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Mahkûm bedeni, disipliner bir total kurum olan cezaevinde mekân içinde farklı bir mekân olarak belirmekte, ceza hukuku, nizamnameler ve biyo-politikalarla etkileşime girilen bir müzakere zemini olarak konumlanmaktadır. 1941 yılında çıkan Ceza ve Tevkif Evleri Nizamnamesi üzerinde yoğunlaşan bu makalede Erken Cumhuriyet Dönemi’nde cezaevlerinde disipliner pratikler bağlamında farklı bir mekânsallığı temsil eden mahkûm bedeni, Nazım Hikmet, Necip Fazıl ve Aziz Nesin gibi yazar ve şairlerin cezaevi günceleri, mektupları İmralı Cezaevi Müdürü olan İbrahim Saffet Omay’ın metinleri temelinde irdelenmektedir. Burada Michel Foucault’nun disiplin, Henri Lefebvre’in mekân, Erving Goffman’ın total kurumlarda sembolik etkileşim, Marshall McLuhan’ın akustik mekân kavramı, David Le Breton’un ten/deri ve bireyin kendi kendini yaralaması üzerine geliştirdiği düşüncelerden oluşan bir kuramsal çerçeveden hareketle söz konusu mekânlarda total kurumun bedene yönelik öngördüğü disipliner uygulamalar ile yaşanan/karşılaşılan durumlar arasındaki fark; bedenin şekillendiği fiziksel, materyal, psişik, sosyal ve kültürel ortam analiz edilmekte; mahkûm bedeninin hangi psiko-sosyo-mekânsal müdahalelere konu olduğu, beden, benlik ve mekân deneyiminin nasıl şekillendiği sorularına cevap aranmaktadır.
The prison body is a disciplinary total institution, which is placed as a different place within the prison, a negotiation ground that is interacted with criminal law, regulations and bio-politics. In this article focused on the Nazamnamesi of the Criminal and Tevkif Houses published in 1941, the prison body representing a different space in the context of disciplinary practices in prisons in the Early Republic Period, the prison days of writers and poets such as Nazım Hikmet, Necip Fazıl and Aziz Nesin, the letters are based on the texts of Ibrahim Saffet Omay, the Imraly Prison Director. Here, the discipline of Michel Foucault, the place of Henri Lefebvre, the symbolic interaction of Erving Goffman in the total institutions, the concept of the acoustic space of Marshall McLuhan, the theoretical framework of the movement of the ideas developed by David Le Breton on the skin/body and the individual’s self-suffering, the distinction between the disciplinary practices predicted by the total institution to the body and the circumstances experienced/controlled; the physical, material, psychological, social and cultural environment in which the body is formed is analysed; the question of the psychoso-human interference of the prisoner body, the experience of the body, and the form of the body.
This article examines the body of prisoners within the context of disciplinary practices in prisons in Early Republican Turkey spanning the years 1923 to 1953. It deals with topics such as the discourse of correction and social rehabilitation in prisons; the rites of passage, symbolic and physical intervention on bodies of inmates during confinement; the relationship among space, everyday objects and prisoners; the perception of physical, social and acoustic space; the degrees of isolation of body as a space; the transgressive, destructive and self-destructive impulses among inmates as a strategy of negotiation and survival. Concentrating on the directory of prisons of 1941 and some of the texts by the director of Imralı Prison Ibrahim Saffet Omay on the one hand, referring to the diaries and letters of the authors and poets such as Aziz Nesin, Nazım Hikmet, Necip Fazıl on the other hand, the article tries to answer questions such as how the prisoners’ body and self-perception were conditioned by the total institution during disciplinary practices, how the symbolic interaction took place among the subject/object body, power, space, other inmates and staff in prisons, how and to what degree the regulations and rules could be put into effect, how the discrepancy between legal definition and real conditions in prisons could be interpreted. Using concepts such as the discipline by Michel Foucault, space by Henri Lefebvre, symbolic interaction by Erving Goffman, acoustic space by Marshall McLuhan and symbolic meaning of skin and wound by David Le Breton as a theoretical framework, it provides a critical discourse analysis of that period on a polyphonic basis. It will be argued here that the body of prisoner was considered metaphorically as a space within the space that was physically, spatially, psychologically, socially as well as culturally constructed, reorganized, negotiated, positioned and constantly reshaped through process of symbolic interaction within total institution, penal system, power relations and a series of social actors.
Alan : Eğitim Bilimleri; Filoloji
Dergi Türü : Uluslararası
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