Abstract:

Garden spaces have long occupied imaginations as sites and sources of self-narrative at the same time as they have served as historical spaces of criminal rehabilitation. However, representations of gardens that bridge these apparently binary conceptions of agency and coercion are scarce. This article examines the correlation between gardens, the law, and self-narrative that runs throughout Sylvaine Dampierre's 1999 documentary Un Enclos in the aim of broadening how women's self-narrative can be understood. It argues that the juridical framework that shapes the socio-historical contexts of the garden in the Rennes women penitentiary in Un Enclos also determines the forms of self-narrative that occur in this space. This article thus reads the garden space of the prison through the lens of feminist approaches to self- and women's prison narratives, and through Foucault's formulation of disciplinary power. This garden space, far from representing a simple metaphor of renewal, should be recognized instead as a manifestation of power that mirrors the social and historical constraints that delimit subjectivity. From this perspective, the semiotics of gardens provide a valuable map for navigating the complicated landscape of self-narrative.

摘要：

长期以来，花园空间一直是人们想象的场所和自我叙事的来源，而花园空间又一直是犯罪改造的历史空间。但是，缺乏弥合这些明显的代理和强制性二元概念的花园的表象。本文研究了席尔瓦因·丹皮尔（Sylvaine Dampierre）1999年的纪录片《联合国围困》（Un Enclos）中贯穿的花园，法律和自我叙事之间的相关性，目的是拓宽如何理解女性的自我叙事。它认为，塑造联合国恩克洛斯（Un Enclos）雷恩女监狱中花园社会历史背景的司法框架还决定了在这个空间中发生的自我叙事的形式。因此，本文通过女权主义对自我和女性的监狱叙事的方式，以及福柯对学科权力的表述，来解读监狱的花园空间。这个花园空间远不能代表一个简单的更新隐喻，而应该被看作是力量的体现，反映了界定主观性的社会和历史约束。从这个角度来看，花园的符号学为穿越自我叙事的复杂景观提供了宝贵的地图。