The Possibilities and Limits of Queer Space Theory: Through the Prism of the Women's Prison Estate

本论文试图构思一个虚构的同性恋监狱。这个项目可以让我们更好地理解酷儿空间理论的可能性和局限性，并对女子监狱产业的未来提供一个原创性的评论。想象一个酷儿监狱不仅是一个独特的理论贡献，而且旨在减轻监狱的性别性质对LGBTQ囚犯的潜在有害影响。本论文建立在大量的文献基础上，这些文献假设空间和身份之间的关系是复杂的。我们的建筑环境既不是价值中立的，也不是中立的，而是通过“场所”和“空间”形成的，“在权力关系体系中秘密运作，以延续或传播社会价值，这可能会颠覆或支持霸权”（Lico，2001年，第31页）。虽然我们没有英国LGBTQ囚犯的确切数字，但据估计，监狱中22%的女性被认为是非异性恋（Bromley简报监狱实况文件，2021）。对监狱中公开的双性恋和同性恋妇女的研究很少;这可能部分反映了女子监狱更能接受不同的性别和性表达的想法。然而，卡尔等人（2016年）报告说，同性恋恐惧症和变性恐惧症仍然是“严重的问题”（第15页），女同性恋和双性恋妇女面临着“耻辱的暗流”。首先，本文需要更好地理解女同性恋者和双性恋者在监狱中的经历，特别是探讨空间的谈判。（重新）想象监狱不是一条未走过的路。杰里米·边沁（Jeremy Bentham）将监狱重新构想为圆形监狱（1785年），希拉里·科塔姆（Hillary Cottam）将监狱重新构想为学习环境（2011年），威尔·阿斯洛普（Will Aslop）将监狱重新构想为创意空间（2006年），朱克斯（Jewkes）将监狱重新构想为希望建筑（2018年）。虽然这些想象中的一些从未完全实现或建造，但对监狱建筑和设计的更广泛讨论的影响是巨大的。边沁圆形监狱的遗产在监狱建筑中是无与伦比的，实际上在更广泛的建筑中也是如此。阿斯洛普和科塔姆的创作意图并没有被忽视，更多的谈话比以往任何时候都集中在扩大学习和创造性的机会在监狱和朱克斯的影响已被两个学术观众的认可（UKRI影响基金奖）和HMPPS，不仅有希望的建筑启发了新的利默里克女子监狱，但已导致两个监狱拆除窗户酒吧-否则，归化，本论文运用酷儿空间理论来支撑想象中的酷儿监狱。“酷儿空间”不是指非异性恋者使用或占用的空间和场所，而是一种用来挑战行为的策略，规则和我们建筑环境的期望（Doderer，2011）。因此，酷儿空间可以作为一种工具，重新探索，重新运作，改造和竞争的排斥和压迫的空间。然而，根据摩尔（2020）的说法，这个术语仍然存在争议。更具体地说，酷儿空间的过程，“空间”和“酷儿”的定义，以及哪些空间可以和不可以被“酷儿”，在文献中是不发达和不一致的。首先，通过更广泛地研究酷儿空间是如何概念化的，以及酷儿空间的关键特征，我们可以更好地理解我们可能认为是“酷儿空间”的空间的性质和共同特征。随着对女同性恋和双性恋女性在监狱中经历的更好理解，结合对酷儿空间更好、更细致的理解，我们可以开始想象中的酷儿监狱会发生什么。

This thesis is an attempt at conceptualising an imaginary queer prison. This project can better our understanding of both the possibilities of, and limits of queer space theory as well as offering an original comment on the future of the women's prison estate. Imagining a queer prison is not only a unique theoretical contribution but aims to alleviate the potentially harmful effects the gendered nature of prison has on LGBTQ prisoners. This thesis builds on the vast literature that supposes the relationship between space and identity are complex. Our built environment is neither value-free nor neutral, but rather, gender is formed through 'places' and 'spaces', operating "covertly within a system of power relations to perpetuate or transmit social values, which may stand to subvert or support hegemonic power" (Lico, 2001, p. 31). While we do not have exact figures of LGBTQ prisoners in the UK, it is estimated that 22% of women in prison identify as non-heterosexual (Bromley Briefings Prison Factfile, 2021). Research on openly bisexual and gay women in prison is scarce; this may, in part, be a reflection on the idea that women's prisons are more accepting of diverse gender and sexuality expressions. However, Carr et al (2016) reports that both homophobia and transphobia remain "serious problems" (p. 15), with lesbian and bisexual women facing an "undercurrent of stigma". Firstly, then, this thesis needs to better understand the experiences of lesbian and bisexual women in prison, specifically exploring the negotiation of space.(Re)imagining the prison is not a path untrodden. Jeremy Bentham reimagined the prison as a panopticon (1785), Hillary Cottam reimagined the prison as a learning environment (2011), Will Aslop as a creative space (2006), and Jewkes reimagined a prison built on the architecture of hope (2018). Although some of these imaginations are never fully realised, or built, the impact on broader discussions of prison architecture and design is vast. The legacy of Bentham's panopticon is unparalleled in prison architecture, and indeed architecture more widely. Aslop and Cottam's creative intentions have not gone unnoticed, with more conversations than ever focussed on expanding learning and creative opportunities in prison and Jewkes' impact has been recognised by both academic audiences (UKRI Impact Fund award) and HMPPS, not only has the architecture of hope inspired the new Limerick women's prison but has resulted in two prisons removing window bars - an otherwise, naturalised, and normalised staple of prison architecture.This thesis uses queer space theory to underpin the imaginary queer prison. Queering space' refers not to spaces and places used or appropriated by non-heterosexual people, but a strategy used to challenge behaviours, rules and expectations framed by our built environment (Doderer, 2011). Thus, queering space can be used as a tool for re-exploring, re-functioning, transforming, and contesting exclusionary and oppressive spaces. The term, however, according to Moore (2020) remains contested. More specifically, the processes of queering a space, definitions of both 'space' and 'queer', and indeed which spaces can and cannot be 'queered' are underdeveloped and inconsistent in the literature. By first, examining how queer space is conceptualised more broadly, and indeed the key characteristics of queer space, we can better understand the nature and shared characteristics of spaces we might think of as a 'queer space'. With a better understanding of lesbian and bisexual women's experience in prison, in combination with a better, more nuanced understanding of queer space, we can then begin imagining what then, the imaginary queer prison might hold.