This thesis focuses on the issue of maritime pirate attacks prosecution. The proposal of the establishment of an International Piracy Court is connected to the growth of pirate attacks in the area of the Gulf of Aden off the borders of Somalia between 2007 and 2011. The Somali government was not able to suppress this threat to the international security and pirates often avoided trial. Other countries were not willing to prosecute pirates at their national courts. By that time the thought of the establishment of the new specialized international tribunal arised. The aim of this thesis is to evaluate if there actually is the necessity to create an International Piracy Court in the current local and global situation.

No description available.

Maritime piracy, a phenomenon which has plagued free maritime trade for thousands of years, has entered a new age of sophistication and global reverberation. These acts of illegal criminal activity in the late twentieth and early twenty-first centuries yield a significant profit margin for the perpetrators while creating considerable cost for ransom payments, security measures, capital, and human life. The classification of maritime pirates, as either criminals hoping to gain financial income or terrorists hoping to usher in political change, is warranted and compelling. If maritime pirates conduct their operations to institute political change, it is possible that flags of the United States and its allies can be more susceptible to pirate attacks than others. The author argues that although the definitional separation of "maritime piracy" and "terrorism" is becoming increasingly blurred in the twenty-first century, pirates will attack ships based on convenience and opportunity rather than based on the flags of vessels. Testing of this theory will be based on quantitative data produced by the International Maritime Bureau to test pirates’ ideologies as a variable. To test if deprivation is a variable to consider, the author will also compare Indonesian economic performance with the frequency of attempted pirate attacks off its waters.

The operetta, The Pirates of Penzance, is a classic work by Gilbert and Sullivan, a work that continues to be produced frequently despite its Victorian setting and operatic style. For many years the standard performance style of all the operettas by Gilbert and Sullivan was upheld by the D'Oyly Carte Opera Company, who attempted to perform the operettas as they had originally been done. Though the D'Oyly Carte Opera Company helped stimulate interest in the works of Gilbert and Sullivan, nontraditional productions of G & S operettas produced outside of the company were able to reach larger audiences. When The Pirates of Penzance was produced on Broadway in the 1980's, it was enormously successful. Under the direction of Wilford Leach, the production was more accessible to audiences through its pop-oriented orchestrations, Broadway-style choreography, and cast of rock stars and well-known actors. This significant change in the way The Pirates of Penzance was performed inspired several other major productions of the operetta in that style and has now become the standard interpretation of the piece. It is due to these productions that The Pirates of Penzance continues to be produced and remain culturally relevant. It is interesting to note that, while the performance style of Pirates has changed significantly over the years, the role of Mabel has remained largely unchanged. In that regard, the role of Mabel continues to fulfill the goals and tradition of D'Oyly Carte while The Pirates of Penzance has evolved from an old-fashioned operetta to a popular musical theatre piece.

<p>Abstract</p><p>Title: Dragshow on the seven seas</p><p>Number of pages: 51 (56 including enclosures)</p><p>Author: Therése Plastrougi</p><p>Tutor: Ylva Ekström</p><p>Course: Media and Communication Studies C</p><p>Period: Fall 2007</p><p>University: Division of Media and Communication, Department of Information Science, Uppsala University</p><p>Purpose/Aim: My main purpose with this paper is 1) to study how film as a media can subvert traditional gender constructions and 2) study the character of Elizabeth Swann in the trilogy Pirates of the Caribbean through four dimensions; Gender performance, Class, Desire and Power.</p><p>Material/Method: My main material is the trilogy Pirates of the Caribbean. I have studied Elizabeth’s character based on semiotic and narratological methods.</p><p>Main results: Film as a media possesses the full potential to change traditional gender roles, but the full subversion is denied due to the heterosexual matrix. Elizabeth’s character almost completes her subversive journey throughout the trilogy, but since she too is a victim of the heterosexual matrix, a full subversion is not possible.</p><p>Key words: gender performance, class, desire, power, sex/gender, subversion, narratologic, semiotic, queer, feminism, pirates of the caribbean, intersectionality, parody</p>

University of Macau / Faculty of Social Sciences / Department of History

In the process of carving a new England out of the southern end of Vancouver Island in the later nineteenth century, the population of Victoria, BC sought to forge a British identity for themselves through music and its associated rituals. They did this through the pursuit of purposeful acts of cultural meaning. In the social sphere, concerts, parades, religious services, and theatrical productions heightened and inspired loyalty to Mother England. Victoria’s upper classes could then dominate by excluding those people—including Jewish, Chinese, Indigenous, African-American, and Hawaiian residents—who did not conform to that identity. In late-nineteenth-century Victoria, music became more than just a way to celebrate, worship, and recreate; it defined social life for British and non-British peoples alike and shaped the physical space in which they lived. This dissertation explores late nineteenth-century Victoria’s creation of a British identity through music. Ensuring that their churches had a powerful organ and talented organists, Victoria’s religious community proved that they could undertake Britain’s highest social point of sacred musical performance: the choral festival. Positioning George Frideric Handel’s Messiah—with its strong connotations of Britain and her Empire—as their showstopper, these choral festivals served to cement relationships between those citizens who considered themselves British, while also proclaiming this identity as a mark of superiority to the community at large. Itinerant opera troupes further strengthened these imperial bonds by importing European and British opera to Victoria. Through the performances of these professional travelling musicians, Victorian Victorians were able to experience high art and popular operatic music of the Western world, joining the particularly British Pinafore and Mikado crazes of the 1870s and 1880s. These itinerant singers thoroughly impressed local musicians, who avidly tried to reproduce what they had heard, first in instrumental overtures and medleys in the 1860s and 1870s, then with vocal and instrumental operatic numbers in miscellany concerts in the 1870s and 1880s, and finally with full operatic productions in the 1880s and beyond. As with choral festivals in the religious sphere, taking part in opera productions also helped to create a shared sense of British identity among Victoria’s upper classes, during a time when other defining factors of social placement were not yet secure. Settlers in Victoria removed the Indigenous and natural impediments to the construction of their new metropolis, in effect silencing their cultural “voice.” Besides the Indigenous peoples of Vancouver Island, other recent settlers posed challenges to British hegemony, especially Chinese immigrants and “coloured” people of African origin, many of whom came from the United States. Even the gender demographics in the male-dominated frontier society posed challenges to the civilizing process. The Jews of Victoria, the majority of whom were of German or English origin, present an ambiguous case of a cultural and religious community at the crossroads in mid-nineteenth-century Victoria. The butt of rising anti-Semitism in continental Europe, Victoria’s Jewish minority used music and ritual to establish themselves as members of the dominant class. / Graduate / 0413 / 0334 / 0357 / libby.concord@gmail.com

Piracy is one of the oldest known illegal activities, and its very existence endangers the international arena due to its lawless nature and ruthless methods. Todays' piracy, particularly prominent in Africa and Asia, has contemporary political and social implications, and is viewed as a new threat to international order. The aim of this thesis is to present piracy as both local and regional issues, and an international problem, and to observe how these two separate perspectives come together. It analyses how modern-day piracy operates, where it thrives, and what are its geopolitical impacts. It also provides a valuable addition to current views on the state of global affairs and geopolitics; by examining international legislative and interventions created to tackle piracy, and by showing that their effectiveness is insufficient. The text argues that the role of states, their sovereignty, and their lack of it are closely connected to piracy, and that the international arena, and contemporary efforts of nations and international organisations to confront piracy are mainly driven by power struggles. It is concluded that piracy is a result of continuous global tensions, thus allowing this crime to exist and expand. Powered by TCPDF (www.tcpdf.org)

Les communautés de la sécurité informatique parlent de "pirates informatiques", mais en réalité, très peu est connu au sujet de leurs compétences. Durant la dernière décennie, le nombre d'attaques a augmenté de façon exponentielle et les pots de miels ont été alors introduits afin de recueillir des informations sur les attaquants. Ces pots de miel viennent en des saveurs différentes en fonction de leur potentiel d'interaction. Cette thèse abordera le paradigme des pots de miel adaptatifs pouvant changer leur comportement dans l’intention de tromper les attaquants en dévoilant le plus de renseignements possibles sur eux-mêmes. Plutôt que d'être autorisé simplement pour effectuer des attaques, les attaquants sont confrontés à des interférences stratégiques. En utilisant des critères mesurables, les compétences et les capacités de l'attaquant peuvent être évaluées par des pots de miel adaptatifs. Nous avons modélisé les interactions des attaquants. L'idée clé derrière la modélisation des interactions des attaquants élaborée dans cette thèse est d'utiliser la théorie des jeux pour définir la configuration d'un pot de miel adaptatif. Nous avons utilisé des mécanismes d'apprentissage par renforcement dans le but de trouver le meilleur comportement face à des attaquants. Un pot de miel adaptatif est capable d'adopter des stratégies comportementales au niveau de l’exécution de commandes par l'attaquant. Nos résultats expérimentaux montrent que ces stratégies dépendent des paramètres contextuels qui peuvent ainsi servir pour construire des pots de miel intelligents / Information security communities are always talking about "attackers" but in reality very little is known about their skills.In the last decade the number of attacks has increased exponentially and honeypots were introduced in order to gather information about attackers. Honeypots come in different flavors with respect to their interaction potential. Choosing the best trade-off between attacker freedom and honeypot restrictions is challenging. In this dissertation, we address the issue ofself-adaptive honeypots that can change their behavior and lure attackers into revealing as much information as possible about themselves. Rather than being allowed simply to carry out attacks, attackers are challenged by strategic interference from adaptive honeypots. The observation of the attackers' reactions is particularly interesting and, using derivedmeasurable criteria, the attacker's skills and capabilities can be assessed by the honeypot operator. We formally model the interactions of attackers with a compromised system. The key idea is to leverage game-theoretic concepts to define the configuration and reciprocal actions of high-interaction honeypots. We have also leveraged reinforcement learningmachine learning in order to arrive at the best behavior when facing attackers. Our experimental results show that behavioral strategies are dependent on contextual parameters and can serve as advanced building blocks forintelligent honeypots

Abstract Title: Dragshow on the seven seas Number of pages: 51 (56 including enclosures) Author: Therése Plastrougi Tutor: Ylva Ekström Course: Media and Communication Studies C Period: Fall 2007 University: Division of Media and Communication, Department of Information Science, Uppsala University Purpose/Aim: My main purpose with this paper is 1) to study how film as a media can subvert traditional gender constructions and 2) study the character of Elizabeth Swann in the trilogy Pirates of the Caribbean through four dimensions; Gender performance, Class, Desire and Power. Material/Method: My main material is the trilogy Pirates of the Caribbean. I have studied Elizabeth’s character based on semiotic and narratological methods. Main results: Film as a media possesses the full potential to change traditional gender roles, but the full subversion is denied due to the heterosexual matrix. Elizabeth’s character almost completes her subversive journey throughout the trilogy, but since she too is a victim of the heterosexual matrix, a full subversion is not possible. Key words: gender performance, class, desire, power, sex/gender, subversion, narratologic, semiotic, queer, feminism, pirates of the caribbean, intersectionality, parody