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【篇一】
International Business and Cross-cultural Communication
The increase in international business and in foreign investment has created a need for executives with knowledge of foreign languages and skills in cross-cultural communication.
Americans, however, have not been well trained in either area and, consequently, have not enjoyed the same level of success in negotiation in an international arena as have their foreign counterparts.
Negotiating is the process of communicating back and forth for the purpose of reaching an agreement. It involves persuasion and compromise, but in order to participate in either one, the negotiators must understand the ways in which people are persuaded and how compromise is reached within the culture of the negotiation.
In many international business negotiations abroad, Americans are perceived as wealthy and impersonal.
It often appears to the foreign negotiator that the American represents a large multi-million-dollar corporation that can afford to pay the price without bargaining further.
The American negotiator’s role becomes that of an impersonal purveyor of information and cash.
In studies of American negotiators abroad, several traits have been identified that may serve to confirm this stereotypical perception, while undermining the negotiator’s position. Two traits in particular that cause cross-cultural misunderstanding are directness and impatience on the part of the American negotiator.
Furthermore, American negotiators often insist on realizing short-term goals. Foreign negotiators, on the other hand, may value the relationship established between negotiators and may be willing to invest time in it for long-term benefits.
In order to solidify the relationship, they may opt for indirect interactions without regard for the time involved in getting to know the other negotiator.
Clearly, perceptions and differences in values affect the outcomes of negotiations and the success of negotiators.
For Americans to play a more effective role in international business negotiations, they must put forth more effort to improve cross-cultural understanding.
【篇二】譯文
國際商業(yè)和跨文化交流
國際貿(mào)易和海外投資的增加產(chǎn)生了對具有外語知識和跨文化交流技巧的經(jīng)理的需求。
然而，美國人在這兩方面未得到良好的訓(xùn)練，因此沒有在國際談判中象他們的外國對手一樣成功。
談判是為了達成協(xié)議而反復(fù)交流的過程。它包括說服和妥協(xié)。但是為了去進行說服和妥協(xié)，談判者必須懂得在談判的文化中怎樣說服人和怎樣達成妥協(xié)。
在國外的國際商務(wù)談判中，美國人被視為富有和不帶個人情感。
在外國談判者看來，似乎美國人代表著一個龐大的擁有數(shù)百萬資財?shù)拇笃髽I(yè)，不用進一步地討價還價就能出得起價錢。
美國談判者的角色變成了一個沒有個人感情的信息及現(xiàn)金的供應(yīng)者。
對在國外的美國談判者的研究中，我們找出了損害談判者能力的幾個特點，或許證實這個已成定式的看法。尤其引起跨文化誤解的兩個特點是美國談判者的直截了當和缺乏耐心。
此外，美國談判者經(jīng)常堅持實現(xiàn)短期目標，而外國的談判者會珍視建立談判者之間的聯(lián)系并愿意為長期利益投入時間。
為了鞏固這種聯(lián)系，他們會選擇非直接的交流而不計較投入用于了解對方的時間。
明顯地，價值觀的不同和理解上的差異影響了談判的結(jié)果和談判者的成功與否。
美國人要在國際商務(wù)談判中扮演更為有效的角色，他們就必須投入更多的努力提高跨文化的理解力。
【篇三】
Movie Music
Accustomed though we are to speaking of the films made before 1927 as "silent", the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment; when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes.
At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient.
Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film.
As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed.
For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces.
Since the conductor seldom saw the films until the night before they were to be shown (if indeed, the conductor was lucky enough to see them then), the musical arrangement was normally improvised in the greatest hurry.
To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments.
In 1909, for example, the Edison Company began issuing with their films such indications of mood as " pleasant", "sad", "lively".
The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next.
Certain films had music especially composed for them.
The most famous of these early special scores was that composed and arranged for D.W Griffith's film Birth of a Nation, which was released in 1915.
【篇四】譯文
電 影 插曲
盡管我們習(xí)慣于將1927年以前的電 影稱為“無聲電 影”，但是就無聲這個詞完整的意義上來說，電 影從未真正的無聲過，從初開始音樂就被視為必不可少的伴奏。當盧米埃爾的電 影在1896年2月美國首屆影 片公映展覽上放映的時候，影 片便用當時的流行曲臨場鋼琴伴奏。
初，這些音樂伴奏與電 影沒有什么特別的關(guān)系，用什么曲子伴奏都行。
但在很短的時間內(nèi)，為一部莊重的影 片演奏快活的音樂所產(chǎn)生的不協(xié)調(diào)感變得顯而易見，因此鋼琴家們開始注意將自己的作品與影 片的情調(diào)結(jié)合起來。
隨著影劇院在數(shù)量上與重要性上的不斷增長，在一些場合，除了鋼琴師外，還要加上小提琴師，或許還有一位大提琴師。較大的影劇院里還組成了小型的管弦樂隊。
在很長的時間內(nèi)，為各部影 片選擇配樂完全掌握在樂隊指揮或隊長手中，而通常把持這種職位的資格不是技巧或鑒賞品味，而是擁有一個大的音樂作品的個人收藏。
因為直到電 影上映的前一天晚上樂隊指揮才能看到影 片（如果這個指揮真正有幸能夠看到影 片的話），音樂安排通常是在非常匆忙的情況下臨場進行的。
為了解決以上的困難，電 影發(fā)行公司開辦了為音樂伴奏印制提示單的業(yè)務(wù)。
例如1909年愛迪生公司開始將一些諸如“喜悅的”、“悲傷的”、“活潑的”之類表明影 片情調(diào)特征的提示與影 片一起發(fā)行。
這些提示逐漸變得更加具體，并且出現(xiàn)了包括影 片情調(diào)說明、適用樂曲名稱和樂曲轉(zhuǎn)換點等內(nèi)容的配樂說明單。
某些影 片擁有專門為其創(chuàng)作的音樂。
這些早期特創(chuàng)樂譜中的便是為D.W.格雷夫斯1915年上映的影 片《一個國家的誕生》所創(chuàng)作的音樂。