Titlebook: Audiovisual Translation in the Digital Age; The Italian Fansubbi Serenella Massidda Book 2015 Palgrave Macmillan, a division of Macmillan P

GUAFF

書目名稱Audiovisual Translation in the Digital Age影響因子(影響力)




書目名稱Audiovisual Translation in the Digital Age影響因子(影響力)學(xué)科排名




書目名稱Audiovisual Translation in the Digital Age網(wǎng)絡(luò)公開度




書目名稱Audiovisual Translation in the Digital Age網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Audiovisual Translation in the Digital Age被引頻次




書目名稱Audiovisual Translation in the Digital Age被引頻次學(xué)科排名




書目名稱Audiovisual Translation in the Digital Age年度引用




書目名稱Audiovisual Translation in the Digital Age年度引用學(xué)科排名




書目名稱Audiovisual Translation in the Digital Age讀者反饋




書目名稱Audiovisual Translation in the Digital Age讀者反饋學(xué)科排名

得意牛

ESO

Targeted Treatment of Gallbladder Cancergree” (Askwith 2007:152). After its conclusion, many publications on the TV show followed, and among them, one of the most recent, written by De Marco (2012) defines the popular programme with one, unique adjective, “total”.

闡釋

重疊

針葉

set598

熟練

使人入神

Web 2.0: A Marketing Ideology?,ense Agreement), the complex mechanism employed for strengthening copyright protection against piracy, shedding light on a grey area within a highly controversial system intended to fight crime, but, ultimately, resulting in a breach of copyright.

小畫像

Fansubbing,iption of the beliefs of ItaSA and Subsfactory is given in these sections, with an explanation of their tendency to “speak the truth” rather than to “nationalise” the dialogue for the receiving audience.