新概念英语2短文-大学新概念英语精美短文（15）

【#新概念英语# 导语】新概念英语之所以经久不衰是因为以其全新的教学理念，有趣的课文内容和全面的技能训练，为英语学习者排忧解难，深受广大英语学习者的欢迎和喜爱。想要学好英语的你，怎能错过？快来加入学习吧！©文档大全网为您提供，希望以下内容能够为大家的新概念英语学习提供帮助!

【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】译文

国际商业和跨文化交流

国际贸易和海外投资的增加产生了对具有外语知识和跨文化交流技巧的经理的需求。

然而，美国人在这两方面未得到良好的训练，因此没有在国际谈判中象他们的外国对手一样成功。

谈判是为了达成协议而反复交流的过程。它包括说服和妥协。但是为了去进行说服和妥协，谈判者必须懂得在谈判的文化中怎样说服人和怎样达成妥协。

在国外的国际商务谈判中，美国人被视为富有和不带个人情感。

在外国谈判者看来，似乎美国人代表着一个庞大的拥有数百万资财的大企业，不用进一步地讨价还价就能出得起价钱。

美国谈判者的角色变成了一个没有个人感情的信息及现金的供应者。

对在国外的美国谈判者的研究中，我们找出了损害谈判者能力的几个特点，或许证实这个已成定式的看法。尤其引起跨文化误解的两个特点是美国谈判者的直截了当和缺乏耐心。

此外，美国谈判者经常坚持实现短期目标，而外国的谈判者会珍视建立谈判者之间的联系并愿意为长期利益投入时间。

为了巩固这种联系，他们会选择非直接的交流而不计较投入用于了解对方的时间。

明显地，价值观的不同和理解上的差异影响了谈判的结果和谈判者的成功与否。

美国人要在国际商务谈判中扮演更为有效的角色，他们就必须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】译文

电 影 插曲

尽管我们习惯于将1927年以前的电 影称为“无声电 影”，但是就无声这个词完整的意义上来说，电 影从未真正的无声过，从最初开始音乐就被视为必不可少的伴奏。当卢米埃尔的电 影在1896年2月美国首届影 片公映展览上放映的时候，影 片便用当时的流行曲临场钢琴伴奏。

最初，这些音乐伴奏与电 影没有什么特别的关系，用什么曲子伴奏都行。

但在很短的时间内，为一部庄重的影 片演奏快活的音乐所产生的不协调感变得显而易见，因此钢琴家们开始注意将自己的作品与影 片的情调结合起来。

随着影剧院在数量上与重要性上的不断增长，在一些场合，除了钢琴师外，还要加上小提琴师，或许还有一位大提琴师。较大的影剧院里还组成了小型的管弦乐队。

在很长的时间内，为各部影 片选择配乐完全掌握在乐队指挥或队长手中，而通常把持这种职位的资格不是技巧或鉴赏品味，而是拥有一个大的音乐作品的个人收藏。

因为直到电 影上映的前一天晚上乐队指挥才能看到影 片（如果这个指挥真正有幸能够看到影 片的话），音乐安排通常是在非常匆忙的情况下临场进行的。

为了解决以上的困难，电 影发行公司开办了为音乐伴奏印制提示单的业务。

例如1909年爱迪生公司开始将一些诸如“喜悦的”、“悲伤的”、“活泼的”之类表明影 片情调特征的提示与影 片一起发行。

这些提示逐渐变得更加具体，并且出现了包括影 片情调说明、适用乐曲名称和乐曲转换点等内容的配乐说明单。

某些影 片拥有专门为其创作的音乐。

这些早期特创乐谱中最的便是为D.W.格雷夫斯1915年上映的影 片《一个国家的诞生》所创作的音乐。

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