The state often enacts violence against marginalized groups by rendering them monstrous. The early eighteenth century saw early and stellar instances of this phenomenon in the way the British Empire pursued and executed pirates. These "golden age" pirates represented an extraordinary cross-section of marginalization politically, economically, socially, and otherwise, all of which threatened the political and social mores of Imperial Britain. In order to implement a policy and practice of pirate annihilation, British authorities constructed pirates as monstrous by racializing, dehumanizing, and emphasizing the supernatural quality of pirates. This study analyzes three eighteenth-century piracy trial transcripts--those of William Kidd, Stede Bonnet, and William Fly--in order to assess how lawyers and judges constructed pirates as monstrous so as to justify the massive and total violence inflicted on them as a class resulting in their complete destruction. In so doing, this study tracks rhetorical tactics and strategies still used by empires and the state today against marginalized peoples to an original historical source.

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The following essay examines the image of "Barbary piracy" created by two prominent political figures, Thomas Jefferson and William Eaton, and by the American public from 1784 to 1805, and how those images shaped the policy of the American-Barbary War. Eaton‟s Orientalist approach to describing piracy and the North African population limited his views of this region, thus reducing the American conflict to the annihilation of animalistic "brutes." Jefferson‟s practical approach to describing piracy and the North African population focused on emancipating the region from the corrupting influence of greed, allowing him the necessary flexibility to solve the conflict by either by military force or with peace treaties, whichever was necessary. I will show the impact that categorizing piracy as either the result of a depraved society or as a corrupting force had on both American perceptions of the North Africa people and on the outcome of the American-Barbary War.

Denna uppsats handlar om filmtrailrar, och mer specifikt trailrar som marknadsför 3D-filmer. Syftet är att lyfta fram ett till stora delar outforskat ämne och undersöka likheter och skillnader i konventioner mellan trailrar från 50-talet och moderna trailrar. Frågorna jag ämnar svara är: Hur marknadsför moderna, samtida trailrar 3D-teknologin? Finns det gemensamma konventioner och stilistiska grepp som är genomgående för dessa trailrar? Vad finns det för likheter respektive skillnader i konevntioner och grepp? Vad har förändrats i marknadsföringen av 3D-teknologin sedan 1950-talet? Forskningsfältet trailrar är till stora delar outforskat, men mitt arbete lyfter fram några studier som gjorts. Kernan har skrivit en bok om trailrar i allmänhetoch utformat tankar och resonemang om vad en trailer är. Hon utgår ifrån ett retoriskt synsätt och menar att det går att utläsa hur studior via trailrar "talar" till publiken. Street har skrivit en artikel som utgår ifrån Esther Harris, som skapade trailrar i England, och hennes arbete. Street redogör för Harris trailrar i synnerhet och filmtrailrar i allmänhet och knyter an till det Kernan redogör för i sin bok. Johnston har skrivit om hur trailrar marknadsför teknologi, däribland en artikel om just trailrar för 3D-filmer. Det är denna artikel, med hans resonemang och resultat, som ligger till grund som teoretisk ram för detta arbete. Johnston menar att en rad konventioner och grepp utvecklades under 1950-talet för att lyfta fram 3D-formatet som den stora stjärnan som skulle locka tillbaka publiken till biograferna. Han menar att scener och sekvenser med action, specialeffekter och spektakel lyftes fram så att publiken skulle få se prov på vad formatet kunde göra. Speciellt klipp med utstickande föremål eller armar, vapen eller liknande, framhävdes för att understryka den tredje dimensionen. Man använde även textskyltar och berättarröster som berättade och informerade om 3D-teknologin., samt så kallade "Masters of Ceremonies"; specialskapade segment i trailern där, oftast, en skådespelare (som sig själv eller i sin roll) vände sig direkt till publiken och berättade om 3D-formatet.  I min analys utgår jag ifrån Johnstons teorier och analysrerar sedan trailrarna till Avatar, The Final Destination, Tron: Legacy, Pirates of the Caribbean: On Stranger Tides, The Three Musketeers, The Adventures of Tintin, Men In Black 3 samt The Smurfs. Jag finner att trailrarna gör väldigt lite eller inget alls för att informera om 3D-formatet, men att konventioner i val av klipp och scener sig lika sedan 1950-talet. Med andra ord, att scener med action, specialeffekter, spektakel, och saker och föremål och annat som sticker ut ur skärmen lyfts fram. Undantaget är trailern till The Smurfs som till stor del är lik trailerkonventionerna från 50-talet, i det att den vänder sig direkt till publiken i specialgjort material i sitt tilltal och använder sig av "the Master of Ceremonies".  Jag kommer fram till att mycket i de moderna trailrarna är sig likt och att flera konventioner och grepp lever kvar sedan 50-talet. De största skillnaderna ligger i det direkta tilltalet till publiken och att de moderna trailrarna tycks tona ner budskapet om 3D-formatet.

The Diploma thesis will deal the main actors who support elements of direct democracy in Czech political system. Concurrently I want critically approach to their thesis and valorize its relevance, viability and potential impact for Czech society. First of all I will present each of elements of direct democracy, which are town meeting, initiative, referendum and recall. I refuse that a direct election of president or other political actor is an element of direct democracy. I classify a direct election of political actor like a synonym of representative democracy in this Diploma thesis. I will also present examples of countries like Switzerland or California, which has huge experience with using of direct democracy. Focus of my interest will be also on Scottish independence referendum and Slovak referendum about family and marriage. After this theoretical and empirical introduction I will critically approach to thesis about elements of direct democracy of Czech political actor like the Dawn of Direct Democracy, the Public Affairs, the Movement for Direct Democracy and the Czech Pirates Party, however I will mention other political actors and theirs ideas of elements of direct democracy, mainly I will mention the Czech government's proposition of law about general referendum in Czech republic. The...

Cette thèse présente l’analyse de la trilogie de José Manuel Fajardo (1957) constituée par les trois romans, Carta del fin del mundo (1996), El Converso (1998) et Mi nombre es Jamaica (2010). Ces trois œuvres font partie du sous-genre, roman istorique d’aventures. À travers l‘étude du temps, de l’espace et des personnages, ce travail de recherche a pour objectif de délimiter la part de l’histoire et de l’aventure au sein de ces trois œuvres qui renvoient à des périodes marquantes de l’histoire de l’Espagne (la conquête, le Siècle d’or). Les nombreuses références à l’expulsion des Morisques ou à la diaspora sépharade témoignent de la volonté de l’auteur de faire œuvre d’historien en sauvant de l’oubli certains pans de l’histoire d’Espagne délaissés par l’Histoire officielle. Cette récupération historique va de pair avec une fictionnalisation de cette matière historique (la découverte de l’Amérique, la piraterie au XVIIe siècle, dans les Caraïbes et en méditerranée) qui permet à l’auteur de créer de l’aventure. Cette aventure est vécue par les héros comme une quête identitaire qui les conduit, à travers la traversée d’innombrables espaces, vers leur Terre promise ; ce qui leur confère une indéniable épaisseur humaine. / This thesis introduces the trilogy by José Manuel Fajardo (1957) composed of Carta del fin del mundo (1996), El Converso (1998) and Mi nombre es Jamaica (2010).These three works are part of the historical adventure novel sub-genre. Focusing on time, space and characters, this research work is aimed at making a distinction between history and adventure in these three works that refer to significant periods in the history of Spain (the conquest, the Golden Age). The numerous references to the expulsion of the Moriscos or the Sephardic diaspora show the author's willingness to work as a historian by saving fromoblivion some parts of Spanish history neglected by official history. This historical exploitation goes hand in hand with fictionalizing the historical matter _such as the discovery of America or piracy in the seventeenth century in the Caribbean and the Mediterranean seas_ which makes it possible for the author to create adventure. This adventure is experienced by the heroes as a search for identity that leads them, through the crossing of countless spaces, to their promised land; whichgives them potent human depth.

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Digital rights activism constitutes an exemplary case of how internet affordances can be mobilised to engender political change. The values and principles stemming from the hacker imaginaire, and free and open source software practices, underpin digital rights activism, which uses the internet as a tool, object and platform for the protection of rights in the digital realm. The analysis focuses on how digital rights activists use and adapt the political affordances of the internet to intervene in European Union policy-making. Two original case studies of internet-based campaigning at the European level (the “No Software Patents” and the “Telecoms package” campaigns) provide in-depth insight into the campaigning processes and their impact upon parliamentary politics. The cases highlight the complementarity of online and offline collective action, by examining processes of open collaboration, information disclosure and internet-assisted lobbying. The success of the “Telecoms package” campaign is then assessed, along with the perspective of the targets: members and staff of the European Parliament.<p><p>The belief in values of freedom, decentralisation, openness, creativity and progress inspires a particular type of activism, which promotes autonomy, participation and efficiency. The empirical evidence suggests that this set of principles can, at times, conflict with practices observed in the field. This has to do with the particular opportunity structure of the European Union and the characteristics of the movement. The EU favours functional integration of civil society actors who are expected to contribute technical and/or legal expertise. This configuration challenges internet-based protest networks that rely on highly independent and fluctuating engagement, and suffer from a lack of diversity and cohesion. The internet does not solve all obstacles to collective action. It provides, however, a networked infrastructure and tools for organising, coordinating and campaigning. Online and offline actions are not only supportive of each other. Internet-based campaigning can be successful once it reaches out beyond the internet, and penetrates the corridors of political institutions.<p> / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished