The following is a proposal of an analysis of the transposition of literature to film of the novel Pride and Prejudice by Jane Austen and the essay A Grief Observed by C. S. Lewis. The first aim in both cases is to delve into the new contributions of the latest film version of Austin’s novel and the qualities and characteristics of the film version of the C. S. Lewis note pad, based on the theoretical contributions of such authors as Gerard Genette, Geoffrey Wagner, Brian Mcfarlane, among others. The second purpose is geared to the recognition of the exchange between film and literary language as a representative process of today society. The fact that the adaptations, historically seen with great skepticism, are now continually made and welcomed by the public, calls for a review and deepening of the studies made on that matter in order to know the current situation of the relationship...

The following article is related to the analysis of the family album as a cultural element and its progressive transition to the digital version aimed at approaching to the micro-scenarios where take place the daily events of the individuals and is born the interpersonal communication with current technological constraints. This communication is also reflected in the album like the archives of the individual mindsets and experiences. Learning more about their contexts, -most of them like archetypes-, what occurs to the persons and their experiences makes it possible to deeply understand communication on the social level taking into account the complexity that involves the irruption of technology inside the private spaces, becoming the family album the key element where tradition and modernity converge. Tradition, considered as the cultural apex, evokes the identity,memories and death whi...

The following is a proposal of an analysis of the transposition of literature to film of the novel Pride and Prejudice by Jane Austen and the essay A Grief Observed by C. S. Lewis. The first aim in both cases is to delve into the new contributions of the latest film version of Austin’s novel and the qualities and characteristics of the film version of the C. S. Lewis note pad, based on the theoretical contributions of such authors as Gerard Genette, Geoffrey Wagner, Brian Mcfarlane, among others. The second purpose is geared to the recognition of the exchange between film and literary language as a representative process of today society. The fact that the adaptations, historically seen with great skepticism, are now continually made and welcomed by the public, calls for a review and deepening of the studies made on that matter in order to know the current situation of the relationship...

The following article is related to the analysis of the family album as a cultural element and its progressive transition to the digital version aimed at approaching to the micro-scenarios where take place the daily events of the individuals and is born the interpersonal communication with current technological constraints. This communication is also reflected in the album like the archives of the individual mindsets and experiences. Learning more about their contexts, -most of them like archetypes-, what occurs to the persons and their experiences makes it possible to deeply understand communication on the social level taking into account the complexity that involves the irruption of technology inside the private spaces, becoming the family album the key element where tradition and modernity converge. Tradition, considered as the cultural apex, evokes the identity,memories and death whi...

If one thinks that the world is a labyrinth, affirms Borges, it is because perhaps, then, it has a center, and that would mean that we are saved, but there is no certainty about that, reflects the author, and rather, it could be let it be chaos and then we would be lost, the truth is that the scenario of globalized society rises above that uncertainty, which I wish was a labyrinth, but there is no doubt, of arduous and multiple subterfuges that make their way into a reality that when it barely begins to be concrete, it ends up being virtual or vice versa: the surreptitious passages of both dimensions, full of information and experiences, converge in the same consciousness, in the same mind and in the same feeling; an experience from which no one can escape because, among other things, it is about the post-truth era.

A point has been reached on the path of the accelerated journey of human development with the use of new communication technologies, from which one can contemplate, not without fascination and intrigue, the beginning of said development, its transit and the stage where you are currently; panoramicperspective that in itself raises numerous questions.

If one thinks that the world is a labyrinth, affirms Borges, it is because perhaps, then, it has a center, and that would mean that we are saved, but there is no certainty about that, reflects the author, and rather, it could be let it be chaos and then we would be lost, the truth is that the scenario of globalized society rises above that uncertainty, which I wish was a labyrinth, but there is no doubt, of arduous and multiple subterfuges that make their way into a reality that when it barely begins to be concrete, it ends up being virtual or vice versa: the surreptitious passages of both dimensions, full of information and experiences, converge in the same consciousness, in the same mind and in the same feeling; an experience from which no one can escape because, among other things, it is about the post-truth era.

A point has been reached on the path of the accelerated journey of human development with the use of new communication technologies, from which one can contemplate, not without fascination and intrigue, the beginning of said development, its transit and the stage where you are currently; panoramicperspective that in itself raises numerous questions.