that draws on both internal and external influences. Change is a complex activity, especially for men with transient relationships and lifestyles, which relies on the fragile coincidence of many inter-connected factors. Due to the instability of many of these factors, it is a process characterised by successes and failures. This thesis argues that criminal justice policies need to support fatherhood to take full advantage of fatherhood’s desistance-potential. The findings provide evidence to support Maruna et al’s (2004a) description of a three track process of change, requiring self-determination, formal support and informal support. They also suggest the need for the additional important factors of identity transformation (Maruna, 2001; Paternoster and Bushway, 2009) in positive social and personal contexts (Farrall, 2002; Walker, 2010). Fatherhood adds an additional layer to these factors. This thesis also contributes to knowledge of how agency and structural factors interact.

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Submitted by Maike Costa (maiksebas@gmail.com) on 2016-01-25T13:00:42Z No. of bitstreams: 1 arquivototal.pdf: 4451402 bytes, checksum: 426645cedca2523bd4c2e78680d37d87 (MD5) / Made available in DSpace on 2016-01-25T13:00:42Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4451402 bytes, checksum: 426645cedca2523bd4c2e78680d37d87 (MD5) Previous issue date: 2014-04-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In this study we proposed to reflect on the experiences and learning (re) constructed in the prison by female ex-prisoners and recidivists from the penitentiary system in the state of Paraiba. We focus our attention on understanding the biographical meaning which they attribute to that learning in the process of social reinsertion. In general terms, we developed an analytical reflection on the multifaceted character of the prison, and in particular on that which refers to that set of aspects which contribute to triggering off this learning in its social dimensions (which take place in formal, non-formal and informal processes of learning) and individual dimensions (which aggregate the subjective dimension). We start from the hypothesis that although the spaces of privation of liberty possess an anti-educational peculiarity, given their internal problematic structure (with marks of authoritarianism, rigid routine, overcrowding, etc.), they also constitute a locus of multiple learning – whether that be extracted from the field of their previous life (family, work, leisure, etc.) which in spite of being recreated in the prison, does not annul nor substitute it. Moreover, it remains as a reference for the interns and is produced in that context as an alternative for dealing with experiences of privation characteristic of imprisonment and as a strategy for shortening the sentence. The starting point for this approach were the results of the investigation developed during the master’s degree course, which, on the one side, revealed the strong relationship between women’s biographical learning and the motives which lead them to imprisonment and, on the other, showed the diverse possibilities of learning (not only those linked to crime) extant in the prison, although little perceived and considered in the educational processes there present. These results raised the key question of this thesis which is: if the learning acquired throughout life - by means of experience of socialization, was responsible for these women entering prison, what can we say when we add to this baggage of experience and learning (marked by the negation of basic human rights), a new repertoire of learning linked to the experience of domination and subjugation characteristic of the prison context, and at the same time to the ontological desire for liberty? Our interest in comprehending how a group of female ex-prisoners and recidivists redirected their lives after living the experience of prison led us to adopt the theoretical-methodological perspective of biographicity (ALHEIT e DAUSIEN, 1996, 2000, 2007). On the basis of this theoretical-methodological focus, we analysed the meaning attributed by these women to the learning produced and/or re-elaborated in prison, during the process of social reinsertion. From our analyses of their narratives, we understand that the learning which is prevalent in the construction of their biographies, while they are in prison, is that which is necessary for their survival inside. In all the cases narrated, learning to live together reveals itself to be an indispensable condition. In addition, it became clear that when the experiences and learning brought from other fields of life before the period of imprisonment (in the family, school, work, amorous relations, religion, etc. spheres) are added to these prison sociabilities they can both result in continuities and in ruptures and discontinuities on the post-prison biographical plan. But that also depended on the subjective meaning attributed to the learning in this context. Thus the conjunction of these sociabilities with the subjectivities helped these women to construct old and new postures in society, signalling the framing of the prison biographies and biographicities. In turn, we argue that to enlarge the chances of these women (with prison experience) of framing their biographies in the spirit of social reintegration, divested of the prison biographies (linked to recidivism), besides being necessary for enlarging the possibilities of learning in prison (by means of formal and non-formal effective educational actions), it is also necessary to give value to the informal experiences and learning (learning from living together) in the formative processes extant in that context. We conclude finally that the social reintegration of the imprisoned female population, translated in the framing of biographicities, depends as much on the articulation between the different ways of learning acquisition to which the prison gives rise as on educating society in order to achieve the goal of accepting these women back after the completion of their sentences. / Esse estudo se propôs a refletir as experiências e aprendizagens (re)construídas no cárcere por egressas e reincidentes do sistema prisional da Paraíba. Focalizamos nosso interesse na compreensão dos sentidos biográficos que elas atribuem a essas aprendizagens no processo de reinserção social. Grosso modo, realizamos uma reflexão analítica sobre o caráter multifacetado da prisão, particularmente, no que se refere ao conjunto de aspectos que contribuem para o desencadeamento de aprendizagens, em suas dimensões sociais (que ocorrem nos processos formais, não formais e informais de aprendizagem) e individuais (que agregam a dimensão subjetiva). Partimos do pressuposto de que os espaços de privação de liberdade embora possuam uma peculiaridade antieducativa, dada à estrutura interna problemática que apresenta (com marcas de autoritarismo, rígida rotina, superlotação, etc.), se constituem em lócus de múltiplas aprendizagens - sejam as extraídas dos campos da vida anterior (família, trabalho, lazer, etc.), que apesar de serem recriados na prisão, não as anulam nem as substituem, permanecem como referentes para os reclusos e são produzidas nesse contexto como alternativa para lidar com as experiências de privação, próprias do encarceramento, e como estratégia para abreviar a pena. O ponto de partida para essa abordagem foram os resultados da investigação desenvolvida no mestrado, que, de um lado, constatou a forte relação entre as aprendizagens biográficas de mulheres e os motivos que as conduziram ao encarceramento e de outro, revelou as diversas possibilidades de aprendizagens (não apenas aquelas ligadas ao crime) existentes na prisão, embora pouco percebidas e consideradas nos processos educativos ali presentes. Estes resultados suscitaram o questionamento chave desta tese, qual seja: se as aprendizagens adquiridas ao longo da vida - por intermédio das experiências de socialização, foram propiciadoras da entrada dessas mulheres na prisão, o que dizer delas quando somam a essa bagagem de experiências e aprendizagens (marcadas pela negação de direitos humanos básicos) um novo repertório de aprendizagens ligado às experiências de dominação e subjugação próprias do contexto prisional, e ao mesmo tempo ao desejo ontológico de liberdade? O interesse por compreender como um grupo de mulheres egressas e reincidentes reconduzem suas vidas após vivenciarem a experiência da prisão nos aproximou da perspectiva teórica-metodológica da biograficidad (ALHEIT e DAUSIEN, 1996, 2000, 2007). Com base neste enfoque teórico-metodológico foi que analisamos os sentidos atribuídos por essas mulheres, às aprendizagens produzidas e/ou reelaboradas na prisão, no processo de reinserção na sociedade. Das análises de suas narrativas, depreendemos que as aprendizagens que prevalecem na construção de suas biografias, enquanto estão na prisão, são aquelas que urgem como necessárias para a sobrevivência dentro dela. Em todos os casos narrados o aprender a conviver se colocou como uma condição indispensável nesse contexto. Além disso, ficou claro que as experiências e aprendizagens trazidas de outros campos da vida anteriores a prisão (na esfera da família, da escola, do trabalho, das relações amorosas, da religião, etc.) ao serem adicionadas a estas sociabilidades carcerárias podem resultar tanto em continuidades como em rupturas e descontinuidades no plano biográfico pós-prisional. Mas isso também dependeu dos sentidos subjetivos atribuídos às aprendizagens desse contexto. Portanto, a reunião destas sociabilidades com as subjetividades ajudaram essas mulheres à construção de velhas ou de novas posturas na sociedade, sinalizando a emolduração de biografias prisioneiras e de biograficidades. Por sua vez, defendemos que para ampliar as chances dessas mulheres (com experiência prisional) de emoldurarem suas biografias em direção à reintegração social, desvinculadas das biografias prisioneiras (ligadas à reincidência), além de ser necessário ampliar as possibilidades de aprendizagens no cárcere (por meio de ações educativas formais e não formais efetivas), também se faz necessária a valorização das experiências e aprendizagens informais (aprendizagem da convivência) nos processos formativos existentes nesse contexto. Conclui-se, por fim, que a reintegração social da população feminina encarcerada, traduzida na emolduração de biograficidades, depende tanto da articulação entre as diferentes formas de aquisição de aprendizagens (formais, não formais e informais) provenientes da prisão; como da educação da sociedade para o alcance deste propósito ao aceitá-las de volta.

Ce travail s’ancre dans une démarche compréhensive des expériences individuelles du quotidien carcéral. De nombreux entretiens semi-directifs réalisés auprès de différents acteurs des prisons (personnes détenues, personnels de surveillance, CPIP, membres de la direction) constituent les principales références et sources de cette recherche ; c’est en cela qu’ils sont présentés et donnés à lire au même titre que le développement qu’ils nourrissent. Cette enquête tend à comprendre et à montrer que, si la prison a des conséquences désocialisantes et désaffliantes pour les personnes détenues, le drame social de la prison se joue avant tout dans les nouvelles formes de sociabilité qu’elle induit. Le concept de « théâtre carcéral », fil rouge de ce travail, permet notamment de saisir et de questionner les logiques de « représentation » et de « rôles » (Cf. Erving Goffman) qui sont au cœur des interactions entre les différents acteurs sociaux des prisons ; ces « rôles » sont entendus comme les attentes, les fonctions et les comportements qui sont induits par le statut interne de chaque acteur (qu’il soit CPIP, surveillant ou «détenu»). Malgré des micro « sorties de rôles » et l’existence de nombreuses pratiques d’entraide et de convivialité en détention, les logiques interactionnelles du « théâtre carcéral » restreignent les formes de « présentation de soi » de chaque acteur aux yeux des autres, et dévoilent une appréhension généralisée de la relation à l’autre comme un risque. Ce travail pose l’art, dans le cadre d’expériences artistiques collectives, comme possibilité de sortir du « théâtre carcéral » pour les personnes détenues, et de (re)créer du « commun » à l’intérieur de la détention, mais aussi entre l’intérieur des prisons et l’extérieur. Cette proposition est illustrée par l’expérience-exposition « Des traces et des Hommes. Imaginaires du château de Selles », réalisée au CD de Bapaume à l’initiative du musée des beaux-arts de Cambrai en 2016. Il s’agit de montrer que les expériences artistiques se distinguent d’autres activités proposées en détention, dans la mesure où elles permettent aux personnes de construire un interstice dans lequel explorer des possibilités de vie (ensemble), et de se (re)connaître dans l’expression créative de leurs individualités ; l’engagement individuel au sein d’un collectif peut en cela changer la donne en termes de rapport à l’autre, en détention d’abord puis dans la perspective de la sortie de prison. / This investigation is based on a comprehensive approach to individual experiences of prison. The methodology includes many semi-structured interviews with various social actors in prison (inmates and prison administration staff). These testimonies are presented as part of the analysis. The purpose of this investigation is to demonstrate that the experience of prison involves generating new forms of sociability, in addition to having “de-socialising” and “disaffiliating” consequences for detained people. The concept of “prison theatre” is an interesting guideline for understanding the logics of “representation” and “roles” that are at the centre of social interactions in prison (Cf. Erving Goffman’s dramaturgical analysis approach). The potency of the established and expected “roles” in prison (as “inmate” or as “prison guard” for example) reduces the forms of “presentation of Self” and of socialization among the different social actors in prison. This work proposes collective arts experiences as a way out of the “prison theatre” for detained people and as an opportunity to create a common living world inside the prison and between “inside” and “outside”. Such a proposition is illustrated by the experience-exhibition “Traces and Humans: imaginations of the castle of Selles” initiated in 2016 by the Museum of Cambrai in the prison of Bapaume. This experience raises the power of art as a universal language which allows the possibility for inmates to express themselves inside the prison, to have contact with the “outside world” and to feel like they are still taking part in the society.

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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 réprimée. / This 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.

L’objectif de cette étude est de comprendre l’expérience des détenus autochtones en détention et leurs points de vue face à la prise en charge carcérale. À cette fin, 16 entrevues avec des Autochtones incarcérés dans trois prisons provinciales du Québec ont été réalisées. Puis, nous avons analysé les entrevues à l’aide de la théorie du constructivisme sociale de Berger et Luckmann (1966) et les théories post-colonialistes. Il ressort de ces analyses que la prison s’inscrit comme une prolongation des politiques colonialistes puisqu’elle reproduit à plusieurs niveaux les traumas antérieurs. Quant à la prise en charge dans le système carcéral pour les détenus autochtones, elle est désirée, mais inadaptée. Les Autochtones subissent, donc, de la discrimination en détention. / The objective of this study is to understand the experience of Aboriginal inmates in detention and their views of the prison care system. To this end, sixteen interviews with Aboriginal people incarcerated in three provincial prisons in Quebec were conducted. We then analyzed the interviews using Berger and Luckmann's (1966) theory of social constructivism and post-colonial theories. These analyzes show that prison is an extension of colonialist policies since it reproduces previous traumas on several levels. As for care in the prison system for Aboriginal prisoners, it is desired by them, but unsuitable. Aboriginal people are therefore discriminated in detention.