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