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