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