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