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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(guó)際商業(yè)和跨文化交流
國(guó)際貿(mào)易和海外投資的增加產(chǎn)生了對(duì)具有外語(yǔ)知識(shí)和跨文化交流技巧的經(jīng)理的需求。
然而，美國(guó)人在這兩方面未得到良好的訓(xùn)練，因此沒有在國(guó)際談判中象他們的外國(guó)對(duì)手一樣成功。
談判是為了達(dá)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(jìn)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(dá)成妥協(xié)。
在國(guó)外的國(guó)際商務(wù)談判中，美國(guó)人被視為富有和不帶個(gè)人情感。
在外國(guó)談判者看來(lái)，似乎美國(guó)人代表著一個(gè)龐大的擁有數(shù)百萬(wàn)資財(cái)?shù)拇笃髽I(yè)，不用進(jìn)一步地討價(jià)還價(jià)就能出得起價(jià)錢。
美國(guó)談判者的角色變成了一個(gè)沒有個(gè)人感情的信息及現(xiàn)金的供應(yīng)者。
對(duì)在國(guó)外的美國(guó)談判者的研究中，我們找出了損害談判者能力的幾個(gè)特點(diǎn)，或許證實(shí)這個(gè)已成定式的看法。尤其引起跨文化誤解的兩個(gè)特點(diǎn)是美國(guó)談判者的直截了當(dāng)和缺乏耐心。
此外，美國(guó)談判者經(jīng)常堅(jiān)持實(shí)現(xiàn)短期目標(biāo)，而外國(guó)的談判者會(huì)珍視建立談判者之間的聯(lián)系并愿意為長(zhǎng)期利益投入時(shí)間。
為了鞏固這種聯(lián)系，他們會(huì)選擇非直接的交流而不計(jì)較投入用于了解對(duì)方的時(shí)間。
明顯地，價(jià)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(guó)人要在國(guó)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(wú)聲電 影”，但是就無(wú)聲這個(gè)詞完整的意義上來(lái)說，電 影從未真正的無(wú)聲過，從初開始音樂就被視為必不可少的伴奏。當(dāng)盧米埃爾的電 影在1896年2月美國(guó)首屆影 片公映展覽上放映的時(shí)候，影 片便用當(dāng)時(shí)的流行曲臨場(chǎng)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(shí)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(lái)。
隨著影劇院在數(shù)量上與重要性上的不斷增長(zhǎng)，在一些場(chǎng)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(duì)。
在很長(zhǎng)的時(shí)間內(nèi)，為各部影 片選擇配樂完全掌握在樂隊(duì)指揮或隊(duì)長(zhǎng)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(gè)大的音樂作品的個(gè)人收藏。
因?yàn)橹钡诫?影上映的前一天晚上樂隊(duì)指揮才能看到影 片（如果這個(gè)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(chǎng)進(jìn)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(diǎn)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(gè)國(guó)家的誕生》所創(chuàng)作的音樂。