Sichtbarmachung von Kriminalität. Gestaltungsund Funktionsweisen von Gefangenenkleidung im 19. und beginnenden 20. Jahrhundert

Q3 Arts and Humanities Kulturne Dejiny Pub Date : 1900-01-01 DOI:10.54937/kd.2022.13.2.226-247
Daniel Oelbauer
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Abstract

Clothes make the man. This is especially true for those who are outside the norm, such as prisoners. In her study of prison violence, Bereswill emphasizes that the misappropriation of clothing through threats is part of everyday prison life. On the one hand, this strengthens the position in the prisoner hierarchy. On the other hand, the need for new clothes is also satisfied. A discussion of prisoner clothing, if one wants to disregard the concentration camp prisoner clothing, has so far only been rudimentary. The reason for this seems to be that a more extensive study of clothing does not represent a worthwhile research object due to “its everyday banality”. There are empirical, contemporary-oriented works on clothing in prison from a cultural and legal perspective. They dealt with the functions and meanings of clothing and fashion in women's prisons. Ash's study of the development of prison clothing from a historical perspective with contextual references to legal, social and, in particular, fashion history refers to the Anglo-American world. In her analysis of striped concentration camp clothing, Schmidt provides some information on the history and development of prisoner clothing in German prisons in the 19th and 20th centuries. Due to their respective focus of interest, the studies by Ash and Schmidt lack a more detailed reference to the penal system, which Einsiedler emphasizes very clearly. The following investigation approaches prisoner clothing in the context of their design and functionality, which has so far received little attention. The central thesis is that prisoner clothing serves the purpose of prison-specific rationalization and enforcement of prison discipline in the sense of the concepts of Foucault and Goffman. The focus is on the following questions: What was the prisoner’s clothing made of and what did it look like? Which “general” functions did it fulfill and which further functions did it fulfill in the context of the prison? What were the implications of this for the prisoners? Were these subject to change?
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追究犯罪行为19年囚衣的设计与功能。20年世纪
人靠衣装。对于那些不符合常规的人来说尤其如此,比如囚犯。在她对监狱暴力的研究中,贝雷斯威尔强调,通过威胁来侵占衣服是监狱日常生活的一部分。一方面,这加强了他们在囚犯阶层中的地位。另一方面,对新衣服的需求也得到了满足。关于囚犯服装的讨论,如果不考虑集中营囚犯的服装,到目前为止还只是初步的。其原因似乎是,对服装进行更广泛的研究并不代表一个有价值的研究对象,因为它“日常平庸”。从文化和法律的角度来看,有一些经验主义的、面向当代的关于监狱服装的作品。他们讨论了女子监狱中服装和时尚的功能和意义。Ash从历史的角度研究了监狱服装的发展,并参考了法律,社会,特别是时尚历史,涉及英美世界。在她对条纹集中营服装的分析中,施密特提供了一些关于19世纪和20世纪德国监狱囚犯服装历史和发展的信息。由于他们各自关注的焦点,Ash和Schmidt的研究缺乏对刑罚制度的更详细的参考,而这一点是einsedler非常明确地强调的。下面的调查是在囚犯服装的设计和功能的背景下进行的,这一点迄今为止很少受到关注。中心论点是,囚犯服装服务于监狱特定的合理化和监狱纪律的执行,在福柯和戈夫曼的概念的意义上。重点是以下问题:囚犯的衣服是什么做的,它看起来像什么?在监狱的背景下,它履行了哪些“一般”职能,又履行了哪些进一步的职能?这对囚犯意味着什么?这些会改变吗?
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来源期刊
Kulturne Dejiny
Kulturne Dejiny Arts and Humanities-Philosophy
CiteScore
0.20
自引率
0.00%
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期刊介绍: Cultural History (ISSN 1338-2209) is a peer-reviewed journal focused on history and anthropology. When we talk about the “cultural history”, we mean a wide scale of themes that are connected with acultural activities of man in the past. Issued semiannually, the journal deals with history in a broad sense up to its intersection with sociology, philosophy, theology, fine arts, and linguistics in all historical periods up to the present. Even though it is not territorially limited, the journal zeros in on the Central European region more precisely. Accepted languages are Slovak, Czech, Polish, English and German (papers in other languages will be translated).
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