The present work characterizes the hypermedia communication's features of mass media in Matanzas, Cuba: TV Yumurí, Radio 26 and the Editorial Girón. The study takes an approach, from the academy, to the cyberjournalistic praxis, describing professional practices, self-regulation and application of knowledge. A group of theoretical considerations around hypermedia resources are proposed in order to improve the digital journalism that we do. The communicology study integrates technical resources of quantitative and qualitative levels. It also considers policy documents, reflections of academics and legitimizing agents to analyze the assessments of their own social development. The main findings point to the heterogeneity, uneven development and fragmentation of cyber-journalistic wasting of the communicative potentialities that provides Internet, such as its hypertextuality, the interactivity and its multimediality.
This article aims at demonstrating the double hypothesis that hypertextuality both constitutes the essence of the end of the century’s literature and explains the negative term of « decadence » used to describe the literary production of the 1880–1900’s. Reading the two founding texts of the decadence, Huysmans’ A rebours (1884) and Les Déliquescences, poèmes décadents d’Adoré Floupette (1885), one can draw some of the major consequences of these practices of rewriting. They mark the end of a mimetic regime of literature defended by the Classics and the Realists, in which the aim is to represent the world, and substitute a new form of creation based on the texts only. They destroy in the same way the claim of originality praised to the skies by the Romantics. Those rewrites also contribute to the setting of new reading strategies that demand culture and erudition. Literature is affected by the rewritings of which she is constantly the object and which sometimes take the appearance of mystifications more or less melancholic. The use of hypertextuality both threatens and enchants literature.
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