Abstract

Pirate representation is studied in a series of Epic poems in the late sixteenth century and early seventeenth century. The ambiguous image of the English enemy is read in texts by Juan de Miramontes, Pedro de Oña, Martín del Barco Centenera and Juan de Castellanos, among others. On the one hand, Colonial Epic ignores some important differences between privateers and pirates since the privateering had been legally accepted by all European nations, including Spain. Besides, Pirate is always called «Lutheran» and revealing its absolute otherness with respect to the Catholic model. On the other hand, it proposes a laudatory epics enemy painting from the imitation of the values accepted by the colonial society. The relationship between the Spanish hero and the privateer is represented not in a vertical direction, as could happen between colonizer and colonized subject, but on a level of rivalry.

Abstract

The theme of piracy in the colonial epic poetry represents patterns of military defense against an enemy that sets an internal and external challenge from the sea and land. Sometimes, Pirates were especially considered dangerous if they tried to get alliances with subjected populations of Indians. In this article I begin by exploring the presence of Dutch privateers in a passage of Puren indómito, poem by Diego Arias de Saavedra, and their frustrated attempt to gain allies among Araucanian people. Then, two final Cantos of La guerra de Chile, an anonymous poem, were analyzed in relation with the tragic destiny of other Dutch sailor, Jacob Mahu, and how certain intertextual comparison with the episode of Adamastor in Os Lusiadas is argued from a global political lecture. Both poems show the fragility of the Spanish military force in the region.

Abstract

La introducción generalizada de Internet de banda ancha ha transformado la forma tradicional de ver series de TV y películas. Más allá de los servicios legales hay un ecosistema ampliamente establecido que permite el acceso no autorizado a material con copyright; un ecosistema que en España representa un canal paralelo de consumo de contenidos. Hemos analizado los sitios web de los principales proveedores de enlaces en España durante un año, a partir de la entrada en vigor el 1 de enero 2015 del Texto Refundido de la Ley de propiedad intelectual (Trlpi). Nuestro análisis revela cómo el ecosistema ha alterado el equilibrio de este ecosistema y finamente se ha reorganizado. Sin embargo, en contraste con el objetivo de las medidas propuestas por la Trlpi, la nueva legislación no ha conducido a una reducción en el tamaño del ecosistema de la piratería en España. AbstractThe widespread introduction of broadband Internet has transformed the traditional way of watching TV series and films. Beyond the legal services there is a widely established ecosystem that provides unauthorized access to copyrighted material; an ecosystem which, in Spain, represents a parallel channel on which to view content. We have analyzed the leading link provider websites in Spain over a period of one year, since enforcement on January 1, 2015 of the Revised Text of the Intellectual property act (Trlpi). Our analysis reveals how the ecosystem has been reorganized and its balance altered. However, in contrast to the objective of the measures proposed by the Trlpi, the new legislation has not led to a reduction in the size of the piracy ecosystem in Spain. 

Abstract

In this work, carried out at the University of California Los Angeles (UCLA) Center for Management of Enterprise Media, Entertainment, and Sports (Memes), we suggest that there is hope and reason for media companies to expect a recovery from the current crisis. As journalists and researchers in communication, we are concerned about newspapers’ sustainability, and we refuse to consider a future scenario without the press. According to this objective we focus on the entertainment industry with the goal of learning from it how to survive and even grow despite freely available content on the Web. We consider the unstoppable growth in users and revenue experienced by Netflix, Amazon and iTunes, and pull from it lessons learned that might help newspapers to navigate the digital landscape. Our hypothesis is that digital newspapers can find new readers in the segment of digital consumers who already “pay” for digital content including streaming movies and television shows. Sales, subscriptions, and online rentals experienced significant growth in 2013, bringing them closer to the sales figures of hardware such as DVDs and blu-ray discs. And, although piracy is an issue in the entertainment industry, there remains room for revenue growth.

Abstract

This research develops an attacker-defender model of maritime trading. The defender's problem is represented as a minimum cost, multi-commodity network flow model. System cost is measured in terms of total ton-n.m. in the network. Our network contains the 120 most important ports in the world (by volume of cargo), 35 waypoints at sea, and 416 arcs. Port supply and demand have been estimated from different sources. Interdictions represent manmade disruption of the seaways, such as those in the presence of piracy. An interdicted arc is assumed to incur a penalty equivalent to the additional distance that a ship would need to travel in order to avoid the threat, or a total blockade of the arc in the case of straits and canals. We analyze several scenarios with varying assumptions on the defended arcs and the number of simultaneous interdictions. The most disruptive, single interdiction occurs in the Strait of Gibraltar, increasing cost by almost 25%, followed by the Straits of Bab el Mandeb (20%) and Suez Canal (19%). For two simultaneous interdictions, cost increases to 33%, but decreases to 23%, 8% and 1.5% when we defend three, four or five select straits and canals, respectively. http://archive.org/details/assessingresilie109457344 Lieutenant Colonel, Argentine Air Force