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In this paper, we propose an analysis about the specificities of the hypertextual novel Terminal (Komatsu, 2018), mainly concerning its material formalization as a literary object of the new media (Manovich, 2005), which makes converge references to printed and digital culture. We seek to discuss the aspects that highlight that the work puts itself in an intermediary place by i) obliterating the computational logic of the Blogger platform and ii) obliterating the novel's paradigms consolidated by the printed culture. Thus, the work presents characteristics that make us ponder on two distinct cultural realities, printed and digital, and, in doing so, resignifies the cultural and material practices of the new media at the same time it provokes fissures in the rites institutionalized by the printed culture. Such analysis leads us to think over hypertextual literary reading as an extranoematic effort (Aarseth, 1997) and how it occurs in the work in question, from the analysis of one of the possible paths offered to the reader, who pilots, metaphorically, a spaceship interface while reading the work. The themed navigation expands and establishes a dialogue with the material characteristics of the medium, at the same time in which consolidates itself as a poetical resource for the narrative. [ABSTRACT FROM AUTHOR]

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The reading of Amor de Clarice, by Rui Torres, imposes at least two embarassments to the critical analysis. One of them is due to the fact that the piece submits reading, since the title, to the Clarice Lispector's aesthetics, when it elects as the starting point the creation of the Clarice Lispector's short story, published in Laços de família, in 1960. The other, is related to its material formalization, and it requires analysis mechanisms attentive to the configuration hypertextual, and also the coexistence of verbal language with other languages. This essay is based on the assumption that both embarassments can be elaborated critically and used as analysis tool: the meanings consolidated in Clarice Lispector's short story can be read as elements that 'deprogram' (Machado, 2007) the digital technique, employed on the material formalization of Amor de Clarice, at the same time that this material formalization can be identified as what enables displacing and expanding the meanings of Clarice Lispector's short story. The analysis of the piece is supported by the reflections of Marku Eskellinen (2012) about the intertextuality on the context of cybertextuality and by those from George Landow (1994; 2009), about the hypertext. [ABSTRACT FROM AUTHOR]