Chapter 1 An Introduction to Intercultural Communication

章节的介绍英文作文英文：Chapter introduction is an important part of any book or academic text. It provides readers with a brief overview of what they can expect to find in the chapter and helps them decide whether or not to continue reading. In this essay, I will discuss the importance of chapter introductions and provide some examples of effective ones.Firstly, chapter introductions serve as a roadmap for readers. They provide a clear outline of what will be covered in the chapter, which helps readers to understand the structure of the text and how the different sections relate to each other. This is especially important in academic texts, where readers need to be able to navigate complex arguments and ideas.Secondly, chapter introductions can be used to hook readers and make them interested in reading further. A goodintroduction should grab the reader's attention and make them curious about what comes next. This can be achieved through the use of anecdotes, quotes, or provocative statements.Finally, chapter introductions can be used to set the tone for the chapter. Depending on the subject matter, the tone of the introduction can be serious, humorous, or somewhere in between. This helps to create a sense of continuity throughout the text and makes it more engaging for readers.In conclusion, chapter introductions are an important part of any book or academic text. They provide readers with a roadmap, hook them in, and set the tone for the chapter. Good introductions can make the difference between a reader continuing to read or putting the book down.中文：章节介绍是任何书籍或学术文本的重要部分。

Chapter One IntroductionWith the development of the global cross-cultural communication, the introduction of film and television works which serve as a type of culture carrier promotes the exchange and collision between two different cultures. In recent years, increasing number of foreign films and television works were introduced into China and people can get access to them through many different ways like theaters, television or just internet which is more convenient. However, because of the language barrier and cultural differences, only with the help of Chinese captions can a great majority of the audience could understand the meaning，even the spirit in it better, and experience an audio-visual feast while getting their inner heart deeply touched. Subtitle is not only recreation of the original language, but also it is a kind of aesthetic activity. With the growing call for the return of aesthetics in the realm of translation recently, there is increasing need to study subtitle translation from the perspective of aesthetics.In China, aesthetics is of special significance to Chinese translation, in which the combination of aesthetics and translation is one of its greatest characteristics. Some scholars believe that aesthetics is the base of Chinese traditional translation. Although western translation theory builds on philosophy, it also has a long history in terms of aesthetics. So it is reasonable to integrate aesthetics and translation together. Beauty is everywhere even in the language itself and it is one of the basic properties of language as well. Preference for beauty is a common nature of human, which is a universal phenomenon. Take the following as examples, in China when people refer to the old, they use probably “双鬓斑白” instead of “满脸皱纹”. Again, “oval” is adopted to describe a girl’s face rather than using the image of the duck egg. Also because of the beautiful rhythm of language, “mathematics, physics, chemistry” is preferred than any other group of combination o f the three subjects. This potential principle applies to English as well. In English, it is not the“work at another job at night” but the “moonlight” suggests that someone takes a second job during night. In addition, there is no exception for translation. Collecting the most classical part of novel, drama, music, arts, dance and photography in it, movie is a kind of comprehensive art. Therefore, how to reappear the beauty of subtitle to audience becomes the focus of filmtranslation.Chapter Two Translation Aesthetics2. 1 Definition of Translation AestheticsAccording to the “A Dictionary of Translation Studies” edited by Fang Mengzhi, translation Aesthetics reveals the aesthetical origin of translation, studies the special significance of aesthetics on translation, discovers the scientific and artistic feature of translation from the aesthetic perspective and put forwards aesthetic standards towards different type of translation texts, in order to analysis, interpret and solve the aesthetic problems in intercultural conversion by using basic aesthetic principles.With full understanding of the basic properties of translation aesthetic subject (the original work) and the aesthetic object (translator), we can analysis the made up of aesthetic object and the dynamic effect of the aesthetic subject, clarify the relationship between aesthetic subject and aesthetic object and provide the reproduction of aesthetic with means and different forms; therefore, it all can be used to instruct translation practice.2.2 The Development of Translation AestheticsIn China, translation has a rather long history dating back to about 1800 years ago in terms of the translation of Buddhist texts. Taking a look at this, it is not difficult to find that almost all the translation theories is inseparable with aesthetics, and this is also the general trend of history and cultural pattern in future. From the theory “Exquisite Diction” by Zhi Qian, “Faithfulness, Expressiveness and Elegance” by Yan Fu, “Spiritual Conformity” by Fu Lei, the “Theory Sublimation” promoted by Qian Zhongshu to the “Three Beauties” by Xu Yuanchong and so on, each provides strong support to the natural birth of translation aesthetics in history. Having absorbed the essence of beauty, all of these theories suggest obvious aesthetic features —emphasis on faithfulness, parataxis and beauty of connotation, which glitters just like gold.In modern period, translation theories mainly focus on the translation standards, translation processes and translation methods before 1970s. While after that, increasing researchers use descriptive methods to study translation theory and therefore has developed a deep understanding towards it. Translation aesthetics enter the systematical researching period in this background. “Practical Translation Aesthetics” by Fu Zhong in 1993 is the first translation aesthetic monograph in our country. It talks about the main categories of translation aesthetic, namely aesthetic subject, aesthetic object, aesthetic activity, standards of translation aesthetics and the method of reappearance of beauty. “Comparative Aesthetics of Literary Translation”published in 2000 by Xi Yongji is one of representative works studying comparative literary translation. While “Aesthetics Process during Liter ary Translation: the Reconstruction of Gestalt Image”authorized by Jiang Qiuxia in 2002 primarily focuses on the aesthetic process. In 2005 Mao Ronggui published “Translation Aesthetics”which is made up of four parts and expands the research scope of translation theory and practice. However, the most important work in the field may be “An Introduction to Translation Aesthetics” by Liu Miqing. It has fully reflected the author’s thought about Chinese translation aesthetics and posed a rather important position in the connection between western aesthetics and basic Chinese translation theory.Globally, the developing trend of translating field and the “Cultural Turn” have created suitable environment for the birth of translation aesthetics. It is widely acknowledged that aesthetics belong to culture and translation is a kind of communication, so translation is a way to transfer beauty in essence. Therefore, we got to know that the outcome of translation aesthetics can not be resisted.2.3 Achievements of Translation AestheticsThe book Aesthetic Progression inLiterary Translation: Image- G Actualization, written by Jiang Qiuxia in herdoctorial paper in 2002, holds that there is no way to unveil the “black box” existing in human psychology. So it uses descriptive method to explore the psychological mechanism of the reconstruction of gestalt image in literary translation. Besides, it emphasizes how the reader (the translator) can make use of gestalt psychology to recreate the whole image of the original works and present the target readers with the equivalence between original works and target works. This is, from the Angle of aesthetics, development of Nida's functional equivalence theory (2000). Since there is no complete equivalence translation, “functional equivalence” may be the best choice, generally speaking. In general it is best to speak of “functional equivalence” in terms of a range of adequacy, since no translation is ever completely equivalent. A number of different translations can in fact represent varying degrees of equivalence. This means that “equivalence” cannot be understood in its mathematical meaning of identity, but only in terms of proximity, i.e. on the basis of degrees of closeness to functional identity. (Nida , 2000 :117)This type of aesthetic has taken advantage of Gestalt psychology. (Lakoff, 1982:20)defined Gestalt in such a way —take the thing as an independent gestalt from the perspective of wholeness on that level. While at a lower level in order to give confirmation, specific details needs to be picked out. Gestalt recreation is the basic principle of translation aesthetics —interdisciplinary subject, which benefits from translation studies, literary studies, aesthetic and cognitive psychology. Gestalt image is a new conception out of the old idea of “image” as literary metaphor or symbol mainly concerned in poetry. When explored in this context as a holistic whole, it is taken as a relatively independent contextual entity rather than a single word or words constitution.) ( 姜秋霞,2002 : 241) Broadly speaking, translation studies，a discipline in the development period, is in constant growth and expansion. “An Introduction of Translation Aesthetics (revision, Peter, 2005)”reprinted by China Translation and Publishing Corporation greatly enriched and developed the theory of translation aesthetics.2.4 Prospect of Translation AestheticsFrom the perspective of prose translation, Wang Hongtao (2006:2006-4) categorizes Western and Chinese Comparative Aesthetic into three levels: Western and Chinese Comparative Translation Aesthetics; prose translation under the Chinese and western Comparative Aesthetics; the meaning of application of Chinese and Western Comparative Aesthetics in prose translation. As can be seen, translation aesthetic has marched no matter in terms of aesthetic subject, aesthetic reception or gestalt aesthetics. This is of great benefit to future translation aesthetic development. However, we should not only strongly opposite the overuse of aesthetics in translating field but also fight against the pseudo translation aesthetics. What we pursuit are the unity of formal beauty, implicational beauty and receiving beauty, and the unity of universal law and special performance of translation aesthetics. Meanwhile, we can not promise translation is filled with aesthetics, but translation can also not be totally separated from aesthetics. There are not only inheritance, experience from others but also merit and recreation in itself. So it is necessary to find out whether “Tr anslation Aesthetics”, created by Chinese scholars, has fully absorbed the widely acknowledged theories — Aesthetics of Reception and Gestalt. This is a blessing as well as a new issue for China’s translation studies.Chapter Three Subtitle Translation3.1 Definition of Subtitle TranslationUp to now, there is not an authorized definition about translating subtitles. Following are some definitions:(1)Subtitling can be defined as the process of providing synchronizedcaptions for film and television dialogue (and more recently for live opera)(2)Subtitling, sometimes referred to as captions, are transcriptions of film orTV dialogue, presented simultaneously on the screen.(3) A subtitle is a printed statement or fragment of dialogue appearing on thescreen between the scenes of a silent motion picture or appearing as a translation at the bottom of the screen during the scenes of a motion picture or television show in a foreign language.(4)··· the words printed or super imposed on a film in a foreign language totranslate what is being said on the sound track ···Although all these definitions explained subtitle in some degree, it is far from enough. The first definition points out that subtitle translation is used as a process to provide synchronization instruction for film and television dialogue. The second definition is similar to the first one, but the category where the subtitle suits is too narrow in those two definitions for the following two reasons: first of all, it is limited to film and television. In fact, if possible, subtitle is applied to any kind of multimedia. Secondly, apart from film and television, subtitle can also be used to give illustration to even the non-dialogue texts. The third definition refers to the caption that is displayed in the silent film or at the bottom of television screen. It serves as interpretation to another language or just illustrative fragments and this definition has fully explained the concept of subtitles. Definition four indicates translating the language being played in the sound track into another and printing it on the film. However, translating subtitle does not refer to the language that is being said at themoment.From the above, we also get to know that subtitle is a kind of text but with a different presenting mode like the common one. And it is this special presenting form that makes subtitle limited in many aspects.3.2 Characteristics of Subtitle TranslationSubtitle provides the audience with a large mount of information about the multimedia works. Following are four of its characteristics:3.2.1 ComprehensivenessComprehensiveness refers that subtitles must appear together with other factors of the film and television programs like sound and picture image at the same time instead of showing alone. The audience are willing to hear the actors as well as the music, background sounds and seeing the picture changes. The audience enjoy the film and television by watching the motion picture, listening to the dialogue and reading the subtitles and so on. So without pictures and sounds, the film and television can not convey the information fully; without captions, the effect of sounds and pictures can not achieve the best level. Generally speaking, in all of the factors mentioned above, pictures and sounds are the most important, while subtitles serve only as an auxiliary factor. Therefore, comprehensiveness offer subtitle some convenience namely subtitles can be omitted where the information can fully express through sounds and pictures. Thus translator should take full advantage of this characteristic and omit as much subtitles as possible.3.2.2 InstantaneityInstantaneity indicates that the subtitle, which is unrepeatable, appear and disappear simultaneously with the corresponding pictures and sounds. Although subtitle exists in the form of language, it is still different from the desk literature, such as poetry, prose and fiction for desk literature all appear in independent text form. Readers can appreciate desk literature over and over again at any time and any place as long as he wants. By contrast, subtitle can not be appreciated repeatedly withoutlimitation because of its instantaneous characteristic. While watching the plots the audience has to give up if he did not catch up with the subtitles because there is only one chance. Instantaneity decides that the audience cannot spend more time to understand the content of the captions; otherwise, it will affect the understanding of follow-up plots.3.2.3 PopularityPopularity means that the film and television subtitle translation must use a popular language or has the characteristic of popular language. Following are three main reasons: In the first place, film and television works aiming at the masses belong to the public. Majority of the audience are common people despite that some are well-educated and have higher artistic accomplishment. Therefore, we should use the most popular language to translate the original language to convey information, considering about the acceptance ability and appreciative level of majority part of the audience. The reason lies in that most audiences will be impeded while understanding too much elegant and abstract language. Secondly, with the characteristic of instantaneity, translation subtitle appears only once at the bottom of the screen. So only by using the popular and colloquial translation texts can the audience grasp the general meaning. Thirdly, the principle of “acceptance first” aims at helping the audience to understand the plot better. If too much euphemistic and expressive language is adopted as subtitle, the audience can not follow the plots closely while spending a long time trying to understanding the language.3.2.4 ConcisenessConciseness means that the language of film and television subtitle is concise and refined. There are two causes contributing to this characteristic.Firstly, the translation of film and television subtitle is limited by time and space, so the translator has to finish tasks in the limitation while keeping the picture and subtitle appear simultaneously. This determines subtitles can not use over-complicated language. The second reason is about the instantaneous acceptance of the audience, which indicates the simpler and easier the language the better while providing themore rich contents to the audience.Chapter Four Application of Translation Aesthetics in SubtitleTranslation4.1 Aesthetic Principles and Aesthetic strategy4.1.1 Aesthetic PrinciplesFirstly, the translation version shall accord the characters’ emotion and personality. So it is rather important for the translator to devote his own aesthetic emotion to the four stages of the whole work —“watching, understanding, analyzing and translating”. Only by understanding and appreciating the original work, integrating the emotions and characteristics of different roles into the translation, thinking from the perspective of different roles, speaking for them can the translator produce vivid, individualized characters, corresponding translational texts with the original dialogues as well as creating an immersive feeling for the audience.Secondly, the translation shall measure up the original work’s style. Film and television work is mainly made up of four different types, namely national style (a stable artistic character which reflects the national life in a particular area), period style (reflecting the life style of different time period), directing style (owing subjective or objective factors, different director prefer different theme, language and acting ways) and aesthetic style (such as drama, documentary, romantic style). So in the translating process (more accurately, that is adding, omitting and changing the original dialogue), the translator should abandon their preferring style, overcoming as many limiting factors as possible to get close to the original style.The third one is alienation, an important method to get to know about an exotic culture. How to help the audience to understand more about foreign history and costumes is a vital task. In order to incarnate the cultural diversity, translators can adopt alienation. For example, in American TV play, Rose said proudly: “I got 1450 on my SAT (Scholastic Assessment Test, which is a kind of academic test in America when students graduating from high school)”. When SATs is translated into “毕业会考”, it will be much easier for people to understand. Also some words, like NBA and FBI have already been popular between Chinese, so there is no need to translate.Next is about domestication. In the practice of translation, the existence of cultural differences between the two languages led to the production of translation variation and sometimes the semantic meaning changed or even lost. Adoption of domestication decreased the exoticism. More importantly, it can avoid ambiguity in order to present the audience with a more natural and easier way to understand the translation version. Liberal translation, substitution and even rewriting all these methods can help to translators to comprehend the original language better. For instance, in the movie “A Beautiful Mind”, the sentence “Shall we say swords, gentlemen? Pistols at dawn?” can be translated into “我们该谈谈剑了，绅士们。

Chapter One Introduction1.1 Research BackgroundWith the development of society,English as one world language become more and more important.Students in china starts to study English from elementary school.Ministry of Education treat English as one major subjects to testing students’learnig ability.According to all chinese English testing papers,we can see that English reading takes major scores in all questions.English is one major subjects for middle school students to learn,not only for an requisite subjects to entrance high school ,but also good for a student’s future.We noticed the importance of english,however,students in middle school are still feel at sea when learning english,especially when doing english reading.As we know,middle school students have not learn english for a long time.when they meet with one article,they will do nothing but look up new words which will spend much time.For above phenomenon ,we know that there are a lot of research conducted by scholars to enhance students english learnig ablity,including english reading ablity.however,there are still some bad situation lies in students english learning process.as we all know,learning strategies is an essential partduring english learning,especially metacognitive strategies.metacognitive strategies can contain executive function through planning,monitoring and evaluating all learning process.that is metacognitive stragteies is efficient in helping students self--control and self--evaluatee when they doing english reading.1.2 Purpose and SignificanceAccording to Cohere and Weaver(1998),if students can aware of and make use of learning strategies during english reading,all process can be simple,it makes great contribution to english learning. Therefor,we should notice the imporance of learning strategies during the process of english reading,like metacognitive stragies.we can see that the use of metacognitive strategies in english reading is deficiency.so we conducted this expeiment to using metacognitive stragies to cultivate middle school student’s reading ability.This research is arm to enhance english reading ability which will enrich metacognitive stragies using in english teaching practice and to deep research metacognitive strategies in learning process.1.3 The Structure of the ThesisConsidering the reasons and significances mentioned above, the present thesis is going to give a detailed analyzing of using metacognitive stretagies to culitivate middle school students’english readingablity.The thesis is divided for five chapters.chapter one is introduction which contains research background ,purposeand significance and the structure of the thesis.Chapter two is a literature review,it contains definition of metacongnitive strategies,researches on metacognitive strategies andprevious researches at home and abroad.Chapter three is research of metacognitive strategies,including subjects, questionares ,insruments and procedures.Chapter four is the results and data analysis of the study.Chapter five is overall conclusion of the study.Chapter two :literature review.2.1 Definition of Metacognitive strategiesScholars in second language acquisition and foreign language teaching and research have a strong interest in metacognitive strategies since phychologiest Flavell putsforward the theory of metacognitive strategies firstly in 1976.They combine the theory with language teaching,and also gain great achivements.meanwhile,scholars have also done a lot on using metacognitive strategies in reading.Metacognition is a term in educational osychology,it is the subject self--awareness and self--reflection. As Flavell’s view,metacongnitive is a cognitive awareness of what they will do and what they have done.It is a process for learners to self--control and self--regulate to gain good results.while Brown define metacognition as a knowledge of all processes of cognitive and results.Stern--berg suggested that metacognition is cognitive of cognitive,which monitoring,controling and understanding of learners self study. Moreover，psychologis in China hold the opinion that metacognitin is self--awareness,self--control and self--development.Above all ,metacognition including three elements of metacognitive knowledge,metacognitive experience and matacognitive monitoring.To enhance learning effiency by combining the three basements.2.2 Previous Researches at Home and Abroadesbroad has not limited to theoretical studies.A large number empirical studies started.experts and scholars from a number of theoretical and empirical research found that successful language learners are active during their own learning process,and they also awareness their learning ways and learning process.they are using mo。

跨文化交际‎练习题讨论题1、在你的日常‎活动中哪些‎是比较典型‎的跨文化交‎际？2、你认为强调‎个人之间的‎文化差异有‎什么利弊？3、我国的地区‎文化差异是‎否可以作为‎跨文化交际‎研究的重要‎方面？4、跨文化交际‎学为什么产‎生在美国？5、在我国为什‎么是一批外‎语教师首先‎对于跨文化‎交际学感兴‎趣？6、跨文化交际‎学主要和哪‎些学科有密‎切的关系？为什么？7、为什么文化‎会有这么多‎不同的定义‎？8、你认为哪几‎个定义对于‎你了解文化‎的内涵有帮‎助？9、文化具有哪‎些特点？认识这些特‎点对我们有‎什么意义？10、在汉语中“交际”与“传播”的词义有何‎异同？11、为什么人类‎不能没有传‎播？12、传播在人类‎历史上起了‎什么作用？13华”在汉语中的‎文化内涵与‎b u ll在‎英语中的文‎化内涵有何‎异同？14、在语用规则‎方面你能否‎举例说明英‎语与汉语的‎某些差异？15、在语篇结构‎方面除了本‎章所讲的以‎外你认为英‎美人与中美‎人之间还有‎什么差异？16、如果比较语‎言交际和非‎语言交际，你认为哪个‎更重要？为什么？17、在非语言交‎际的各种手‎段中，你认为哪一‎种最容易引‎起误解？18、非语言交际‎是否一成不‎变？你能否举出‎例子说明它‎的变化？19、为什么在汉‎语的见面语‎中有许多是‎与当时情景‎相联系的提‎问？20、为什么在我‎国文化中如‎此重视谦虚‎？在改革开放‎的二十年中‎在这方面有‎无变化？21、为什么我国‎在许多地方‎有送重礼的‎习俗？近年来有无‎变化？22、中国传统的‎“五伦”在现代的社‎会中有什么‎改变？23、为什么在我‎国的单位在‎过去很长一‎段时间里“无所不包”？有什么益处‎和缺陷？24、中国人和美‎国人在对待‎友谊的态度‎上有什么异‎同？试举例说明‎。

25、Guy和M‎attoc‎k认为文化‎背景对于公‎司的特点以‎及谈判方式‎等具有很大‎的影响，你同意这种‎论断吗？26、在你的朋友‎中有没有在‎外企工作的‎？他们感到最‎不适应的是‎什么？27、外商在我国‎开公司办企‎业，他们的主要‎抱怨是什么‎？你有所了解‎吗？你对于这些‎问题作何解‎释？28、价值观是如‎何形成的？试举例说明‎。

In this chapter, we delve into the transformative role of technology in the field of education. The discussion encompasses various aspects, from the integration of digital tools in the classroom to the impact on students' learning outcomes. The following summary encapsulates the key points and insights presented in the chapter.Introduction to Technology in EducationThe chapter begins by highlighting the rapid advancements in technology and their subsequent integration into the educational sector. It emphasizes that technology has become an indispensable part of modern education, offering numerous benefits that were unimaginable a few decades ago.Integration of Digital ToolsOne of the primary focuses of the chapter is the integration of digital tools in the classroom. These tools range from interactive whiteboards and projectors to educational software and online platforms. The chapter discusses how these tools enhance the learning experience by providing students with dynamic and engaging content. Additionally, it explores how teachers can leverage these tools to cater to diverse learningstyles and needs.Impact on Student Learning OutcomesThe chapter goes on to analyze the impact of technology on student learning outcomes. It presents a variety of studies and researchfindings that suggest technology can significantly improve academic performance, especially in subjects like mathematics and science. The use of multimedia resources, online simulations, and virtual reality are highlighted as some of the key factors contributing to this improvement.Engagement and MotivationAnother important aspect discussed in the chapter is the role of technology in increasing student engagement and motivation. It is argued that interactive and multimedia-rich learning experiences can captivate students' attention, making them more likely to participate actively inthe classroom. Furthermore, the chapter explores how technology can help personalize learning, allowing students to progress at their own pace and focus on areas where they need additional support.Challenges and ConcernsDespite the numerous benefits, the chapter does not shy away from addressing the challenges and concerns associated with the integration of technology in education. Issues such as the digital divide, the potential for distraction, and the need for ongoing professional development for teachers are discussed in detail. The chapter also acknowledges the ethical implications of using technology in educational settings, including privacy concerns and the potential for data misuse.ConclusionIn conclusion, the chapter underscores the pivotal role of technology in shaping the future of education. It highlights the numerous advantages of integrating technology into the classroom, from enhancing learning outcomes to increasing student engagement. However, it also cautions against overlooking the challenges and concerns that come with this integration. The chapter concludes by emphasizing the need for a balanced approach that leverages technology effectively while addressing its potential drawbacks.In summary, this chapter provides a comprehensive overview of the impact of technology in education. It serves as a valuable resource for educators, policymakers, and students alike, offering insights into how technology can be used to create a more effective and engaging learning environment.。