45 | 118 | 2022
open access | peer reviewedKeywords Géneros poéticos • Rosa Montero • Marie Curie • Frankfurt Book Fair • Gender • Bashô • Quim Monzó • Novela • Pastiche • Catalan culture • Normalització • Motivation • Dimensión afectiva • Coproducción cinematográfica • Argentine crime literature • Comunicación • Jorge de Sena • Biography • Novel • Didáctica a distancia • Stereotypes • Segundas lenguas • Women’s fiction • Luisa Valenzuela • Distance learning • Diary • Premi Nobel • Second languages • Stereotipi • Fira del Llibre de Frankfurt • Narrativa femminile • Affective dimension • Haicai • Communication • Non-verbal communication • Genere • Posthumous editions • Biografía • Silvina Ocampo • Comunicación no verbal • Haiku • Silent cinema • History of Spanish cinema • Cultura catalana • Buenos Aires • Literatura catalana • Ciencia • Cartoneras del siglo XXI • Collaboration • Nobel Prize • Eloísa Cartonera • Cine mudo • Fairy tale • Fiaba • Twenty-first century women’s cartoneras • Interpretació hermenèutica • Cinema distribution • Historia del cine español • Literatura criminal argentina • Distribución cinematográfica • Virtual learning • Literary polemics • Polèmica literària • Catalan literature • Syria Poletti • Mercè Rodoreda • La mort i la primavera • Poetry translation • Edicions pòstumes • Diario • María Angélica Bosco • Death in Spring • Hermeneutic interpretation • Cine mudo italiano • Writing process • Film co-production • Motivación • Science • Interaction • Tradução de Poesia • Didáctica virtual • Interacción • Colaboración • Procés d’escriptura • Normalisation • Rol docente • Italian silent cinema
Permalink http://doi.org/10.30687/Ri/2037-6588/2022/19 | Published Dec. 16, 2022 | Language ca, es, pt, it
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