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1 |
ADLER to ZÜNDAPP | |
| 2 | ADLER M/MB-models | |
| 3 | BMW R 35, EMW R 35/2, R 35/3 | |
| 4 | BMW R 25, 25/2, 25/3 | |
| 5 | BMW R 26/27 | |
| 6 | BMW R 51/2, 51/3, 67/2, 67/3, 68 | |
| 7 | BMW R 50, 50/2, 50 S, 60, 60/2, 69, 69 S | |
| 8 | spare parts in stainless steel R 25 bis R 69 S | |
| 9 | BMW R 50/5, 60/5, 75/5 | |
| 10 | DKW RT-models | |
| 11 | EMW R 35/2, R 35/3, BMW R 35 | |
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12 |
HOREX REGINA | |
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13 |
NSU LUX (Standard, Super) | |
| 14 | NSU MAX (Standard, Spezial, Super) | |
| 15 | STEIB LS 200, S 350, S 500, TR 500 | |
| 16 | pre-war bikes (till 1949) & 98 ccm bikes | |
| 17 | restoration equipment / accessories | |
| 18 | reprints of manuals, spare part lists and instructions | |
| 19 | spare part news and general additional informations | |
As the scope of Westeros and Essos expanded, so did the polyglot nature of the narrative. Season 3 introduced the Unsullied, the political machinations of Slaver’s Bay, and the enigmatic Free Folk beyond the Wall. Suddenly, large portions of pivotal scenes were conducted in languages other than the Common Tongue (English). This created a specific dilemma for home viewers, pirates, and international audiences: the struggle to find subtitles specifically for the "non-English parts."
The most significant concentration of non-English dialogue occurs in Daenerys Targaryen’s storyline. As she arrives in Astapor to purchase an army of Unsullied, she must negotiate with the slave master Kraznys mo Nakloz. In the original HBO broadcast, these scenes are presented as they would be for Daenerys: she does not speak the language fluently (initially), so the audience is meant to rely on the translation provided by Missandei. However, as the season progresses, the dialogue in Valyrian increases, and the context becomes harder to grasp without direct translation. game of thrones season 3 subtitles for non english parts
When HBO’s Game of Thrones premiered, it introduced a sprawling fantasy world where the politics were as deadly as the dragons. For the first two seasons, the linguistic barrier was relatively straightforward. Viewers knew that Dothraki was a distinct language, and while important, it wasn't the dominant sound of the show. However, everything changed with Season 3. As the scope of Westeros and Essos expanded,