Suchergebnisse

Prison agencies around the world are reporting a rise in the use of illicit communication devices in prison. Nevertheless, there is very little prison sociological research into how prisoners themselves communicate online. Using Russia as a case study, this paper reports findings from new research on how prisoners are engaging with the internet and the effects of this on prisoner agency and prison structure. Our main finding is that Russian penality sits at the nexus of two processes. First, it is de-institutionalised in that the prison, discursively speaking, is no longer fixed to a built form. Second, it is reflexively re-territorialised in that it places prisoner agency onto a third space. The paper presents a new conceptual framework of 'prisoners as absent', which reflects penality in Russia as culturally contingent and politically resilient. The interplay between de-institutionalisation and re-territorialisation has produced on a new penal imaginary - a carceral motif for the twenty first century - in the form of a virtual world.

Use of convict labor by private business in private-run and state prison systems; impact on civilian employment, prisoners' rights, export of prison-made goods, and other issues; US.

In the preface to the fascinating volume Woman in Prison, author Caroline H. Adams explains the chance encounter with a classified advertisement that changed the course of her life. It was a help-wanted ad soliciting applicants for the role of prison matron, a type of female warden who oversees the logistical and housekeeping aspects of running a correctional facility. Seeing the job as a chance to simultaneously earn money and help those in dire straits, Woods jumped at the chance

The global prison population is on the rise, with upwards of 9 million people now doing time. Countries are now locking up more of their citizens than ever before. This troubling trend has left jails severely overcrowded, costs booming, and countless prisoners waiting years for justice. National-level statistics are presented. Adapted from the source document.

"Arthur Taylor is New Zealand's best known, most influential, and colourful career criminal. A household name, he was paroled from prison in 2019 after more than 38 years years behind bars. His life story is nothing short of remarkable. He has more than 150 convictions ranging from bank robberies to fraud, theft, escaping, and having weapons and explosives. He has served in New Zealand's most notorious high security prison, Auckland Prison at Paremoremo, including eight months in solitary confinement. But Arthur isn't what most people might expect. Now in his sixties and living in Dunedin, Arthur is an engaging, highly intelligent man who studied law behind bars and took on precedent-setting cases against Corrections and the Crown, cementing himself as one of the foremost authorities on prisoners' rights. He has become, perhaps, a poster child for redemption and rehabilitation. He is now an advocate for prisoners, and a bloody good storyteller. During his time in prison, Arthur masterminded two particularly audacious prison escapes including a weeks-long caper where he and three others holed up at a millionaire's mansion. He has shared cells with some of the country's most feared killers (readers will come across high profile inmates such as William Bell, Liam Reid, Scott Watson, Leslie Maurice Green and Graeme Burton) and is responsible for one of the country's most bizarre behind-bars weddings. His stories of prison life are entertaining, gripping; sometimes horrifying. This book is the story of Arthur Taylor's life, and a potted history of the prison system, particularly prisoners' rights, in New Zealand, including the work put into ensuring prisoners were given the right to vote. It details Arthur's mistakes, his triumphs, and how he outsmarted prison guards - screws - Corrections, and other officials, time and again. It's a warts-and-all look at prison life, and a no-apologies insight into how the prison system can change you for the better, or the worse, told in Arthur's own distinctive voice