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Subtitle Coherence Download File --->>> https://bytlly.com/2tE3K1 More about this item Keywords Albanian subtitles; coherence implementation; grammatical changes; text analysis; All these keywords.Statistics Access and download statistics Corrections All material on this site has been provided by the respective publishers and authors. You can help correct errors and omissions. When requesting a correction, please mention this item's handle: RePEc:eur:ejmsjr:496. See general information about how to correct material in RePEc. According to skopos theory, the purpose of translation determines the means of translation. The case analysis method is used to analyze subtitle translation of Hello, Mr. Billionaire in this essay, which aims at summarizing the characteristics of subtitle translation and pointing out its limitations and assisting us in coming up with suggestions for more precise subtitle translation. Hello, Mr. Billionaire, shown in the last year, is one of the most popular Chinese comedies. This paper retrospects the classic comedy and further studies its subtitle translation to better disseminate Chinese culture abroad. The main function of subtitle translation is to convey the precise message to the audience in an effective way and make them understand and appreciate the film and television limited by time and space. In order to achieve this goal, translators must obey some principles and adopt some techniques and strategies, as well as lay much emphasis on the cultural phenomenon. Different from novel and poetry translation, which is more static and literary, subtitle translation is more colloquial because they interpret the original dialogues among characters. Therefore it must possess typical features of spoken English without involving obscure expressions or complex sentence patterns. The language used in subtitle translation must be simple and plain so that ordinary people can understand completely and amuse themselves. Zhang Chunbai encourages translators to try their best to translate the dialogues which can be understood by most of the reviewers no matter the educated or the illiteracy (Zhang, 2003: p. 183) [3]. Readers of printed literary works may have opportunities to read the works repeatedly. In contrast, dialogues and subtitles will only stay on the screen for a few seconds. Given time for understanding the information is limited, subtitle translation should be with instantaneity and brevity. Western scholars are the pioneers in studying subtitle translation. In 1960, a paper on subtitle translation, published on Babel title Cinema and et Translation, is considered to be the first paper studying subtitle translation, opening a new field of subtitle translation study. In 1974, Cay Dollerup, a professor from University of Copenhagen, issued an essay On Subtitles in Television Program (Dollerup, 1974) [4] , which pointed out not only different kinds of mistakes occurred during the process of translating English TV programs into Danish subtitles, but also the significance of subtitles. The essay really drew public attention to subtitle translation. In 1976, Istva Fodor, a renowned scholar in the field of western subtitle translation, published Film Dubbing: Phonetic, Semiotic, Esthetic and Psychological Aspects (Fodor, 1976) [5] , which laid the foundation of western subtitle translation study. In the following ten years, the study on translation was not so popular. In 1987, an international conference on dubbing and subtitle translation hosted by European Broadcasting Union was held in Stockholm. It was the first open talk about dubbing and subtitling in Europe. This conference encouraged scholars to hold a series of conferences about subtitle translation. After that, numerous publications on film translation came out. The study on subtitle translation in Europe reached its peak in the early 1990s. For instance, Overcoming Language Barriers in Television: Dubbing and Subtitling for European Audience (Luyken and Thomas, 1991) [6] came out, in which scholars analyzed different translation forms of television programs and enumerated numerous data. In 1992, Jonas Ivarsson, a Swedish subtitle translator published Subtitling for the Media: A Handbook of an Art (Ivarsson, 1992) [7] , in which he analyzed subtitle translation from a technical perspective. These books laid a solid foundation for further study on subtitle translation. Admittedly, western scholars are the leading figures in the field of subtitle translation. At many universities in Europe, there are quite a few majors and courses for studying film and television subtitle translation. Compared with western countries, the study on film and television translation in China started late and developed slowly. There are few theoretical work systematically discussing subtitle translation at home. Seminars and organizations on subtitle translation are also few in number. We have only a few translators and scholars putting forward several influential theories. Qian Shaochang, Ma Zhengqi are well-known scholars who have made great achievements in the filed of translation practice. Processor Qian Shaochang is regarded as the pioneer in the fields of domestic film translation. In the paper Audio-visual Translation-an Increasingly Important Field in the Garden of Translation (Qian, 2000) [9] , he emphasized the significance of film subtitle translation, and delved into the linguistic differences between film and literature works. He also summarized three principles of film subtitle translation that are faithfulness, expressiveness and elegance. These professors have paved the way for domestic study of subtitle translation and encouraged more researchers to pay attention to this field. However, compared with western countries, our studies in the field of subtitle translation practice and theoretical work still lag far behind. Therefore, more and more scholars and translators should devote themselves to this field and produce more creative and practical research results. Based on research, it can be concluded that colloquialism, popularity, instantaneity and brevity are the four features of subtitle translation, which should not be ignored. Skopos theory gives a guideline for us to the case study of Hello, Mr. Billionaire through using flexible strategies such as reduction and paraphrase for detailed analysis concerning the film subtitle translation. Culture-loaded words are the most important and difficult part, which almost determines the understandings and attitudes of foreign audiences. What we should focus on is to improve the level of subtitle translation constantly so that it can be more understandable to facilitate overseas promotion of Chinese culture. Results are presented in using low coherence interferometry in quantifying the reflectivity and imaging of different objects, such as tissue, paintings and fruits. All images have been obtained using en-face flying spot technology. This allows simultaneous generation of optical coherence tomography and confocal scanning images. N2 - Results are presented in using low coherence interferometry in quantifying the reflectivity and imaging of different objects, such as tissue, paintings and fruits. All images have been obtained using en-face flying spot technology. This allows simultaneous generation of optical coherence tomography and confocal scanning images. AB - Results are presented in using low coherence interferometry in quantifying the reflectivity and imaging of different objects, such as tissue, paintings and fruits. All images have been obtained using en-face flying spot technology. This allows simultaneous generation of optical coherence tomography and confocal scanning images. The subtitle of the volume is \"Essays on Quantity, Coherence, and Induction\". The four papers in the first section don't really address a unified philosophical theme, but instead use unified mathematical techniques (Boolean algebras, Borel measure, unmeasurable sets) to address several different philosophical questions. The six papers in the second section all address issues related to coherence of degrees of belief. And the three papers in the third section give a particularly interesting take on Carnap's view of induction, arguing that Carnap's considered view was actually much more subjectivist than we usually realize. I will discuss each of these sections in turn, giving what I take to be the upshot of the corresponding projects. In the four papers of the first section, the mathematics of measure theory is used to update Zeno's arguments, clarify a notion of possibility that might be implicit in Wittgenstein's Tractatus Logico-Philosophicus, give a more general understanding of the part-whole relationship, and strengthen the notion of probabilistic coherence assumed in Bayesian theory. In typical Skyrms-ian fashion, he shows how the mathematics could be used by metaphysicians and epistemologists to make various points, but is a bit cagey about whether one or another of these uses would be the right way to go. I found the first paper, \"Zeno's Paradox of Measure\" (originally published in 1983, in a hard-to-find volume), quite interesting on the parallels between the ancient debate among Zeno, Democritus, Aristotle and others, and the late 19th century debate between Cantor, Borel, Lebesgue, Vitali, and their contemporaries. Given the parallels, he argues that the Banach-Tarski paradox is the mathematically rigorous version of Zeno's paradoxes. \"Tractarian Nominalism\" and \"Logical Atoms and Combinatorial Possibility\" use the mathematics of measure theory to develop Wittgenstein's idea that facts are primary, and that the world, objects, and properties are all logical constructions out of facts. The resulting picture is mathematically interesting, and deserves to be investigated more fully by metaphysicians. The major obstacle I see is the question of how this picture of the world can give rise to mathematical objects, which seem to play an important role in constituting th

Fake Famous LINK >>>>> https://bytlly.com/2tDV6b What Bilton finds is that two of the three people he picked felt completely uncomfortable with the fake followers and likes, and one of them just wanted to be their authentic selves online. But one of them really ended up making the fake followers and fake photo shoots work. You can guess who that is by seeing their profiles (linked under their names above). For the film -- his first -- Bilton attempts to turn Druckman and two other LA residents with relatively small Instagram followings into social media influencers by purchasing an army of fake followers and bots to \"engage\" with their posts. The three were chosen from around 4,000 people who responded to a casting call asking one simple question: \"Do you want to be famous\" On some level, most of us understand that social media presents carefully curated versions of other people's realities and that influencers' living rooms aren't always bathed in the perfect sunlight. Last year, for example, Instagram influencer Natalia Taylor faked a Bali vacation with pics snapped at Ikea to remind her followers not to believe everything they see. And who could forget the disastrous Fyre Festival hyped by the influencer crowd But Bilton, formerly of The New York Times and now a correspondent for Vanity Fair, turns his unflinching reporter's eye more broadly and methodically to this bizarre influencer world where followers, likes and comments function as a cultural currency. In doing so, he exposes just how fake that world can get. Spoiler alert: very. As Bilton hops on his phone to buy thousands more bots for his stars, we see that purchasing fake followers is as simple and quick as downloading an app. In one of the film's more amusing scenes, Bilton's wife, lying next to him in bed, asks when he's going to sleep. \"Just buying some bots, give me a second,\" he answers. You can even choose your bots' gender, nationality and political leaning. But the faking doesn't stop with imaginary Instagram friends. It's possible, we learn, to fake bids on eBay listings, fake sales of books and fake reviews of movies. And we see once again, as Natalia Taylor's Ikea photo shoot proved, how hard it can be for followers to delineate real from staged. Pro tip I got from Fake Famous: Hold a toilet seat next to an image of a beach and you've got a convincing shot of you looking out an airplane window as you land for your dream island vacation. The more glamour shots Druckman posts, the more free jewelry she gets from companies eager to see their products promoted. A fake post about working out at a fancy private gym gets Fake Famous subject Chris Bailey, a budding fashion designer, a real session at a fancy private gym in exchange for posting about the business. But is all the fakery just P.T. Barnum for the 21st century Or will the digital deception have some lasting impact on our understanding of truth Maybe Fake Famous 2 can tackle those questions. I'd totally follow that. Nick Bilton's HBO documentary Fake Famous paints quite the definitive indictment of anyone calling themselves an \"influencer.\" For the film, Bilton and his team took a random person and bought her fake followers, likes and comments to see if brands would think she's influential. Fake Famous certainly exposes fraud and deception, but more so in Bilton's technique than his subject's resulting web-celebrity status. Perhaps more insidious an offense is faked engagement. Having bot accounts load a post with likes and comments affects an influencer's engagement rate. The higher that number, the more of their alleged followers are taking real action when they post. So someone with 100,000 followers and a 2.5% engagement rate reportedly activates 2,500 people at a time. Bilton's film shows one such tool that isn't identified (but, based on my familiarity with such tools, appears to be HypeAuditor). His scan of Druckman's account showed almost 100,000 real and engaged followers at a time when he knew all but 1,200 were bought and paid for. As of last week, it still reported her quality score of 65 out of 100 with her now 348,712 followers. If Bilton's experiment numbers are true, that's a \"Good\" audience quality score when more than 70% of her followers are fake. No interviews were presented with agency strategists who build campaigns with brands or work hand-in-hand with influencers to execute them. At least none not working in the beauty space or Los Angeles. Bilton not only didn't highlight those who built true influence through amazing content and community engagement, but implied several of them were just as fake as Druckman. The second problem is the film's use of \"all,\" \"most\" and \"the majority\" when referring to the percentage of influencers who fake their way to making a living doing this. Those labels without data to back them up are grossly misleading. The world of influencers does include the fake or superficial ones (I refer to them as the \"peace sign, duck lips\" crowd), but it also includes millions of content creators like Goodwin who have built engaged followings because they provide value to their audiences. The movie reported there are 140 million people on Instagram who have over 100,000 followers. When I posed my assertion that most of them aren't fakers gaming the system during our podcast conversation, Bilton pushed back. \"There's 130 million of them that have cooking shows and things like that to give back to society\" he asked. \"No, most of them don't. Most of them are not doing things that are helping people. They're just trying to get free stuff.\" \"There are millions of fake, duplicate and bot accounts on various social media platforms,\" Smith says. \"Influencer fraud is an industry issue. However, there is a distinction between creators who enter this market to scam, and full-time career creators who are committed to professional standards and business ethics.\" However, Tagger CEO Dave Dickman told me that 57% of all influencer accounts had purchased either fake followers, fake engagements or both. \"Bots are good at superficially disguising themselves, but there are patterns bot farms are not able to disguise when examined using AI and clustering analysis,\" he says. \"From our work using this data over the last couple of years, we've learned that there can be fake followers in accounts of any size, and in any genre. Though the influencers with between 50,000 and two million followers tend to have the highest percentages of fake followers.\" It is certainly possible for both data sets to be correct, since they are measuring apples and oranges. Julius is measuring a broad audience health score based on an algorithm. The lower the score, the more likelihood the audience has some issues. Tagger says 57% of all users have purchased fake something, but doesn't indicate what percentage of each influencer's audience is fake, nor how many they purchased. So, if Tagger's 57% of all influencers bought just 10 followers each, they could still have Julius's Audience Health Score of 80 or above. However, you are completely wrong. Many of those extravagant realties, those followers, those likes and that lifestyle is completely fake, a total hoax. That's what I learned from talking to Nick Bilton this week on \"Salon Talks\" about new HBO documentary \"Fake Famous.\" The veteran journalist and first-time director captures the rise of fake, curated realties online and influencer culture in the film. In \"Fake Famous,\" Bilton conducts a social experiment where he selects three aspiring, wannabe celebrities with small social media followings and attempts to transform them into big time Instagram influencers with the same kind of fake vacations, fake followers and fake likes you see when you scroll. The end result of this experiment is mind-blowing and even pushed Bilton's own skeptical views of social media's detrimental effects to a new level. You can watch my \"Salon Talks\" episode with Bilton here, or read a Q&A of our conversation below for more on the internet's effect on culture and society today, why the classification of fame today is largely BS, and how he is raising his kids in a world where fake realities reign supreme. And then at the same time, you have this culture where, which we talk about in the film, where 87% of kids today in America want to be famous influencers, right That is what they want to be more than any other occupation on earth. And as we show in the film, that whole thing is bulls**t. It's just made up. It's not real. And you have millions and millions of people that are pretending that they are famous and lying about how many followers they have, and the influence they have, and so on. And the effect it's having on culture and society I think is pretty bad. Just to give the viewers a little taste of how we got here, when we started the film we didn't really know who we were going to pick and how we were going to find people to turn into fake famous influencers. We did a casting call and we decide, okay, let's just ask the very simple question of, \"Do you want to be famous\" And that was literally what we said in the casting call. If you want to be famous, show up to the spot at this time. We had 5,000 people respond instantly. We didn't put it on social media or anything, we just sent out a casting call. We narrowed that down to 250 people and then we had to get it down to two. We ended up getting it down to three people because we really liked three of the people in there. And then the goal was, okay, let's take these three people who have a thousand followers or so each, and see if we can buy them fake bots, and fake likes, and fake followers, and fake comments, and doing fake photo shoots, see if we can make them appear famous and have their lives changed. And so I'm not going to give away what happens to all of them, but one of them, it works out. She becomes a famous influencer. She's got 350,000 followers now and she gets tons of free stuff. And I think that as you see in the film

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I apply moderate pressure with the clamp to assure good glue and edge bonding. When mitered edges fit well, there is no need for excessive clamping pressure. Allow the glued-up frame to cure overnight and you're ready to add glass and a picture. A framing shop uses a point driver to secure a picture within its frame. Find a moderately priced unit from Logan (the Dual Driver Elite) at many home centers. For a more basic approach, Rockler stocks black picture frame turn buttons (no. 22890, $3.50 per four, 800-279-4441, rockler.com). Turn your favorite memories into pieces of art with our wooden picture frames. With a modern and sleek design, our frames are the perfect way to elevate your photos and artwork. Whether you're looking for a frame to display your family photos or a unique way to showcase your favorite vacation memories, we have the perfect frame for you. Shop our selection of wooden frames today and find the perfect one for your home. Turn your favorite memories into pieces of art with our wooden picture frames. With a modern and sleek design, our frames are the perfect way to elevate your photos and artwork. Whether you\\'re looking for a frame to display your family photos or a unique way to showcase your favorite vacation memories, we have the perfect frame for you. Shop our selection of wooden frames today and find the perfect one for your home. Getting pictures right in rooms is an art form in its own right and the right frame is essential. Wall Space have been my go-to framers for years. Not just for Clients or my Television work but also, more importantly, for the art I have at home. finally! Ive been waiting patiently all afternoon for this post :) I have a stack of offsized art that I dying to get up on my walls but spending all that dough on specialty sized frames seemed crazy to me. Cant wait to tackle a few of these this weekend! Seriously STAPLES! DUH, GINA! I glued 10 frames to make a gallery wall with (blogged here), and was SO IMPATIENT for the glue to dry to move them (they were taking up a lot of space in my work area). And the answer was as simple as STAPLES! Wow, that really was simple. I have some off sized prints that I need to frame, but I am having such a hard time finding frames that fit. Your tutorial just solved that problem. Thank you! You guys always share the best stuff. If you are short on scrap wood, staples and elmers, wwww.framefit.com lets you order lovely frames by the inch in pairs, and sends all the hardward without being asked! Lovely customer service too if needed. i get lots of frames for posters, photos and actual canvas art. My Pinterest challenge project was pretty cheap and easy, just like these frames. I made an arm rest wrap side table thingy for less than $5 total! I could probably make another with the left over wood too. We made giant super sized frames for our hall cubbies. It was easier than I thought it would be and we ended up stretching canvas over them. Love the paint projects for the Pinspiration challenge. I did (and linked up) a paint project too. So fun to get messy again. I did something similar. My bathroom medicine cabinet was really dull and the mirrow had edging that looked cheap and plastic. I framed it out with some inexpensive but fancy trim using the method you mentioned here. It looks 1,000 times more classy now. Funny thing is, I never even thought of doing this for