關(guān)于優(yōu)秀英語文章摘抄
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關(guān)于優(yōu)秀英語文章摘抄篇一
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.
關(guān)于優(yōu)秀英語文章摘抄篇二
Scientific Theories
In science, a theory is a reasonable explanation of observed events that are related. A theory often involves an imaginary model that helps scientists picture the way an observed event could be produced. A good example of this is found in the kinetic molecular theory, in which gases are pictured as being made up of many small particles that are in constant motion.
A useful theory, in addition to explaining past observations, helps to predict events that have not as yet been observed. After a theory has been publicized, scientists design experiments to test the theory. If observations confirm the scientist’s predictions, the theory is supported. If observations do not confirm the predictions, the scientists must search further. There may be a fault in the experiment, or the theory may have to be revised or rejected.
Science involves imagination and creative thinking as well as collecting information and performing experiments. Facts by themselves are not science. As the mathematician Jules Henri Poincare said, “Science is built with facts just as a house is built with bricks, but a collection of facts cannot be called science any more than a pile of bricks can be called a house.”
Most scientists start an investigation by finding out what other scientists have learned about a particular problem. After known facts have been gathered, the scientist comes to the part of the investigation that requires considerable imagination. Possible solutions to the problem are formulated. These possible solutions are called hypotheses.
In a way, any hypothesis is a leap into the unknown. It extends the scientist’s thinking beyond the known facts. The scientist plans experiments, performs calculations, and makes observations to test hypotheses. Without hypothesis, further investigation lacks purpose and direction. When hypotheses are confirmed, they are incorporated into theories.
關(guān)于優(yōu)秀英語文章摘抄篇三
Movie Music
Accustomed though we are to speaking of the films made before 1927 as “silent”, the film hasnever been, in the full sense of the word, silent. From the very beginning, music was regardedas an indispensable accompaniment; when the Lumiere films were shown at the first publicfilm exhibition in the United States in February 1896, they were accompanied by pianoimprovisations on popular tunes. At first, the music played bore no special relationship to thefilms; an accompaniment of any kind was sufficient. Within a very short time, however, theincongruity of playing lively music to a solemn film became apparent, and film pianists beganto 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 beadded to the pianist in certain cases, and in the larger movie theaters small orchestras wereformed. For a number of years the selection of music for each film program rested entirely inthe hands of the conductor or leader of the orchestra, and very often the principalqualification for holding such a position was not skill or taste so much as the ownership of alarge personal library of musical pieces. Since the conductor seldom saw the films until thenight before they were to be shown(if indeed, the conductor was lucky enough to see themthen), the musical arrangement was normally improvised in the greatest hurry.
To help meet this difficulty, film distributing companies started the practice of publishingsuggestions for musical accompaniments. In 1909, for example, the Edison Company beganissuing with their films such indications of mood as “ pleasant”, “sad”, “lively”. The suggestionsbecame 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 intothe next.
Certain films had music especially composed for them. The most famous of these early specialscores was that composed and arranged for D.W Griffith’s film Birth of a Nation, which wasreleased in 1915.
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