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Online examinations are an integral component of many online learning environments and a high-stake process for students, teachers and educational institutions. They are the target of many security threats, including intrusion by hackers and collusion. Collu-sion happens when a student invites a third party to impersonate him/her in an online test, or to abet with the exam questions. This research proposed a profile-based chal-lenge question approach to create and consolidate a student's profile during the learning process, to be used for authentication in the examination process. The pro-posed method was investigated in six research studies using a usability test method and a risk-based security assessment method, in order to investigate usability attributes and security threats. The findings of the studies revealed that text-based questions are prone to usability issues such as ambiguity, syntactic variation, and spelling mistakes. The results of a usability analysis suggested that image-based questions are more usable than text-based questions (p < 0.01). The findings identified that dynamic profile questions are more efficient and effective than text-based and image-based questions (p < 0.01). Since text-based questions are associated with an individual's personal information, they are prone to being shared with impersonators. An increase in the numbers of chal-lenge questions being shared showed a significant linear trend (p < 0.01) and increased the success of an impersonation attack. An increase in the database size decreased the success of an impersonation attack with a significant linear trend (p < 0.01). The security analysis of dynamic profile questions revealed that an impersonation attack was not successful when a student shared credentials using email asynchronously. However, a similar attack was successful when a student and impersonator shared information in real time using mobile phones. The response time in this attack was significantly different when a genuine student responded to his challenge questions (p < 0.01). The security analysis revealed that the use of dynamic profile questions in a proctored exam can influence impersonation and abetting. This view was supported by online programme tutors in a focus group study.

The thesis has been written as part of the AHRC collaborative research project Greek Epic of the Roman Empire: A Cultural History. This project seeks to give the first cultural-historical analysis of the large, underexploited corpus of Greek epic poetry composed in the transformative period between the 1st and the 6th centuries C.E. The thesis focuses on questions of literary identity in one of the most challenging texts from this corpus, the Posthomerica by Quintus of Smyrna (c. 3rd century C.E.). My central contention is that Quintus’ mimicry of Homer represents a radically new formative poetics, suggesting a cultural movement towards mimesis, necromancy and close encounters with the past. After a detailed study of what I term the reanimating culture of imperial Greece (chapter 1), and a comprehensive reanalysis of the compositional techniques of the text (chapter 2), I identify a number of tropes of poetic identity from different ancient literary modes: programmatic proems (chapter 3), memory (4), filiation (5) and temporality (6). I show how Quintus co-opts these themes for his new poetics, to turn the symbolic toolkit of contrast imitation into a defence of writing inter-Homeric epic. This analysis insists on rethinking the nature of the relationship between the poetry of this era and that of previous aesthetic traditions: particularly, I argue against a view of the Posthomerica as Alexandrian, and see it instead pushing back against the Callimachus school of small, new poetry. Ultimately, the thesis aims to show how the Posthomerica could be pivotal for unpinning current critical assumptions about imperial Greek poetry; revealing a palpable shift in tone in the construct of the literary self.

Criminology and Security Science / D. Litt. et Phil. (Criminology)

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Trata-se de uma abordagem etnográfica, misturando reflexões sobre etnografia e transformismo, para pulverizar e re-significar as apresentações cênicas ditas marginais no âmbito das revisões de perspectivas e de assuntos nas artes cênicas no Brasil. Sendo uma autoetnografia transformista, onde a escritura encontra a performance, este estudo comporta trejeitos da escrita performativa, para tentar atender o “ser” da performance, assim como a sua ontologia, ou seja, a representação sem reprodução. Considera ainda as encenações do desaparecer e, ao escrever sobre o indocumentável evento da performance, tem consciência de que altera o próprio evento. Assim, também compreende: os Rastros do Desaparecimento, a Presença do Corpo em Performance, o Cross-dressing ou Transvestismo ou Transformismo, a Política/Poética Camp, Alteridade, ou as representações transnacionais do feminino coreográfico, uma grafia acerca dos Global Queerscapes, a drag queen na atualidade soteropolitana, em uma Epistemologia Drag, assim como, Nacionalidade, Transformismo e Homocultura nos cortejos e movimentos políticos públicos, em Salvador, e sua aproximação com a figura icônica da Carmem Miranda, que tem sido apropriada por homossexuais transvestidos, em todas as latitudes, como o epítome camp do excesso e da frescura internacionais. / What a Drag!: Ethnography, Performance and Female Impersonation by Fernando Antonio de Paula Passos examines the performative presence of cross-dressed men in Salvador’s public scenes: cross-dressing as the opportunity for the deconstruction of gender polarities. It consists of an approach that blends self-reflexive ethnography with issues of female impersonation and cross-dressing in order to study the multiplicity of their performances, their re-signification, their relatively recent arrival in the context of revisionist perspectives and subject matters in the academic field of the performing arts in Brazil. Incorporating concepts of auto-ethnography and theoretical transvestism, it brings together writing and performance in what is now known as performative writing, as it struggles to uncover what the “being” of performance is all about. In dealing with the ontology of performance as representation without reproduction, it is particularly focused on issues of disappearance. It is also aware that writing about the undocumentable event of the performance alters that same event. It also deals with: traces of disappearance, the presence of the body in performance, cross-dressing, camp, alterity, feminine choreography, Global Queerscapes, drag epistemology, nation, surrealism, pastoral, allegory, political resistance and Carmen Miranda, as the epitome of inter/national camp.