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.

Esta tese está inserida no debate sobre a utilização da experimentação construtiva ao longo da concepção da materialidade e seu papel como recurso pedagógico. Trata mais especificamente, dos espaços e práticas experimentais no contexto acadêmico nacional, objetivando compreender o processo de configuração dos espaços da área técnico-construtiva implantados nas escolas públicas de arquitetura de acordo com as particularidades advindas de diferentes contextos do país, das políticas educacionais e das ações dos atores envolvidos, com a identificação das condições essenciais para que estas práticas sejam implantadas e potencializadas no contexto acadêmico. O trabalho foi desenvolvido a partir de pesquisas documentais e por meio de visitas técnicas realizadas em 21 escolas públicas de arquitetura localizadas em diferentes regiões do país, com entrevistas direcionadas aos principais atores que atualmente estão à frente da área da Tecnologia da Construção. O trabalho trouxe contribuições de ordem teórica a partir da sistematização de uma bibliografia abrangente sobre um tema pouco estudado no contexto nacional. Quanto às contribuições de ordem prática, os dados obtidos nas visitas técnicas possibilitaram contextualizar os desafios enfrentados no ensino da Tecnologia da Construção, que não se resumem ao arranjo físico laboratorial, mas a uma dimensão mais ampla, abrangendo aspectos político-educacionais, estruturais e sócio-econômicos e também, questões de fundo, como as relações interpessoais e burocráticas. Estes resultados permitiram identificar as condições consideradas como essenciais na (re)formulação de estratégias voltadas à área da Tecnologia da Construção e sua infraestrutura, de maneira que as experiências existentes possam ser potencializadas e novas implantações tenham maior respaldo técnico de acordo com as particularidades contextuais. / This thesis is inserted in the debate about the use of experimentation in building along with the conception of materiality and its role as pedagogical resource. It approaches, more specifically, the experimental workspaces and practices in the Brazilian academic context. It aims to understand the process of shaping the workspaces of the technology and construction fields established in public schools of architecture according to the singularities from different contexts of the country, educational policies and activities of the actors involved, identifying the essential conditions for those practices to be implemented and strengthened in the academic context. The work was developed based on documentary research and through technical visits in 21 public schools of architecture located in different regions of the country, with interviews directed to the main actors who are currently in charge of the field of Technology of Construction. In relation to the practical contributions, the data obtained in the technical visits made it possible to contextualize the challenges faced in the education of Technology of Construction. These challenges are not limited to the physical arrangement of the laboratory; they embrace a broader dimension, covering education politics, structural and socioeconomic aspects and, still, background issues such as interpersonal relations and bureaucracy. These results enabled the identification of conditions considered essential in the (re) formulation of strategies directed to the field of Technology of Construction and its infrastructure, so that the existing experiences can be strengthened and new applications can have a greater technical support according to the contextual singularities.

Made available in DSpace on 2016-03-15T19:45:52Z (GMT). No. of bitstreams: 1 Joao Batista dos Santos Almeida.pdf: 7334147 bytes, checksum: debded084baeb6b51fc0637ab3d786ab (MD5) Previous issue date: 2013-08-20 / Universidade Presbiteriana Mackenzie / The goal of this work is to study the modes of reading of the founder missionary of the Presbyterian Church of Brazil, Ashbel Green Simonton, taking his published sermons as the main object of study. This work analyzes his life in two basic periods, in the United States of America and in Brazil, whither he came as a missionary. It proposes to analyze his sermons, by using a combination of theories of some authors, among whom are Aristotle, with his Rhetoric, Roger Chartier and his approaching to the reading materiality, and Paul Ricoeur, with his theories of metaphor and of triple mímesis, together with others thinkers. It presents a brief account of the difficulty of analyzing a sermon as a literary-discursive genre, and it concludes to be possible, at least to the purpose of this work, to analyze sermonic genre through the theoretical tools used here. / O objetivo deste trabalho é estudar os modos de leitura do missionário fundador da Igreja Presbiteriana do Brasil, Ashbel Green Simonton, tendo como corpus os seus sermões publicados. O trabalho analisa sua vida basicamente em dois períodos, o nos Estados Unidos da América e no Brasil, para onde veio como missionário. Propõe analisar seus sermões por meio de uma combinação de teorias de alguns autores, dentre eles Aristóteles, com sua Retórica, Roger Chartier e sua abordagem à materialidade da leitura e Paul Ricoeur, com sua teoria da metáfora e da tríplice mimese, junto com outros pensadores auxiliares. Apresenta breve relato sobre a dificuldade em se analisar o sermão como gênero literário-discursivo e conclui ser possível, ao menos para os propósitos deste trabalho, analisar o gênero sermônico por meio das ferramentas teóricas utilizadas.

Made available in DSpace on 2016-03-15T19:24:08Z (GMT). No. of bitstreams: 1 Silvio Stefanini SantAnna.pdf: 18096885 bytes, checksum: 5992d4de684f9a2caa6d7c1fbf8aa18c (MD5) Previous issue date: 2012-12-06 / This study suggests a discussion of contemporary architecture and its correlation with the lightweight construction systems within a specific approach resulting from materiality and tectonics that have a catalytic role of technological and architectural construction. For architecture, materiality is manifested in its concrete and formal physical expression and contributes to the outcome of the spatiality of the resulting building. The form is a result of the qualification material and performance while matter. Is training conceptive and inventive architect explore the geometry or not shape's geometry. The constructive constraints of the architectural object are reflections of a tectonic able to solve and lead to the technological qualities that limit the performance of building systems must meet. The verification of the segments considered in this study through analysis of works characteristics of these settings will allow verification of the role of technology and development of lightweight construction systems in the settings of contemporary architecture and consequently their relationship to material innovations that these architectures can be realized. / Este estudo propõe a discussão da arquitetura contemporânea e sua correlação com os sistemas construtivos leves dentro de uma abordagem específica, decorrente das novas materialidades e da tectônica, que exercem um papel catalisador das transformações tecnológicas e construtivas arquitetônicas. Para a arquitetura, a materialidade manifestada na sua concretude é expressão física e formal, e contribui para o resultado das espacialidades resultantes do edifício. A forma é resultado da qualificação material e de seu desempenho enquanto matéria. A exploração geométrica ou não geométrica da forma é capacitação conceptiva e inventiva do arquiteto. As condicionantes construtivas do objeto arquitetônico são reflexões de uma tectônica capaz de resolver e levar ao limite as qualidades tecnológicas que o desempenho dos sistemas construtivos deve atender. A verificação dos seguimentos considerados neste estudo por meio de análises de obras características dessas configurações irá permitir a verificação do papel da tecnologia e do desenvolvimento dos sistemas construtivos leves nas configurações da arquitetura contemporânea e, consequentemente, sua relação com as inovações materiais para que essas arquiteturas possam ser realizadas.

L’œuvre de l’Autrichienne Elfriede Jelinek (Prix Nobel de Littérature en 2004) est ici approchée par la bande, c’est-à-dire par les « petits textes » rédigés tout au long de sa carrière en marge de ses pièces et romans. Textes de circonstance, ces essais reposent sur un paradigme esthétique spécifique que le présent travail se propose d’exposer en revenant à leurs conditions de publication initiales. On s’aperçoit ainsi qu’il s’agit de textes de commande véhiculés par des supports médiatiques différents du livre (revue, tract, programme, internet) et qui impliquent une réception particulière, induite par leur dispersion et leur fugacité. La présentation du corpus se fait sur fond des grandes césures de l’œuvre jelinekienne mais aussi de la littérature autrichienne d’après 1945, recomposant le réseau personnel et professionnel de l’auteur et la réintégrant dans sa génération. Trois chapitres sont consacrés à une analyse détaillée des textes. Celle-ci montre d’abord la genèse progressive de leur thématique centrale, à savoir la possibilité d’une œuvre féminine. Elle s’attache ensuite aux trois principes fondamentaux de leur style que sont l’évidement, le paradoxe et la fluidification. Elle étudie enfin le rapport au lecteur conçu sur le mode du brouillage et de l’interférence, qui permet, pour un temps, de prolonger la vie de textes dont le sens tend à s’obscurcir rapidement. Les notions de relation et de singularité sont placées au cœur de cette thèse, identifiées comme l’enjeu esthétique et politique majeur du corpus mais aussi d’une partie de la tradition du genre dont quelques définitions emblématiques (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek) sont discutées. / This thesis discusses the work of the Austrian writer Elfriede Jelinek (Nobel Prize for Literature 2004) from its margins, from a corpus of “short texts” written from the beginning of her career beside her novels and plays. As occasional prose, these essays are grounded in a specific aesthetic paradigm, which this dissertation seeks to define by examining their original conditions of publication. This method brings to light that these are commissioned works, released on very different media formats than a book (journals, flyers, programs and the internet), which have their own mode of reception due to their volatility in space and time. The corpus is presented against the backdrop of Jelinek’s main work and its major turning-points. It is also set in the context of Austria’s post-1945 literature according to the author’s personal and professional network in order to reintegrate Jelinek in her generation. Three chapters are then dedicated to a detailed analysis of the texts. This thesis highlights the slow genesis of their main theme, the possibility of a feminine work of art. Then it studies three characteristics of their style - hollowing, paradox and liquidity. Lastly, it deals with the relation to the reader, conceived as jamming and interference, both allowing, at least for a time, to prolong the text’s meaning, as it otherwise tends to become more and more obscure. Relation and singularity are key notions of this thesis, considered as the main aesthetic and political issues of its corpus, being also part of the essayistic tradition, discussed through some canonical definitions (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek).

La presente investigación tiene como finalidad evaluar el impacto financiero y tributario de los desembolsos por contenido propio y derechos de transmisión en base a la NIC 38 “Activos Intangibles”. Los canales de televisión son la principal fuente de información, según CONCORTV en el 2017 los ciudadanos indican que uno de los medios de comunicación que tiene mayor presencia a nivel local y regional es la televisión, aunque existe una cierta insatisfacción por parte del ciudadano con respecto a la programación, ya que no es cultural ni educativa. Nos interesa investigar sobre los desembolsos por contenido propio y derechos de transmisión desde la perspectiva de los activos intangibles a nivel contable, al ser un caso particular en un sector poco investigado. La metodología utilizada es el diseño no experimental, el alcance es investigación exploratoria, ya que es un plan de investigación contable aplicado en Perú, el tamaño de la muestra son los canales de televisión que tienen una mayor participación de mercado, el cual concentra el 84 % en el sector de telecomunicaciones. La presente tesis se desarrollará en cinco capítulos. En el primer capítulo, se describirá investigaciones locales e internacionales. En el segundo capítulo, se plantean los problemas, las hipótesis a validar y los objetivos propuestos. En el tercer capítulo, se procederá a describir la metodología a utilizar es enfoque mixto. En el cuarto capítulo, se presentan los resultados del análisis cualitativo y cuantitativo y se plasma en un caso práctico con el que se pretende identificar la capitalización los desembolsos por contenido propio y derechos de transmisión, identificar la variable independiente las cuales puedan generar expectativa de cuan material representa dentro de los estados financieros. En el quinto capítulo se analizan conclusiones y recomendaciones. / The purpose of this research is to evaluate the financial and tax impact of disbursements for own content and transmission rights based on IAS 38 "Intangible Assets". Television channels are the main source of information, according to CONCORTV in 2017, citizens indicate that one of the media that has a greater presence at the local and regional level is television, although there is a certain dissatisfaction on the part of the citizen with respect to programming, since it is not cultural or educational. We are interested in investigating the own contents and transmission rights from the perspective of the intangible at the accounting level to be a particular case in a sector little investigated. The methodology used is the non-experimental design, the scope is exploratory research, since it is an accounting research plan applied in Peru, and the size of the sample is the television channels that have a greater market share, which concentrates 84 % in the telecommunications sector. This thesis will be developed in five chapters. In the first chapter, local and international investigations will be described. In the second chapter, the problems are posed, the hypotheses to be validated and the proposed objectives. In the third chapter, we will proceed to describe the methodology to be used is a mixed approach. In the fourth chapter, the results of the qualitative and quantitative analysis are presented and it is embodied in a practical case with which it is intended to identify capitalization disbursements by own content and transmission rights, identify the independent variables which can generate expectation of materials represent in the financial statements. In the fifth chapter conclusions and recommendations are analyzed. / Tesis

[pt] A emergência de um novo fenômeno – a literatura digital – na esfera disciplinar dos estudos literários provoca a reorganização e invenção de seus instrumentos analíticos e de seus circuitos de comunicação. Concepções de literatura, historicamente instáveis e deslocando constantemente as suas fronteiras e seu horizonte de expectativa, hoje são marcadas também por travessias do espaço escritural. Neste quadro a tese, Literatura Digital: Desafios Teóricos e Estéticos responde aos desafios teóricos e estéticos contemporâneos elaborando novas formas de saber que permitem entender e circunscrever a literatura digital em contextos de produção e recepção alterados. Inserida simultaneamente em uma tradição e defendendo o seu lugar no cenário contemporâneo, este tipo de literatura requer assim revisões e reformulações significativas. Por enquanto ainda faltam contornos à própria literatura digital, e os processos de teorização circulam em espaços predominantemente transdisciplinares. Ao estabelecerem reciprocidade através da epistemologia da complexidade, a cultura midiática e a teoria da literatura vêm desenvolvendo alianças no campo das possibilidades analíticas das obras literárias digitais. Como estratégia metodológica, a tese alia teorias de produção de presença (GUMBRECHT), eventilização (HAYLES), remediação (BOLTER), teorias autopoiéticas de comunicação (LUHMANN), análise estética do fenômeno digital – interatividade, intermidialidade e performance (SIMANOWSKI) – e Medienumbrüche (GENDOLLA e SCHÄFER) a um olhar sobre realizações concretas (close-readings). Em suma, a tese oferece um repertório conceitual inovador formulando fundamentos para uma nova poética digital. / [en] The emergence of a new phenomenon – digital literature – within the field of literary studies calls for the reorganization and creation of new theoretical and analytical repertoires. Since digital literature partakes of literary tradition as well as introduces critical medial and conceptual innovations that challenge the very concept of literary frontiers and spaces, its scholarly analysis demands significant reformulations in literary studies. As models of communication change, so do the reception and production processes accompanying these changes. Within these altered scenarios, the thesis Digital Literature: Theoretical and Aesthetic Reflections is a response to the aesthetic and theoretical challenges brought on by computer-based literature. As a methodological strategy, the thesis articulates recent trends in the theory of digital aesthetics – remediation (BOLTER), eventilization (HAYLES), correlations of performativity, intermediality and interactivity with meaning-driven analysis (SIMANOWSKI), Medienumbrüche (GENDOLLA and SCHÄFER) – with theories of production of presence (GUMBRECHT), autopoietic communicative models (LUHMANN) and closereadings of digital works. By scripting a dialogue with key theorists from print literary theory as well as new media theorists and artists in the burgeoning field, the thesis offers conceptual and theoretical contributions to the formulation of a poetics of new media.

Digital art installation is the result of informatic materials entering gallery spaces and challenging the establishment of media forms. This thesis contends that the open, recursive and recombinatory process of looking at digital installation is in fact the result of noisy relations between information and the spatial temporal contexts of the art gallery. In order to focus on the processes of informatic materials within gallery spaces, this thesis identifies four key modulations of noise and materiality ? emergence, feedback, entropy and delay. I demonstrate how these impact on a range of recent digital installations by Australian and New Zealand artists. The lens of digital materiality shifts from an informational context into that of art history where it is found to highlight the systemic relationality of the installation. The thesis opens with a consideration of histories of media-specificity, and argues for a necessary separation of our concepts of media and materiality. This context provides a set of tools by which the remainder of the thesis investigates a range of digital material flows that are not tied to fixed media definitions. I draw on a range of theorists including Umberto Eco, Gilles Deleuze, Claude Shannon and Jack Burnham to further locate these material flows within two strands: experimental sound and information theory. This discussion forms the basis of the thesis? re-appraisal of media distinctions and highlights the complex relationship of informational materials to both sonic and visual histories. The second half of the thesis undertakes an appraisal of emergence, feedback, entropy and delay in specific works and suggests dimensionality, movement and duration as key determinants of the digital installation. These chapters demonstrate that what is at stake in digital installation is the viewer?s implicit role in the shifting relationships of digital materiality. Overall, this thesis presents a framework for emergent materiality in digital installation. I develop a theory of emergent materiality as a process specific to digital installation, and argue that digital installation is in fact a subject-forming assemblage of information-noise in which relations of dimensionality, movement and duration coalesce without cohering. And, within which gallery spaces begin to get noisy.

<p>The present thesis explores the potential role and implications of technology in elderly care from the users’ perspective. This exploration is undertaken in terms of five empirical studies of a telehealth project and a meta-analysis of their contributions. An important insight emerging from this work is the need to rethink the human subject as a body, rather than as a mere mind using technology. The thesis draws on phenomenology to reconceptualize the user of technology, and on this basis, to theorize about the potential role and implications of technology in care. It concludes that, in combination with humans that integrate technology with their other sensory and emotional capacities, technology can produce affect. The findings indicate that technology can contribute to senior citizens feeling safe, cared for and thereby less isolated. The findings further demonstrate that, because of the perceptual capacity gained from technology, the care workers become aware of new health problems that urgently call for their sensory and emotional responsiveness.</p><p>On this ground, the thesis challenges the determinist view that technology threatens the essentially ‘human’ aspect; rather, it concludes that feeling and other bodily resources are fundamental in the use of technology. Indeed, technology activates such ‘human’ capabilities.</p><p>Hence, technology plays a role as a complement for rather than as a replacement of care workers. It increases their work burden by informing them about new needs. This may improve care quality but at an increased cost, which is relevant from a practical perspective. At a more general level, the thesis challenges the dualist legacies in mainstream management research that have sought to divorce mind form body, nature from culture and reason from emotion. It can therefore contribute to broader theoretical developments and fuel existing debates beyond the care setting.</p>

This thesis examines how the first 10 seasons of CSI: Crime Scene Investigation (CBS, 2000–) engage with discourses on science. Investigating CSI’s representation of scientific practices and knowledge, it explicitly attempts to look beyond the generic assumption that forensic crime dramas simply ‘celebrate’ science. The material is analysed at three different levels, studying CSI’s wider cultural discursive context, genre linkages, and audio-visual form. In order to fully account for the series’ specificity, the thesis undertakes comparative analyses of earlier forensic crime dramas and other relevant audio-visual material. Close textual readings of certain thematic tropes, narrative devices and visual imagery in CSI are thus supplemented by historical studies of their extended generic backgrounds. This textual-historical approach generates a general argument that CSI dramatizes and evokes a number of different, and often contradictory, scientific ideas, perspectives and discursive shifts. The thesis concludes that CSI stages a transnational cultural forum, simultaneously engaging with residual, dominant and emergent discourses on science.  Throughout, close attention is paid to the multiple perspectives and viewpoints that allow the series to appeal to a wide and heterogeneous global audience. Furthermore, the thesis asserts that CSI specifically articulates a post-genomic structure of feeling, which begins to express the wider cultural implications of an emergent discursive shift whereby the instrumentalisation of molecular science seemingly offers more possibilities for human intervention into biological processes. Thus, the study demonstrates how CSI’s discourse on science treats recent scientific developments as engendering a cultural process of redefinition, questioning foundational concepts such as truth, identity, body, kinship and emotions.