É fato que o livro mudou a forma de organização e transmissão do pensamento e conhecimento ao longo dos séculos, como também é de saber notório que, desde o surgimento da imprensa, seus modos de feitura e circulação se alteraram consideravelmente, passando a interferir na produção artística e intelectual dos escritores. Tomando o livro como objeto central, este trabalho pretende refletir sobre como a composição editorial carrega sentidos anteriores à própria compreensão e leitura do texto; sentidos evidenciados pelos elementos paratextuais que compõem a edição, tais como capa, nome do livro, autoria da obra, release e textos complementares. Para tanto, partiu-se do contexto de recepção da literatura brasileira na Argentina nos anos 2000, no qual se observou o surgimento da coleção Vereda Brasil (Ediciones Corregidor), publicada em uma editora privada cujo contexto de fundação associa-se ao trabalho docente empreendido por Florencia Garramuño e Gonzalo Aguilar na cátedra de Literatura Brasileira e Portuguesa da Universidad de Buenos Aires. A partir da análise dos paratextos dos dois primeiros exemplares que compunham a referida coleção, uma seleta de textos de Oswald de Andrade intitulada Escritos antropófagos e o romance de Graciliano Ramos, Vidas secas, nota-se que tais construções textuais evidenciam tanto o contexto fundacional da coleção, vinculado à cátedra de dita universidade, quanto as premissas do mercado editorial independente argentino, como a segmentação do público e as restrições econômicas para a publicação do livro, aspectos que fazem com que este projeto editorial seja caracterizado pela intersecção entre o mercado editorial e a pesquisa acadêmica. / It is a fact that the book has changed the manners of organization and transmission of thought and knowledge through the last centuries, just as it is well known that, ever since the emergence of press, the means of making and making circulate books have altered considerably, starting to interfere writers artistic and intellectual production. Taking the book as a central object, this work intends to think about how the editorial composition carries older senses than the understanding and reading of a text themselves; aspects highlighted by the para-textual elements which are a part of the edition process, such as cover, title, authorship, release and complementary texts. Therefore, the departure of this Dissertation takes place on the paradigm of Brazilian Literature\'s reception in Argentina during the 2000s, from when comes out the collection Vereda Brasil (Ediciones Corregidor), released by a private publishing house whose founding context is associated with Florencia Garramuño and Gonzalo Aguilar\'s teaching posts on the Brazilian and Portuguese Literature area at Universidad de Buenos Aires. Based on an analysis of the para-texts found in its first two copies, a select of Oswald de Andrade\'s works named Escritos antropófagos and Graciliano Ramos\'s novel Vidas secas, it is possible to verify that such textual constructions evidence not only the foundation circumstances of the referred collection, bounded to that University\'s teaching posts, but also the premises of Argentinian\'s independent publishing market, without mentioning its public\'s segmentation and economic restrictions when it comes to the production process of a book characteristics responsible for making it a publishing project distinguished by the intersection of publishing market and academic research.

Made available in DSpace on 2016-08-10T11:06:59Z (GMT). No. of bitstreams: 1 LUCILELIA LEMES DE CASTRO SILVA NASCIMENTO.pdf: 1559212 bytes, checksum: f28a9b74e30c324bec433f840c7af921 (MD5) Previous issue date: 2014-04-11 / This study investigates a range of poetic works created with and disseminated through digital computer media, for their visual, kinetic, and textual practices. We seek to articulate an analytic method grounded in close readings of selected poems out of several contemporary subgenres chosen to focus on poetic practices that raise questions about spatiality, temporality, kineticism, and word-and-image construction. Our chief interest lies in the systematization of the management procedures to access cyber poetry as a poetic form that emerges and is orchestrated in digital media and the forms of engagement presented to the reader. We focus the study on three clusters of poems, the poetic events, the cinematographic poems and visual noise poems. In this study, the attention to the material is applied on the analyzed digital poems. We base on the N. Katherine Hayles s analysis of media. In studying the selected digital poems, we highlighted their spatiotemporal properties and the kinetic and word-picture constructions. We dealt with Flash and animated Poems in the visual noise poetry. We argue that the reader/user s active embodied engagement that is required in the poems analyzed in chapter two and the denial of an active participation in the poems of chapter three is part of the materiality of the works. We emphasize that digital poetry is in a field that is expanding and changing, we dare to say that the poetic writing exploration and experimentation in the age of new media has just begun. / Este estudo investiga uma série de obras poéticas criadas e divulgadas através das mídias digitais, por meio de suas práticas visuais, cinéticas e textuais. Procuramos articular um método analítico fundamentado em leituras de poemas selecionados em vários subgêneros contemporâneos escolhidos para se concentrarem em práticas poéticas que levantem questões sobre a espacialidade, a temporalidade, o cinetismo e a construção de palavras e imagens. O nosso foco principal reside na sistematização dos procedimentos de manejo para acesso à ciberpoesia como forma poética que emerge e é orquestrada em mídias digitais e as formas de engajamento que são apresentadas ao leitor. Concentramos o estudo em três grupos de poemas: os Eventos Poéticos, Poemas Cinematográficos e os Poemas de Ruído Visual. Neste estudo, a atenção ao material é exercida sobre os poemas digitais analisados. Baseamo-nos na análise de mídia de N. Katherine Hayles. Ao estudarmos os poemas digitais selecionados, destacamos as suas propriedades espaço-temporais, as construções cinéticas de palavra-eimagem. Tratamos de poemas em Flash e poemas animados na poesia de ruído visual. Defendemos que o engajamento ativo incorporado que é exigido do leitor/usuário nos poemas analisados no capítulo dois e a negação de uma participação ativa nos poemas do capítulo três faz parte da materialidade das obras. Ressaltamos que a poesia digital constitui-se em um campo que está se expandindo e mudando, não seria ousadia afirmar que a exploração e a experimentação da escrita poética na era das novas mídias apenas começaram.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-09-22T19:51:09Z No. of bitstreams: 1 PÂMELA BATISTA FERREIRA BEDIM.pdf: 920995 bytes, checksum: c7124b3f23b956996be4409210cc4447 (MD5) / Made available in DSpace on 2016-09-22T19:51:09Z (GMT). No. of bitstreams: 1 PÂMELA BATISTA FERREIRA BEDIM.pdf: 920995 bytes, checksum: c7124b3f23b956996be4409210cc4447 (MD5) Previous issue date: 2016-04-01 / This dissertation follows the completion of a subproject related to a larger project on the subjective productions of families in dispute by custody of children. The research aimed to know the ways that the ex-spouses and their children understand financial matters present in dispute. The epistemological and qualitative metodológiva reasoning is based on cultural-historical psychology for the study of subjectivity. The field of survey was the project Justice of Families, educational resulting from the larger survey and in which we work with groups interfamily relationships , whose objective is to challenge the families to generate new subjective senses in relation to dispute , for its resolution. The participants of this subproject integrate the project Educational Justice of families and were delivered by the Court of Justice of the State of Goiás, through the II Judicial Center of solution of conflicts and citizenship. The inclusion criterion of the participants of this subproject was its availability to bring such as focus, in the educational process, the thematic of the materiality of the financial dispute. All participants signed the FCCT ( Free and Clear Consent Term ) and accepted to participate of this subproject, Financial materiality and subjectivity in dispute of families by the custody of children, having clarity of possible risks and of the benefits arising out of their participation. Were two families participants: family, composed of mother and daughter, family B, composed of mother, father and daughter. The instruments used were a dialog and reflection, such as proposed for the Project Justice Educational of families. The general objective of this study was to understand the subjective productions of the families forward financial matters of dispute. It is part of the description of how the ex-spouses and their children involve financial aspects in the dispute for the understanding of how these aspects are related with their subjectivities. The results show how it is possible the emersion of the subject in the process of dispute, to understand how their subjectivity is involved with the financial aspects present in this process and how you can best resolve them to become aware of their emotions, being accountable, thus, for their actions. / A presente dissertação decorre da realização de um subprojeto relacionado a um projeto maior sobre as produções subjetivas de famílias em litígio pela guarda dos filhos. A pesquisa buscou conhecer as formas como os ex-cônjuges e seus filhos compreendem as questões financeiras presentes no litígio. A fundamentação epistemológica e metodológica qualitativa é baseada na psicologia cultural-histórica para o estudo da Subjetividade. O campo da pesquisa foi o projeto Justiça Educativa de Famílias, resultante da pesquisa maior e no qual se trabalha com grupos interfamiliares, cujo objetivo é desafiar as famílias a gerarem novos sentidos subjetivos em relação ao litígio, para a sua resolução. Os sujeitos participantes deste subprojeto integram o projeto Justiça Educativa de Famílias e foram encaminhados pelo Tribunal de Justiça do Estado de Goiás, por meio do II Centro Judiciário de Solução de Conflitos e Cidadania. O critério de inclusão dos participantes deste subprojeto foi sua disponibilidade e trazerem como foco, no processo educativo, a temática da materialidade financeira do litígio. Todos os participantes assinaram o TCLE (Termo de Consentimento Livre e Esclarecido) e aceitaram participar deste subprojeto, Materialidade Financeira e Subjetividade no litígio de famílias pela guarda dos filhos, tendo clareza dos possíveis riscos e dos benefícios decorrentes de sua participação. Foram duas as famílias participantes: família A, composta de mãe e filha e Família B, composta de mãe, pai e filha. Os instrumentos utilizados foram o diálogo e a reflexão, tais como propostos para o Projeto Justiça Educativa de Famílias. O objetivo geral deste estudo foi compreender as produções subjetivas das famílias frente às questões financeiras do litígio. Parte-se da descrição de como os ex-cônjuges e seus filhos envolvem as questões financeiras no litígio para a compreensão de como esses aspectos estão relacionados com as suas subjetividades. Os resultados mostram como é possível a emersão do sujeito no processo do litígio, de forma a compreender como a sua subjetividade está envolvida com os aspectos financeiros presentes nesse processo e como pode melhor resolvê-los ao tomar consciência de suas emoções, responsabilizando-se, assim, por suas ações.

En art numérique, une pratique tend à se développer chez un nombre croissant de créateurs. Cette pratique correspond à la mise en relation d’une image numérique projetée, immatérielle, avec un support, matériel, généralement non standardisé, qui conserve par rapport à celle-ci une certaine indépendance ou autonomie. Il s’agit dans ces créations de partir d’une distinction, d’une opposition ou d’une distance entre un élément virtuel et un élément physique, qui, à partir de leur rapprochement, permet de faire émerger un sens que ce type de création devient prédisposé à porter. Devenant ainsi une façon particulière de traduire une relation au monde, cette articulation est un mode d’expression du sensible qui a sa singularité et qui dispose de spécificités.L’objectif de ce mémoire est de mettre en avant certaines pistes de réflexion pour la création, des méthodes de mise en œuvre, ainsi que des mécanismes de perception éventuels quand se joue cette rencontre de l’image, de l’objet, de la scène. Non seulement afin de comprendre la raison de l’expansion de cette pratique grandissante en ce début de 21e siècle, mais aussi d’orienter certains axes de travail envisageables pour des réalisations ou des analyses d’œuvres. / In digital arts, a practice is being developed by an increasing number of creators. This practice puts in relation an immaterial projected digital image, with a material medium, generally non standardized, that ensures a certain kind of independence or autonomy towards the image. In these creations, it’s about starting from a distinction, an opposition or a distance between a virtual element and a physical element, and by moving it closer, make emerging a sense that this type of creation is becoming susceptible to carry. Becoming a specific way to express a relationship to the word, this articulation is a way to express sensible world with its own singularity and specificities. The purpose of this thesis is to outline various approaches for creation, methods of implementation, and potential mechanisms of perception when this meeting between image, object and scene is on. Not only to understand the reason of the expansion of this growing practice in the early 21st century, but also to guide some possible working areas for productions or analysis of art works.

É fato que o livro mudou a forma de organização e transmissão do pensamento e conhecimento ao longo dos séculos, como também é de saber notório que, desde o surgimento da imprensa, seus modos de feitura e circulação se alteraram consideravelmente, passando a interferir na produção artística e intelectual dos escritores. Tomando o livro como objeto central, este trabalho pretende refletir sobre como a composição editorial carrega sentidos anteriores à própria compreensão e leitura do texto; sentidos evidenciados pelos elementos paratextuais que compõem a edição, tais como capa, nome do livro, autoria da obra, release e textos complementares. Para tanto, partiu-se do contexto de recepção da literatura brasileira na Argentina nos anos 2000, no qual se observou o surgimento da coleção Vereda Brasil (Ediciones Corregidor), publicada em uma editora privada cujo contexto de fundação associa-se ao trabalho docente empreendido por Florencia Garramuño e Gonzalo Aguilar na cátedra de Literatura Brasileira e Portuguesa da Universidad de Buenos Aires. A partir da análise dos paratextos dos dois primeiros exemplares que compunham a referida coleção, uma seleta de textos de Oswald de Andrade intitulada Escritos antropófagos e o romance de Graciliano Ramos, Vidas secas, nota-se que tais construções textuais evidenciam tanto o contexto fundacional da coleção, vinculado à cátedra de dita universidade, quanto as premissas do mercado editorial independente argentino, como a segmentação do público e as restrições econômicas para a publicação do livro, aspectos que fazem com que este projeto editorial seja caracterizado pela intersecção entre o mercado editorial e a pesquisa acadêmica. / It is a fact that the book has changed the manners of organization and transmission of thought and knowledge through the last centuries, just as it is well known that, ever since the emergence of press, the means of making and making circulate books have altered considerably, starting to interfere writers artistic and intellectual production. Taking the book as a central object, this work intends to think about how the editorial composition carries older senses than the understanding and reading of a text themselves; aspects highlighted by the para-textual elements which are a part of the edition process, such as cover, title, authorship, release and complementary texts. Therefore, the departure of this Dissertation takes place on the paradigm of Brazilian Literature\'s reception in Argentina during the 2000s, from when comes out the collection Vereda Brasil (Ediciones Corregidor), released by a private publishing house whose founding context is associated with Florencia Garramuño and Gonzalo Aguilar\'s teaching posts on the Brazilian and Portuguese Literature area at Universidad de Buenos Aires. Based on an analysis of the para-texts found in its first two copies, a select of Oswald de Andrade\'s works named Escritos antropófagos and Graciliano Ramos\'s novel Vidas secas, it is possible to verify that such textual constructions evidence not only the foundation circumstances of the referred collection, bounded to that University\'s teaching posts, but also the premises of Argentinian\'s independent publishing market, without mentioning its public\'s segmentation and economic restrictions when it comes to the production process of a book characteristics responsible for making it a publishing project distinguished by the intersection of publishing market and academic research.

Occlusion is a procedurally randomized interactive art experience which uses the motifs of repetition, isolation, incongruity and mutability to develop an experience of a Folie àDeux: a madness shared by two. It draws from traditional video game forms, development methods, and tools to situate itself in context with games as well as other forms of interactive digital media. In this way, Occlusion approaches the making of game-like media from the art criticism perspective of Materiality, and the written work accompanying the prototype discusses critical aesthetic concerns for Occlusion both as an art experience borrowing from games and as a text that can be academically understood in relation to other practices of media making. In addition to the produced software artifact and written analysis, this thesis includes primary research in the form of four interviews with artists, authors, game makers and game critics concerning Materiality and dissociative themes in game-like media. The written work first introduces Occlusion in context with other approaches to procedural remixing, Glitch Art, net.art, and analogue and digital collage and décollage, with special attention to recontextualization and apophenia. The experience, visual, and audio design approach of Occlusion is reviewed through a discussion of explicit design choices which define generative space. Development process, release process, post-release distribution, testing, and maintenance are reviewed, and the paper concludes with a description of future work and a post- mortem discussion. Included as appendices are a full specification document, script, and transcripts of all interviews.

This dissertation explores how people address problems of real human concern in situations of complexity, ambiguity, uniqueness, conflicting values and rapid change. Such circumstances stretch formal and idealistic rules and procedures to the breaking point. And yet, people in a variety of fields work through such difficulties in a pragmatic manner, at times finding ways to assert their humanity. Sensemaking and human- centred design are related activities through which many people approach such work. Through cases in digital innovation, global health care delivery and an unlikely voyage of the Amazon River, this portfolio shows that they are relevant to a wide range of settings. Rather than isolating the components or key variables of such work and taking their measure, this research advances a more holistic view of sensemaking and designing as sociomaterial practices. My research is grounded in performing the phenomenon of study, offering insights from complex practice rather than a spectator’s study of it. This ethnographic approach has yielded theoretical contributions related to designing for the emergence of practices, embodied sensemaking, a more substantive notion of what it means to be ‘human’ centred and more pragmatic ways of investigating sociomaterial practices. By discussing sensemaking and human-centred design as antidotes to failures of imagination in global health and development, this dissertation suggests a distinctive perspective on why these topics matter for the health of poor and marginalized people around the world.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-04-15T15:25:14Z No. of bitstreams: 1 CAROLINE GOVARI NUNES_.pdf: 14334028 bytes, checksum: 416e1e38852e6932bbb85632f016d2b9 (MD5) / Made available in DSpace on 2016-04-15T15:25:15Z (GMT). No. of bitstreams: 1 CAROLINE GOVARI NUNES_.pdf: 14334028 bytes, checksum: 416e1e38852e6932bbb85632f016d2b9 (MD5) Previous issue date: 2016-03-04 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação quer problematizar duas apresentações ao vivo da banda de rock gaúcha Cachorro Grande. Adotamos, basicamente, duas perspectivas: materialidades e estéticas da Comunicação. Primeiramente, em caráter expositivo, fazemos a biografia do nosso objeto de pesquisa, onde apresentamos disco a disco, todas as fases da banda. Em seguida, apresentamos detalhadamente nossos procedimentos metodológicos e explicamos o porquê da escolha do método etnográfico em nossa pesquisa. Posteriormente, trabalhamos com a arqueologia do rock gaúcho – onde trazemos à tona também uma discussão sobre o termo, dando-se outros elementos para pensar a respeito da Cachorro Grande – e discutimos questões relativas às indústrias culturais, às cenas musicais e aos enfrentamentos identitários nos quais o conjunto se move. Nesta etapa, pensamos principalmente nos modos como esta cena musical se apresenta para refletir sobre práticas culturais e identitárias neste espaço urbano e para entender a relação da Cachorro Grande com este cenário. Assim, falamos de negociações simbólicas, diferentes pertencimentos e de jogos de performances no decorrer da carreira da banda. Quando abordamos a teoria das materialidades, o campo não-hermenêutico e a descentralização do sujeito, falamos de uma experiência estética que envolve diferentes dispositivos comunicacionais. Em relação à produção de presença, trazemos questões referentes aos materiais e discutimos o emprego dos artefatos tecno-midiáticos e o efeito estético que daí decorre. Tratamos especialmente do show de rock, que é nosso observável principal. / This dissertation wants to question two live performances of the gaucho rock band Cachorro Grande. We adopt basically two perspectives: materiality and aesthetics of Communication. First, expository character, we describe the biography of our research object, where we present album by album, all band’s phases. Then, we present our methodological approach and explain why we chose the ethnographic method for our research. Later, we work with the archeology of the gaucho rock genre – bringing to the foreground also a discussion of this term, presenting other elements to consider about the Cachorro Grande – and discuss the issues related to cultural industries, music scenes and identity in which the group transits. At this stage, we examine the ways in which this music scene is presented and discuss on the cultural and identity practices in the urban space to understand the relationship of Cachorro Grande within this scenario. Therefore, we speak of symbolic negotiations, different affiliations and performances games over the band's career. When discussing the theory of materiality, non-hermeneutic area and decentralization of the subject, we talk about an aesthetic experience that involves different communication devices. In the production of presence, we raise questions relative to the materials and discussed the employment of techno-media artifacts and aesthetic effect. We focus mainly on the rock concert, which is our main observable.

Made available in DSpace on 2016-04-26T18:11:18Z (GMT). No. of bitstreams: 1 PEDRO DOS SANTOS SILVA.pdf: 2523056 bytes, checksum: 6ffc15f32a190d6f21891dca8e006b13 (MD5) Previous issue date: 2011-12-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research´s issue is how media´s materiality makes a new meaning of itself as significant materiality of Augusto de Campos´ poetry. From a cast of mediatic trait´s presence ways, in a poems´ cutting, it was possible to delineate an Augusto de Campos´ image while a multimediatic poet. The corpus was delimited by poems whose expression takes hold of newspapers and magazines´ expressive ways, set in a differential display from their usage, with collage technique. It was explored how the addresser´s act delineates the addressee´s apprehension, from thematic procedure´s uses, figurative (of translation, bricolage and syncretism) and enunciative. This exam allowed us to draft an image of the addresser Augusto de Campos, as well as of the addressee. It was established an interaction analysis between the communication partners which build the meaning from a systematic articulation of discursive regimes. We start from the premise that Augusto de Campos´ poetry puts itself into visuality and spatiality´s logic. By breaking with verbal´s continuity and linearity the addresser enables the addressee to read the poems with what he withdraws from media´s usages, glimpsing through them other meanings of the social-historical-political-cultural context that remained latent. Therefore the enunciator donates a competence program to the enunciatee so that he can execute his interpretative doing of the environmental mediatic ambience, and also of the context in which it is inserted. With this competencialization, by experience the enunciatee can assume a sensible reading performance, reflexive and with critical positions. The addressee´s narrative path results from his transformations from sensitized and manipulated addressee to an addressee engaged in social. Augusto de Campos was specifically characterized as an aesthetical, ethical and political addresser, by enunciative, thematic and figurative games which discern his poetic production, turned into a verbal-vox-visual-spatial complex, by syncretization procedures of mediatic ambiances. These procedures make a new proposition, in the poems´ display of the plastic of expression, of existence ways that are makers of a new meaning of the addressee´s critical presence. The theoretical and methodological context that guides us is the semiotics theory of A. J. Greimas and his collaborators J-M Floch and E. Landowski, as well as A. C. de Oliveira´s developments. We articulate these contributions in a conceptual texture which aims to contribute to communication field in apprehension and production of media´s esthetics. / A questão desta pesquisa é como a materialidade da mídia ressignifica-se como materialidade significante da poesia de Augusto de Campos. A partir de um elenco dos modos de presença dos traços midiáticos, em um recorte de poemas, foi possível delinear uma imagem de Augusto de Campos enquanto poeta multimidiático. O corpus foi delimitado em poemas cuja expressão apropria-se de formas expressivas do jornal e revista, configuradas num arranjo diferencial do seu uso, a partir da técnica de colagem. Investigou-se como o fazer do destinador delineia a apreensão do destinatário, a partir de usos dos procedimentos temáticos, figurativos (de bricolagem por tradução e sincretismo) e enunciativos. Este exame nos permitiu esboçar a imagem do destinador-Augusto de Campos, assim como a do destinatário. Foi estabelecida uma análise da interação entre os parceiros da comunicação que constroem a significação a partir de uma sistemática articulação dos regimes discursivos. Partimos da premissa de que a poesia de Augusto de Campos se põe na lógica da visualidade e da espacialidade. Ao romper com a continuidade e a linearidade do verbal é que o destinador capacita o destinatário a ler os poemas com o que retira dos usos da mídia, entrevendo neles outros sentidos do contexto sócio-histórico-político-cultural que permaneciam latentes. Assim, o enunciador doa um programa de competências ao enunciatário para realizar o seu fazer interpretativo do ambiente midiático circundante, e também do contexto em que se insere. Com esta competencialização, pela experiência vivida o enunciatário pode assumir um desempenho de leitura sensível, reflexivo e com posições críticas. O percurso narrativo do destinatário resulta de suas transformações de destinatário sensibilizado e destinatário manipulado em destinatário engajado no social. Especificamente, caracterizou-se Augusto de Campos como um destinador estético, ético e político, a partir dos jogos enunciativos, temáticos e figurativos que distinguem a sua produção poética, tornada um complexo verbo-voco-visio-espacial, por procedimentos de sincretização dos ambientes midiáticos. Estes procedimentos repropõem, no arranjo da plástica da expressão dos poemas, modos de existência ressignificadores da presença crítica do destinatário. O arcabouço teórico e metodológico que nos guia é a teoria semiótica de A. J. Greimas e seus colaboradores J-M. Floch e E. Landowski, assim como os desenvolvimentos de A. C. de Oliveira. Articulamos essas contribuições em uma tessitura conceitual que visa contribuir para a área de comunicação na apreensão e produção da estética da mídia

This thesis investigates how the burial chamber of the 8th Dynasty pyramid of king Qakare Ibi at Saqqara in Egypt (c. 2109-2107 B.C.) was inscribed. It uses a holistic approach to focus on the textual programme and its unusual aspects in comparison to older pyramids. In doing so, it addresses issues of textual transmission and of scribal practice in the process of inscribing the walls of subterranean chambers in pyramids. The aim is to contextualise the texts of Ibi within the Memphite tradition of Pyamid Texts and the development of mortuary literature on different media from the late third millennium BCE Old Kingdom to the Middle Kingdom in the early second millennium BCE. The first chapter presents the background to this research and information on king Ibi and his pyramid. The second chapter treats research on the arrangement of the texts on the walls of subterranean chambers of royal pyramids of kings and queens and compares the layout of the texts in the pyramid of Ibi with older pyramids. It then discusses in detail one section on the east wall of Ibi, where the order of spells diverges from other transmitted sequences. The unusual combination of spells and the practice of shortening spells is investigated further in the third chapter, where two sections of texts on the south wall are analysed. The fourth chapter explores garbled texts and discusses processes of copying and inscribing the texts onto the walls of pyramids. The fifth chapter analyses the modifications of the writing system in pyramids, especially the mutilation of hieroglyphs, and how this practice relates to the tradition of altering signs in pyramids. Finally, the sixth chapter synthesises the results of the preceding chapters in two sections. The first section summarises the process of inscribing pyramids and contextualises aspects of scribal practices within it. The second section concludes the thesis with a discussion of the features of the textual programme of Ibi and of how it relates to the broader transmission of mortuary literature.