spur staff

Dutch translation: (cellen)gang

GLOSSARY ENTRY (DERIVED FROM QUESTION BELOW)
English term or phrase:spur
Dutch translation:(cellen)gang
Entered by: Henk Sanderson

14:38 Nov 5, 2017
English to Dutch translations [PRO]
Social Sciences - Other / Gevangeniswezen
English term or phrase: spur staff
The ... team also gets referrals from other departments and professionals. These include: *spur staff*, chaplains, education and the gym.

Dit komt uit een handleiding voor nieuwe gevangenen. Ik vermoed dat het een afdeling is, zie hieronder:

C and D Wings hold 195 prisoners, split into two spurs – one of 97 and the other of 98. There are four double cells; two on each spur and the rest are all single cells. (https://www.justice.gov.uk/.../pso_4700_lifer_manual_appendi...

Kan ik het woord afdeling gebruiken of is er een beter woord?
Met hartelijke dank alvast!
Laura Morwood
United Kingdom
Local time: 15:32
gangpersoneel
Explanation:
Diverse betekenissen van 'spur' gaan volgens Webster over iets wat uitsteekt,een spoor, een stekel, een uitloper.
Ik stel me voor dat het om gangen gaat die uitlopen vanuit een centrale hal.
Zoek naar 'spur jail' en vind https://books.google.nl/books?id=D6bPpkcKbnwC&pg=PT130&lpg=P...

Citaten uit het boek: "it had a spur outside the cells, like a corridor..." ; "you could walk along your spur most of the time", "I started off in Highpoint on a spur in a double cell"

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Note added at 4 hrs (2017-11-05 18:38:56 GMT)
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Het gaat om het boek Jail Bird - The Life and Crimes of an Essex Bad Girl
Selected response from:

Henk Sanderson
Netherlands
Local time: 16:32
Grading comment
Nogmaals dank voor de hulp.
4 KudoZ points were awarded for this answer



Summary of answers provided
4 +1gangpersoneel
Henk Sanderson
Summary of reference entries provided
Barend van Zadelhoff

Discussion entries: 5





  

Answers


3 hrs   confidence: Answerer confidence 4/5Answerer confidence 4/5 peer agreement (net): +1
gangpersoneel


Explanation:
Diverse betekenissen van 'spur' gaan volgens Webster over iets wat uitsteekt,een spoor, een stekel, een uitloper.
Ik stel me voor dat het om gangen gaat die uitlopen vanuit een centrale hal.
Zoek naar 'spur jail' en vind https://books.google.nl/books?id=D6bPpkcKbnwC&pg=PT130&lpg=P...

Citaten uit het boek: "it had a spur outside the cells, like a corridor..." ; "you could walk along your spur most of the time", "I started off in Highpoint on a spur in a double cell"

--------------------------------------------------
Note added at 4 hrs (2017-11-05 18:38:56 GMT)
--------------------------------------------------

Het gaat om het boek Jail Bird - The Life and Crimes of an Essex Bad Girl

Henk Sanderson
Netherlands
Local time: 16:32
Native speaker of: Dutch
PRO pts in category: 39
Grading comment
Nogmaals dank voor de hulp.

Peer comments on this answer (and responses from the answerer)
agree  Kitty Brussaard: spur = (cellen)gang lijkt me een goede optie. Zie bijv. ook: In this prison we live on "spurs" - dark, warren-like corridors, flanked on either side by a row of cells. https://www.theguardian.com/g2/story/0,3604,230372,00.html
17 hrs
  -> Dank je, Kitty
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Reference comments


1 hr
Reference

Reference information:
Actually, that is not quite true. If I survey the three principal and characteristic types of British jail - the Victorian radial prison, the "spurred" prison of the Sixties and the "open" or "dispersal" low-security prisons - I see that the more modern the prison, despite all the talk of making them more humane places, the more austere it will be.

The great Victorian prisons, built in some cases by prisoners themselves, are both the most daunting and, superficially, the most beautiful. The Victorians were adept at architectural onomatopoeia: their prisons looked authoritarian from without and within. Today, as prisoners pass through their ominous gatehouses (Wandsworth's is based loosely on Vanbrugh's great Northumbrian country house, Seaton Deleval), they are confronted with all manner of intimidating features and unexpected eccentricities, manynow listed as historical monuments. Prisoners are faced with Venetian campaniles, Gothic water towers, neo-Byzantine chapels, Roman amphitheatres, Classical rotundas, Soanian windows and eerie, barrel-vaulted underground cellars. Behave, beware and buckle under, says the architecture.

These sublime (or terrifying) aspects of the buildings are not reflected in the cells, which are brutally functional.

Radial prisons offer cellular accommodation of the most basic kind, arranged in rows rising one on top of the other, on wings of up to four storeys radiating like the spokes of a cartwheel from a vertiginous central rotunda. From here it is possible to observe every wing simply by turning a full circle. Wings and rotunda are lit by gargantuan, round-headed windows not dissimilar to those in Hawksmoor's baroque churches. Great shafts of yellow and white light penetrate thick, opaque glass. Yet for all this vastness, the cells are tiny. Each cell, home for three men for up to 23 hours a day, measures 8ft by 13ft by 9ft high. Roofs are shallow arches so that cells resemble gutted sections of railway carriages, although without the panoramic windows.

No building type can inspire such aesthetic highs or else destroy the soul so completely. I must mention here, though, the most splendid British prison of all, Lancaster. High above the city, the 11th-century castle forms part of a prison occupying the site of the old Roman Castrum. Built over Saxon foundations, financed by Roger de Poitou, damaged in the 14th century by Robert the Bruce and restored and strengthened by John of Gaunt, the square stone keep now houses the "association" (leisure) rooms ofthe prison.

I lived here in the shell of a round Norman tower, alongside the keep, sleeping in a trapezoidal cell, one of many arranged on four levels around its circumference. Access was gained by climbing a central spiral stair. From the cell windows, views over the battlements were spectacular.

No such views can be had from the "spurred" prisons of the Sixties, which followed on the heels of the Mountbatten Commission's review of the penal system. The abolition of the death penalty, together with a predilection on the part of judges to pass longer and longer sentences, created the need for many more prisons.

Invariably sited on barren plains in rural shires, these prisons manifest the most functional appearance. Their very blandness, however, helps to lull the minds of prisoners into a state of bored inertia. Wrapped in permanently water-stained concrete walls, they offer a useful stylistic comparison with contemporary buildings such as the Department of the Environment's headquarters in Westminster and any of the Brutalist local authority estates of the time. Identical in form and plan, each prison - from Long Lartin in the Vale of Evesham to Gartree in Leicestershire - is an archipelago of identical living blocks clustered around offices and communal "facilities". Uniform cells, arranged in groups of eight or 10 along spurs leading out of a central stairwell, are nothing more than tiny, perfectly cubic rooms (the spirit of Palladio and Inigo Jones?), 8ft by 8ft by 8ft. Like Leonardo, I did some of my best work in these single-prisoner cells, in this most dreary form of architecture.

About the same time that "spurred" prisons appeared, so did open prisons. These are rarely more than metamorphosed Army or Air Force camps - architecturally we are back in the Forties, with Nissen huts standing between trim lawns and fantastically coloured beds of summer flowers. Here the prisoner is lulled back to childhood in an architecture that speaks of summer camp, scouting and doing one's best.

So prison architecture can inspire aesthetically while being terrifying to live in and, with three prisoners to a cell, be a block to Leonardo-like creativity. Or else it can stultify the imagination visually, yet allow freedom of thought while locked incubic modern cells. Yet whatever type of cell and prison one is locked in, no one who has spent any serious length of time in prison would claim to be free from psychological pain.

The greatest advances in making prisons more humane, and not destroyers of those they seek to punish, have precious little to do with architectural design. They are the flush lavatory and the public telephone. Perhaps, perverse though it might be for an architectural historian with a passion for the baroque to say, any prisoner would trade in a high baroque window in a listed Victorian prison for such simple and functional innovations.

Peter Wayne is an architectural historian. He is currently detained at Her Majesty's pleasure at Brixton. This article is adapted from an essay that appears in the `Architecture of Incarceration', edited by Iona Spens, Academy Editions.


http://www.independent.co.uk/arts-entertainment/art/news/suc...

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Note added at 2 hrs (2017-11-05 16:38:20 GMT)
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New Wave, HMP Blundeston

In 1959, the government commissioned the White Paper Penal Practice in a Changing Society to deal with the increasing problems in the prison system and the rising population. HMP Blundeston was one of the first new wave prisons to be built in England which rejected the traditional Victorian radial design (PASTCAPE, 2015).

“The plan of the prison consists of four four-storied T-shaped cell blocks with floored landings, arranged around a central common service block” (PASTCAPE, 2015). It appears to take inspiration from the radial design layout due to the central core which is key for staff observation and control. The cells at HMP Blundeston were of a smaller design than the traditional cells as it was anticipated that prisoners would spend less times in their cells as they would be partaking in work activities conducive to their rehabilitation (FAIRWEATHER, 2000). However, “by the late 1980s the problems with the 1960s wing type had been recognised. It was expensive to staff, it made staff and inmates feel vulnerable in the spurs, and it lacked air and light in the corridors” (PASTCAPE, 2015).

This evidence suggests that the prison design wasn’t conducive to the rehabilitation progress due to the security issues as well as the lack of air and light which would have had a negative impact on the inmate’s wellbeing. “Adequate ventilation and lighting, including access to daylight, are among the basic elements required to ensure the health and well-being of detainees” (DETENTION FOCUS, 2013).

http://susannashearer.wixsite.com/prisondesign/historical-pr...


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Note added at 2 hrs (2017-11-05 16:53:01 GMT)
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"spurred" prison of the Sixties

Figure 7 - Blundeston Cell Blocks - Typical Floor Plan

http://susannashearer.wixsite.com/prisondesign/historical-pr...

Barend van Zadelhoff
Netherlands
Native speaker of: Native in DutchDutch
PRO pts in category: 55
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