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