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