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