America is the prison : arts and politics in prison in the - download pdf or read online

By Lee Bernstein

ISBN-10: 0807833878

ISBN-13: 9780807833872

ISBN-10: 0807871176

ISBN-13: 9780807871171

ISBN-10: 0807898325

ISBN-13: 9780807898321

ISBN-10: 1469604043

ISBN-13: 9781469604046

Within the Seventies, whereas politicians and activists open air prisons debated the right kind reaction to crime, incarcerated humans assisted in shaping these debates although a extensive diversity of outstanding political and literary writings.

Lee Bernstein explores the forces that sparked a dramatic "prison artwork renaissance," laying off gentle on how incarcerated humans produced robust works of writing, functionality, and visible paintings. those incorporated every little thing from George Jackson's innovative Soledad Brother to Miguel Pinero's acclaimed off-Broadway play and Hollywood movie Short Eyes. a unprecedented diversity of criminal programs--fine arts, theater, secondary schooling, and prisoner-run programs--allowed the voices of prisoners to persuade the Black Arts flow, the Nuyorican writers, "New Journalism," and political theater, one of the most vital aesthetic contributions of the last decade.

By the Nineteen Eighties and '90s, prisoners' academic and creative courses have been scaled again or eradicated because the "war on crime" escalated. yet via then those prisoners' phrases had crossed over the wall, supporting many american citizens to reconsider the that means of the partitions themselves and, eventually, the which means of the society that produced them.

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Extra info for America is the prison : arts and politics in prison in the 1970s

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53 Where Jacobs saw the absence of formal community controls to be a result of the wrongheaded ideologies of past and present city planners; conservative crime-control scholars of the late 1960s and early 1970s saw—and urged policymakers to see—the problem as cultural and behavioral. For Wilson, class became a descriptive feature of certain bad and good values, not a category of relative wealth and power. Most notably, Wilson felt that the loss of “middle-class values” could be seen in the entire social landscape.

Gordon Liddy to Patty Hearst to Angela Davis occupied the nation’s consciousness during the decade. Prison writers were being compared to Jean-Paul Sartre, winning New York Drama Critics Circle awards, and landing major book deals. They were lampooned on Saturday Night Live and excoriated on the editorial pages of major newspapers. The 1970s saw wide interest in the public writings, images, and speeches of incarcerated or formerly incarcerated men and women. The efforts of the previous generation’s rehabilitative regime took full shape just as its basic assumptions about reform and rehabilitation came under aggressive critique.

Prisons increased more than fifteenfold, to 182. By 1982 there were 350 programs in forty-five states, with roughly 10 percent of all inmates attending a prison college. In addition, the National Endowment for the Arts funded the publication of prisoners’ works, while other organizations began major initiatives to create freestanding programs behind prison walls. State departments of corrections and arts commissions throughout the nation undertook unprecedented joint projects. The private nonprofit sector saw the founding of the PEN American Center’s famous Prison Writing Program and literary competitions, the Black Emergency Cultural Coalition’s Prison Arts Program, along with many individual and small-scale courses, workshops, and performances.

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America is the prison : arts and politics in prison in the 1970s by Lee Bernstein


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