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