First published in 1982, this book describes a new kind of prison architecture that developed in the late eighteenth and early nineteenth centuries. The book concentrates on architecture, but places it in the context of contemporary penal practice and contemporary thought. Beginning with an exploration on the eighteenth-century prisons before reform, the book goes on to consider two earlier kinds of imprisonment that were modified by eighteenth-century reformers. The theory and practice of prison design is covered in detail. The later parts of the book deals with alliance between architecture and reform, and with the connection between the utilitarian architecture of the reformed prisons and academic neo-classicism. The overall aim of the book is to show the profound change that was being wrought in the nature of architecture, which was exemplified in the reformed prisons. Architecture, one emblem of the social order, was now one of its fundamental instruments.

Challenges prevailing theories about social inequality.

Rachel Cohon offers an original interpretation of the ethical thinking of the 18th-century philosopher David Hume. She focuses on two claims: that human beings figure out what is good or evil by using our feelings or emotions, and that some of the good traits we recognize are produced by informal social agreement and teaching.

This is the first book to demonstrate how mnemotechnic cultural commonplaces can be used to account for the look, style, and authorized content of some of the most influential books produced in early modern Britain. In his hybrid role as stationer, publisher, entrepreneur, and author, John Day, master printer of England’s Reformation, produced the premier navigation handbook, state-approved catechism and metrical psalms, Book of Martyrs, England’s first printed emblem book, and Queen Elizabeth’s Prayer Book. By virtue of finely honed book trade skills, dogged commitment to evangelical nation-building, and astute business acumen (including going after those who infringed his privileges), Day mobilized the typographical imaginary to establish what amounts to—and still remains—a potent and viable Protestant Memory Art.

Court day in early Virginia transformed crossroads towns into forums for citizens of all social classes to transact a variety of business, from legal cases heard before the county magistrates to horse races, ballgames, and the sale and barter of produce, clothing, food, and drink. The Courthouses of Early Virginia is the first comprehensive history of the public buildings that formed the nucleus of this space and the important private buildings that grew up around them.

Anyone who considers questions of power cannot help but be struck by the ubiquitous nature, emotional force and political pull of the concept of order. The Fabrication of Social Order examines the role of policing in the fabrication of order.After an initial exploration of the original relationship between police, state power and the question of order, Neocleous focuses on the ways in which eighteenth century liberalism refined and narrowed the concept of the police, a process which masked the power of capital and broader issues of social control. In doing so he challenges the way liberalism came to define policing solely in terms of the question of crime and the rule of law. This liberal definition created a limited and fundamentally misleading understanding of policing which remains in use today. In contrast, Neocleous argues for an expanded concept of police, adequate to the expansive set of institutions through which policing takes place. These institutions are concerned not just with the maintenance or reproduction of order, but with its fabrication, especially the fabrication of a social order based on wage labour. This project, he argues, should be understood as the project of social security. Grasping this point allows a fuller understanding of the ways in which the state polices and secures civil society, and how order is fabricated through law and administration.

Rigorously documented and generously illustrated, Forms of constraint surveys prison architecture from earliest times to the present. Embedding his discussion of architectural detail in a history of social ideas about prisoners and imprisonment, criminologist Norman Johnston considers the architectural design and features of prisons in light of the purposes they were meant to serve. Johnston describes the preferred types of prison layout in various eras and locations. He assesses the success or failure of building elements in fulfilling goals such as prisoner isolation, segregation by gender or by severity of crime, adequate hygiene, rehabilitative activities, and surveillance of prisoners and guards. As goals and the consequent demands on the physical structure changed, new templates for the ideal prison emerged. Johnston traces the gradual rise of prison design as an architectural specialty and profiles the early figures and organizations devoted to the field, including William Blackburn, the first architect to specialize in prison design; John Haviland, architect of the influential Pennsylvania prison style; and Jeremy and Samuel Bentham, who conceived the much-discussed but never built Panopticon. He describes changes in prison design as architecture and penal philosophy leadership passed from one country to another. He also provides broad coverage of penal methods and prison architecture around the world.