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