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