A Cross-Cultural Analysis of the Structure and Content of Letters of Reference

Different expectations for structure and content in the construction of text can lead to difficulties in cross-cultural communication. This study investigates letters of reference as one type of written text that is relatively frequent in the contexts of the international academic community. Sixty-five letters of reference written by American referees and 65 letters written by referees from five Asian cultures were analyzed to discover the conventions and expectations guiding readers and writers from these backgrounds. Although there were many similarities in the two sets of texts, there were also several differences in the structure, content, and implicature employed in the letters; there is a complex interaction between the tripartite conceptual structure of the letters (the introduction, body, and closing) and the occurrence of specific elements of content and the form those elements took.

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Reconstruction of communicative stereotype in indirect dialogue of cultures: methodology of studies

Scientific Research and Development Modern Communication Studies ◽

10.12737/363 ◽

2013 ◽

Vol 2 (2) ◽

pp. 4-8 ◽

Cited By ~ 2

Author(s):

Силантьева ◽

Margarita Silanteva

Keyword(s):

International Relations ◽

Conceptual Model ◽

Comparative Studies ◽

Cultural Analysis ◽

Cross Cultural ◽

Cultural Communication ◽

Cross Cultural Communication ◽

Cultural Approach

The article addresses the main principles and methods of linguistic and cultural approach to reconstructing communicative stereotypes. The author shows the role of philosophical comparative studies in building a conceptual model of communicative stereotype, which makes it possible to define the content of cultural analysis in cross-cultural communication. The article proves the necessity to test their relevance in reference to historical facts in international relations. Studying the concept of ‘a border of constructive dialogues’, the author develops the idea further, introducing the term ‘a zone of transfer to irreversible destructiveness’.

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Information sequencing in Modern Standard Chinese

Australian Review of Applied Linguistics ◽

10.1075/aral.16.2.03kir ◽

1993 ◽

Vol 16 (2) ◽

pp. 27-60 ◽

Cited By ~ 10

Author(s):

Andy Kirkpatrick

Keyword(s):

Fundamental Principle ◽

Cross Cultural ◽

Cultural Communication ◽

Complex Sentence ◽

Spoken Discourse ◽

Written Text ◽

Cross Cultural Communication ◽

Naturally Occurring ◽

Standard Chinese ◽

Modern Standard

The hypothesis presented in this paper is that the sequence of ‘modifier-modified’ is a fundamental unit of sequencing in Modern Standard Chinese (MSC). It is shown that this sequencing unit extends beyond word pairs such as adjective-noun to sentences with complex clauses and also that it constitutes a fundamental principle of sequencing at discourse and text levels. Examples of ‘modifier—modified’ sequencing (also called ‘because—therefore’ sequencing) occurring at levels of the complex sentence, extended spoken discourse and written text are provided. These examples are taken from naturally occurring MSC data. A discussion concerning the implications of the differences in information sequencing between MSC and English in the fields of cross-cultural communication and language teaching concludes the paper.

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Balancing Acts: Culture as Commodity Among Business Consultants

Culture Unbound Journal of Current Cultural Research ◽

10.3384/cu.2000.1525.135319 ◽

2013 ◽

Vol 5 (3) ◽

pp. 319-337

Author(s):

Elias Mellander ◽

Anna-Mari Fagerström

Keyword(s):

Intercultural Communication ◽

Cultural Analysis ◽

Cross Cultural ◽

Ethnographic Study ◽

Cultural Communication ◽

Cross Cultural Communication ◽

Theoretical Perspectives ◽

Business Consultants ◽

The Relationship ◽

Shed Light

In this article the authors intend to analyze how the concept of culture is packaged, sold and delivered as a commodity. It is based on an ethnographic study of a Swedish consultancy in the field of cross-cultural communication and the relationship between the company and its clients. The clients were primarily foreign executives working in Sweden or Swedish expatriates, preparing for life abroad. The significance of culture-as-commodity will be explored from the perspective of the company as well as its clients in order to shed light on how the concept of culture can be communicated and what happens to it in the process. The study shows how the company combines theoretical perspectives from anthropology and intercultural communication with the aim to deliver a complex yet accessible understanding of culture to its clients. The analysis shows that these perspectives both clash and synergize, creating contradictions as well as turning culture into an accessible and useful tool for clients. The authors argue that researchers in the field of applied cultural analysis can learn from the example put forth by the balancing act between these two perspectives on culture performed by the company. The authors conclude that although the commodification process reduces and simplifies the meaning(s) of culture, the company still manages to put culture on the agenda, demonstrating to its clients how, why, and in what ways it matters to them.

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CHOREOGRAPHIC BORROWINGS AS A FORM OF PROMOTING THE RUSSIAN BALLET TRADITION IN CHINA

Arts education and science ◽

10.36871/hon.202001012 ◽

2020 ◽

Vol 1 (1) ◽

pp. 95-102

Author(s):

I. I. Irkhen ◽

◽

Li Rui ◽

Keyword(s):

Motor Skills ◽

Cultural Analysis ◽

Training System ◽

Cross Cultural ◽

Cultural Communication ◽

Classical Dance ◽

Cross Cultural Communication ◽

Dance Training ◽

Academy Training ◽

Work Done

The article is devoted to cross-cultural communication between Russia and China in the context of ballet. The main object of the study is the Russian ballet tradition in China. The emphasis is payed to the work, done by Russian teachers, who supervised China’s first ballet productions, introduced the Russian methodology of teaching the classical dance developed by A. Vaganova and built a system of ballet education. Thus, thanks to Russian teachers the national ballet of China developed its own internationally acclaimed school of dance with its key elements such as technical skills, geometry of dance and deep implications, related to the national dance traditions. The development of the national ballet was greatly influenced by the Russian ballet tradition passed on and reproduced in China. The research methodology is based on the systematic approach to cross-cultural communication and choreographic borrowings occurring as a result. The article uses such methods as content analysis of Russian and Chinese writings, chronological method and cultural analysis. It comes to the conclusion that the Russian ballet tradition in China was promoted by Russian emigrants (dancers, teachers, choreographers, musicians) either directly or indirectly. Choreographic borrowings were firmly implanted in the ballet dance training system. The Beijing Dance Academy training system is based on the Russian ballet school. A. Vaganova’s teaching methods, including her strict methodological sequencing of developing motor skills, flexibility and adaptability to the national dance style laid the foundation for the new Chinese ballet.

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