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