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Le but de ce travail est d'analyser les représentations des pirates dans la culture populaire anglophone, représentations qui s'inspirent en premier lieu d'un contexte historique et tendent à montrer les pirates comme des révoltés aux prétentions démocratisantes face aux puissances absolutistes, faisant de l'élection un principe maître qui fait écho à différentes visions de l'implication politique des XXe et XXIe siècles. En parallèle se développe la notion d'une attirance inévitable pour la piraterie due aux liens du sang, un héritage qui mène souvent à diverses formes d'hybridation en mettant sans cesse en question les contenus ainsi transmis. Enfin, que l'on parle d'élection ou d'héritage, ce qui est transmis doit être appris, et les modalités de cet apprentissage sont variables bien que s'inscrivant dans un schéma reconnaissable à travers les artefacts culturels examinés. / The purpose of this work is to analyze the representations of pirate in English-speaking popular culture, representations whose foremost source of inspiration for such works is a historical context, and they tend to show pirates as rebels with claims to forms of democracy facing absolutist powers, turning election into a major principle that echoes different visions of political involvement in 20th- and 21st-century America. Along this tendency, the notion of an irresistible attraction towards piracy, due to blood ties, is developed into a form of legacy often leading to diverse forms of hybridization endlessly questioning the contents thus transmitted. Finally, whether election or legacy be dealt with, what is transmitted must be learnt, and the modalities of such learning vary even though they are embedded in a pattern recognizable throughout the cultural artifacts under examination.

During the so-called ‘golden age’ of piracy that occurred in the Atlantic and Indian Oceans in the later seventeenth and early eighteenth centuries, several thousands of men and a handful of women sailed aboard pirate ships. The narrative, operational techniques, and economic repercussions of the waves of piracy that threatened maritime trade during the ‘golden age’ have fascinated researchers, and so too has the social history of the people involved. Traditionally, the historiography of the social history of pirates has portrayed them as democratic and highly egalitarian bandits, divided their spoil fairly amongst their number, offered compensation for comrades injured in battle, and appointed their own officers by popular vote. They have been presented in contrast to the legitimate societies of Europe and America, and as revolutionaries, eschewing the unfair and harsh practices prevalent in legitimate maritime employment. This study, however, argues that the ‘revolutionary’ model of ‘golden age’ pirates is not an accurate reflection of reality. By using the ‘articles’ or shipboard rules created by pirates, this thesis explores the questions of pirates’ hierarchy, economic practices, social control, and systems of justice, and contextualises the pirates’ society within legitimate society to show that pirates were not as egalitarian or democratic as they have been portrayed, and that virtually all of their social practices were based heavily on, or copied directly from, their experiences in legitimate society, on land and at sea. In doing so, this thesis argues that far from being social revolutionaries, pirates sought to improve their own status, within the pre-existing social framework of legitimate society.

This thesis explores radicalism at work in M. Maxwell Philip's Emmanuel Appadocca (1854) and China Miâeville's The Scar (2002). These novels highlight piracy as a means of rejecting systems of power and social order. Through speculative fiction, each author finds the means to resist the hegemonic power of genre, race, empire, and knowledge that pervade each author's social and historical milieu. This work examines the historical and literary context of piracy as a metaphor for radicalism, the project of legitimization and resistance to generic categorization of both texts. Emmanuel Appadocca resists racial stereotypes, and both texts exhibit clear resistance to colonial expansion. This resistance is made possible by each author's use of the sea as the site of insurgency and challenging boundaries of knowledge. Thus both novels lend themselves to interpretation as works of postcolonial fiction. / by Elizabeth Kelly. / Thesis (M.A.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2008. Mode of access: World Wide Web.

Digitized by Kansas Correctional Industries

Magister Legum - LLM / Piracy attacks off the coast of the Horn of Africa have been on the rise in the recent years. According to a report by Ocean without Borders, although no vessels were hijacked by pirates off the coast of Somalia in 2017, 8 seafarers who were captured in 2016 were still being held in captivity. So far, 545 seafarers have been subjected to piracy attacks.1 The west coast of Africa has also experienced its fair share of piracy attacks. There has been an increase in piracy attacks off the coast of West Africa, two thirds of these attacks occurred off the coast of Nigeria.2The law governing maritime piracy is founded in the United Nations Convention on the law of the sea (UNCLOS).3Article 101 of the Convention defines piracy as; (a) any illegal acts of violence or detention, or any act of depredation, committed for private ends by the crew or the passengers of a private ship or a private aircraft, and directed: i. on the high seas, against another ship or aircraft, or against persons or property on board such ship or aircraft; ii. against a ship, aircraft, persons or property in a place outside the jurisdiction of any State; (b) any act of voluntary participation in the operation of a ship or of an aircraft with knowledge of facts making it a pirate ship or aircraft; (c) any act of inciting or of intentionally facilitating an act described in subparagraph (a) or (b). In addition to the UNCLOS, the Convention for the Suppression of Unlawful acts of Violence against the Safety of Maritime Navigation (herein after referred to as SUA Convention) also criminalises acts related to maritime piracy but which hinder the safe navigation of ships.4 The determining factor for crimes under the SUA Convention is whether the offence is a threat to the safe navigation or is likely to endanger the safe navigation of ships.5 The SUA Convention, however, differs from the UNCLOS in several aspects. First, the Convention does not require that the offence be committed for private ends. Second, the two ships requirement under Article 101 (a) of the UNCLOS is not applicable in the SUA Convention. The offences created in Article 3 of the SUA Convention imply that they may be committed by a perpetrator who is in the same ship with the victim. The SUA Convention does not provide for application of the principle of universal jurisdiction, a State can only exercise jurisdiction over the crimes if it is a party to it.6 Both the SUA Convention7 and the UNCLOS8 provide that the offence must be committed outside a State’s territorial waters. Article 4 of the SUA Convention however further limits the application of the Convention. The Convention does not apply to instances where the ship was not scheduled to navigate out of the territorial waters of the State. This limitation is not applicable under the UNCLOS.

<p>Syftet med denna uppsats är att undersöka hur filmerna Pirates of the Caribbean – Svarta pärlans förbannelse och Pirates of the Caribbean – Död mans kista förhåller sig till de rådande patriarkala normerna. Uppsatsen bygger på teorier kring patriarkatets upprätthållande i form av Yvonne Hirdmans genussystem, R. W. Connells maskulinitetsteori samt vår egen teori om hegemonisk femininitet baserad på Fanny Ambjörnssons femininitetsdiskussioner.</p><p>Vårt material består av filmerna Pirates of the Caribbean – Svarta pärlans förbannelse och Pirates of the Caribbean – Död mans kista, vi har även gjort en djupare analys av fem scener. För att uppnå vårt syfte har vi utgått från en semiotisk metod och använt oss dels av Keith Selby och Ron Cowderys analysmodell för narrativ inom television samt med utgångspunkt hos de samma utarbetat en egen analysmodell för djupanalysen av de fem scenerna.</p><p>Vi har i vår analys kommit fram till filmerna både bekräftar och bryter mot de patriarkala normerna främst genom karaktärerna Jack Sparrow och Elizabeth Swann som visar tydligast ambivalens. Vi anser därför att filmerna har ett viss ambivalent förhållande till den patriarkala ordningen och därmed till viss del kan anses kritisera den.</p>

<p>Titel: Into tomorrow – Constructing scenarios for the record industry in the 21-century.Number of Pages: 54 (55 including enclosures)Author: Erik G AgebergTutor: Else NygrenCourse: Media and Communication Studies DPeriod: Spring semester 2009University: Division of Media and Communication studies, Department ofinformation science, Uppsala University.Purpose/Aim: The aim of this paper is to, through scenario planning methodology,present recommendations in order for record companies to be competitive in the nearfuture. In order to achieve this goal three question where asked. (1) What are the mostcentral problems of the record industry? (2) How can these problems affect the futurein the industry? (3) In what way can record companies’ work to avoid theseproblems? The paper focuses on the Swedish market partly because of the giventimeframe but also because of Sweden’s position in that of file sharing as well astechnological advances. It is also assumed in this paper that the future of music saleswill be concentrated to the Internet.Material/Method: The chosen method for this paper was scenario planning. Anextensive literature study was complemented with interviews of key players involvedin content consumption over the Internet.Main results: A fundamental issue for the future of the music industry is that oflegislation. The outcome of the record industry’s future is almost exclusivelydependent on the way, which the legislation takes. A stricter legislation, whichincludes violations of citizens’ personal integrity, may backfire and result in politicalpirate parties’ becoming members of parliaments. This may in turn result in that theintellectual property laws of the nineteenth century are removed. Suing privatepersons and trackers can result in record companies alienating an entire generation ofmusic consumers. Record companies attempts to retain music as a product may proveto be futile within time, but they can absolutely prolong the period in which it is aproduct. It is nevertheless, not entirely negative for music to become a service. Bybeing a service music can more easily be attached to another service, like an Internetsubscription, or an experience.</p>