品牌与文化外文翻译

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商标与品牌的翻译技巧

商标与品牌的翻译技巧

《商务英语翻译》中期检查作业(第六章第二节)班级:英语经贸112013班序号: 15 姓名:汪浩琼评分:课本回顾英语商标品牌的翻译除了要遵循传统的“信、雅、达”翻译三原则外,一定要结合当地的文化传统和习俗,仔细琢磨,反复推敲。

只有抱着“语不惊人死不朽”的态度,方能达到“一字值千斤”的效果。

常见的品牌与商标翻译方法有:1. 音译法定义:音译法是根据英文商标发音,用与其相同或相近的汉字来翻译。

优点:1.保持原商标、品牌名的音韵之美2.体现商品的异国情调。

音译法包括:纯音译法、谐音双关音译法。

所谓纯音译法就是根据外文商标词的读音,选择读音相同或相近的汉字组合在一起。

纯音译法保留了原文商标的音韵美和呼唤功能。

例子:Audi 奥迪(汽车),Gucci 古琦(名包)Simens 西门子(电器),Buick 别克(汽车)Motorola 摩托罗拉(手机),Nokia 诺基亚(手机),Steinway 斯坦威(钢琴),Adidas 阿迪达斯(运动服装),Ford 福特(汽车),Pierre Cardin 皮尔·卡丹(服装),Olympus 奥林巴斯(相机)等等。

谐音双关翻译法实际是专有名词的原意取其音而译之,但译名又不完全拘泥于原词的音或意,而是对原文的一种超越,可谓集表音、达意、传神于一体,形神具备。

谐音双关可谓是商标名翻译的最高境界。

例如:Coca-Cola可口可乐(饮料),Lancome兰蔻(化妆品),Jeanswest 真维斯(服装),Reebock锐步(鞋),Longines 浪琴(手表),Avon 雅芳(化妆品),Gillette 吉利(剃须刀),Safeguard 舒肤佳(香皂)等等。

拓展:许多中文商标译成英文时也采取了音译的方法,如:李宁Lining (服装),茅台Maotai (酒),春兰Chunlan (空调), 健力宝Jianlibao (饮料),海尔Haier(电器),双汇Shineway (肉类),乐百士Robust(牛奶饮料)等等。

文化创意产业的概念【外文翻译】

文化创意产业的概念【外文翻译】

外文翻译原文Concepts of cultural and creative industriesSource: Dousing network author:John Hawkyns Abstract: In this paper, the concepts of cultural and creative industries a comprehensive review, based on a variety of cultural and creative industries definition, naming system to be compared and analyzed with the similarities and differences between them. As well as cultural and creative industries in three developing context - from culture to culture industry, from the cultural industries to creative industries, from government to the private sector - conducted a detailed formulation. Finally, to clarify the creative industries and innovation in economic theory, the relationship between the creative industries and also analyzed the interdependence between high-tech industries.Keywords: cultural and creative industries and creative industries and innovation in the development of sequence of economic theoryIn recent years, cultural and creative industries become government departments, various institutions and organizations, as well as experts and scholars to study and the focus of attention in the study of cultural and creative industries using a variety of definitions, but its concept has not been able to form a united understanding, which directly led to the measurement, comparison and synchronization with the cultural and creative industries economic research difficulties, and the connotation and extension of its concept of the theory of very few. So I tried to approach the definition of cultural and creative industries, cultural and creative industries context, cultural and creative industries and innovation in the relationship between economic theory and so some of its exploration.First, the concept of cultural and creative industries'Cultural and creative industries', 'cultural industries', 'creative industries', 'content industry', 'copyright industries', 'experience industry', 'attention economy' and so on, in the broad economic study, generally regarded as being the same concept, although the definition contained in each industrial sector are different. Here as a concept review, tentatively agreed that they are the same industry, for its differences and similarities in the analysis are given below.(A) Recalling the definition of cultural and creative industriesis generally believed that a definition of the industry, there are two methods: analytic definition and enumeration type definition. Analysis type definition is an 'industrial characteristics is the concept of' the definition of methods, enumeration type definition is an enumeration covered out of industry, all the industrial sector. Analysis type is defined as a generally applicable method can be established by analyzing the style industry, the exact definition of the boundaries, and can be established according to the definition of enumeration type definition. Enumeration type definition at a glance, make it easier to accept and understand, and is beneficial to industry statistics and measurement. At present, the study of cultural and creative industries in the literature, most frequently used is the enumeration type definition or analysis of type enumeration type definition.Caves (Caves) that the 'creative industries is to provide the general with the cultural, artistic or simply entertainment value associated with the products and services industries, they include book publishing, visual arts (painting and sculpture), performing arts (drama, opera, concerts, dance), sound recordings, film and television, and even fashion and toys'. Toes (Tows) of the definition of creative industries: 'At present, the cultural industry, also known as' creative industry' is mass production with rich creative and cultural content of products and services industry, its important feature is the scale of industrial production and cultural content combination. Most of the production of cultural content and cultural products from the employment of professionally trained art staff (creative artists, performers, craftsmen, etc.), but also attached to consumer goods from the social importance '. Si Louse ratio (Throsby) of the culture industry is defined to include three aspects: '(1) integration of the production of some form of creativity; (2) and the symbolic significance of the creation or dissemination of information; (3) their capacity the potential of at least contain some form of intellectual wealth '. Hawkins (Hawkyns) to define the creative industries, their products are in the scope of protection of intellectual property law within the sectors of the economy. There are four main categories of intellectual property: patents, copyrights, trademarks and designs, each category has its own legal entity and management structure in each category are derived from a variety of creative products to protect the wishes of legal protection for each power of a rough I have listed above with the corresponding sequence. Scott (Scott) that those of production as a tool to serve the entertainment, communication, builds letter,decoration, social status, such as industrial goods or services belong to the scope of creative industries, and they exist in two kinds of 'pure' art, Just as movies or music, as reflected in, or the combination of a more appropriate functions, such as furniture or clothing.Analytic enumeration type defined mainly in the national study reports and documents of international organizations, because of enumeration similar industries, and the space occupied by a large number of texts, in which no detail. There are also a lot of scholars are given their own definition, but its content is similar as defined above, but also will not repeat them.(B) From the definition of characteristics of cultural and creative industries to seeDue to the 'feature is the concept of' the analytic definition, can be a clear division of industry boundaries and, therefore, the definition of cultural and creative industries the ideal way, so here it is necessary to the characteristics of cultural and creative industries analyzed. Caves in the definition of the characteristics of creative industries with the cultural, arts or entertainment, and if the arts and entertainment reduced to broad culture, then the caves described in the characteristics of creative industries, that is cultural content. Troth was clearly pointed out the important characteristics of creative industries is the scale of industrial production and a combination of cultural content, thus, in comparison with the definition of caves, toes definition is more narrow meaning, because of its multi-scale industrial production constraints . The definition and Troth compared with Si Louse cultural industries than the definition is relatively broad, because he did not mention the standards of industrial-scale production can be considered as purely cultural industries. But it is relatively narrow, because it contains the other two criteria, symbols, content and intellectual wealth. Symbolic content of this, pointed out the creative industries are dealing with signs, signals and other content, which is Scott's opinion that the figure and information technology in the production process plays a major role in the production of more symbolic form does not depend on human physical and intellectual labor, a large number of inputs is consistent point of view. Chile's wealth standards and Hawkins are consistent with intellectual property protection, the standard points out the creative industries are closely linked with the copyright, but I believe that intellectual wealth, can not serve as the characteristics of creative industries, the emergence because the concept of copyright is not a stable, substantivechanges by the copyright of their impact, and intellectual wealth, not only with regard to Chile's wealth of cultural content, but also areas such as technological innovation, Chile wealth, which, Chile, wealth is a necessary condition for creative industries, rather than sufficient condition.Based on the above analysis, we find that, regardless of which definition will include this feature of cultural content, cultural content and thus the cultural and creative industries, the core features, only this one feature is the broadest measure of the cultural industries definition. The symbolic content and scale of industrial production is an important feature of creative industries.(C) The similarities and differences between the various namingabove we propose naming the cultural and creative industry in various ways, in this section, will be a formal sort out these terms and analysis. The following table shows in different countries and international organizations on the naming of cultural and creative industries.Through these naming methods, for these industries are included in the sector compared to the industry it covered much the same, so there must be some internal links. Here, the author tried to Michael Porter, in the 'competitive advantage' a book made of the value chain (value-chain) an analysis of their method. Porter pointed out in the book: enterprise production and business activities of each one are all value-creating activities, enterprises of all different from each other but interconnected production and business activities, forming a dynamic process of creating value, this dynamic process that for the value chain (Value Chain).In analyzing the process of the manufacturing value chain, he will the entire value of the production process is divided into five phases: (1) Input logistics; (2) manufacturing; (3) Output logistics; (4) marketing; (5) services. Then the corresponding production of cultural and creative industries can also be divided into five stages: (1) the introduction: This is the cultural content of the introduction of innovative production process, and cultural content directly determines the tone of the product. (2) Product formation: the process for managers, producers, editors, equipment suppliers, movies and photos lab technicians and other skilled people have different ideas together, and the process of the formation of the product. From an intellectual property point of view, this process is patent, copyright and trade mark to protect the core content. (3) Circulation: This is the process of the circulation of cultural products, in which the participants are mainly agents, issuers and variousintermediaries involved in promoting the circulation. (4) Send: This part is a direct point of contact with consumers, but also the end product in circulation, mainly including theaters, cinemas, bookstores, concert halls, TV channels, museums, magazines and so on. (5) Sale: including the role of critics, consumers evaluate collection.Based on the cultural and creative industries division of five stages of production can be seen at different stages of its focus on a different focus. The introduction phase, focusing on the cultural content of the excavation and import, is a 'raw material' into the process, so as this part of the industrial core of people will named as the content industry. The formation of condensation product of many creative persons with different skills, labor, and thus formed the core of the product's copyright, so this aspect as a core industry, or who will be named for copyright industries. Circulation of a product promotion and dissemination process, through this process to attract consumer’s attention and eye for the next step to send to do the necessary preparations, so the link might be called the attention economy. Finally, the transmission and sale is the process of the product to the consumer and listen to feedback process that brings the consumer an experience and therefore can be called the experience of industry. The same is due to the different focus will be cultural content as the core of this industry that will be named as the cultural industries. The industrial core of the creative process as the person will be named as the creative industries, while the cultural and creative industries are a compromise between the two, but in the value chain under the framework of this analysis, I believe that the meaning of these three words should be the same.In addition, the term cultural and creative industries also have two different interpretations. One is the cultural industry (narrow sense of cultural industries, namely, the arts industry) creative industries, which is a traditional art includes a broad understanding of the production. Another is to culture as an adjective to express the cultural and creative industries as the content, which are the cultural and creative industries as a narrow understanding. This article is on the value chain analysis of the above, but also the use of this narrow understanding. The broad sense of cultural and creative industries which includes a narrow cultural and creative industries and traditional arts industries. In fact, the traditional artistic production modes of production, equivalent to a self-sufficient natural economy and its industrial scale can be negligible, but for the creative industries production of arts core, so I believe thattwo kinds of understanding are reasonable, As long as the use and statistical measures to be provided in the distinction between on it.译文文化创意产业的概念资料来源:Ducin network作者:约翰.霍斯金摘要:本文对文化创意行业的全面检讨,文化和创意产业的定义品种的基础上,命名系统的概念进行比较,并与它们之间的相似性和差异分析。

中外品牌文化差异与翻译原则

中外品牌文化差异与翻译原则

中外品牌文化差异与翻译原则中外品牌文化差异与翻译原则品牌文化是品牌形象的重要组成部分,其包括品牌名称、标志、广告语、口号、产品特点、品质和服务等方面,这些元素贯穿于品牌的整个生命周期。

品牌文化是企业与市场交流和建立信任关系的基础,品牌文化的质量和翻译的准确性,对于企业的营销和品牌形象影响深远。

由于中外文化差异的存在,品牌文化的翻译面临许多挑战,本文将探讨中外品牌文化差异与翻译原则。

一、品牌名称翻译品牌名称是品牌形象的核心,是品牌最直接也最重要的表现形式。

品牌名称对消费者形成第一印象和信任度具有决策性影响。

中文翻译品牌名称应该符合品牌企图传递的含义和文化价值,让潜在消费者感觉亲切、易记并易于理解。

而外文翻译品牌名称则要考虑翻译成中文后是否与中文语境协调、是否忠诚传达原文中的品牌内涵以及是否简洁易记。

如卫龙和Lay’s (乐事薯片)之间的差异,前者在中文中含有“龙虾辣片”的意思,后者则有“欢乐”、“轻松”的意味。

二、品牌标志翻译品牌标志几乎可以代替品牌名称。

标志是品牌形象的视觉表现,是品牌影响力的核心。

对于中文翻译,品牌标志必须表达出品牌名称所意味的概念,并根据不同的文化背景做出相应的调整,这对于跨国企业的品牌来说尤为重要。

例如,可口可乐的中文标志采用了旧式中国红色和黄色作为底色,在传达可口可乐品牌不断追求“开心”的愿景的同时,更贴近了中国文化中对于中国红色和黄色的认知;而可口可乐的日本标志则采用了日本传统的开花机文化元素cherry blossom,将可口可乐品牌融合到了日本文化中。

三、广告语、口号翻译广告语和口号是品牌文化中重要的表现形式,翻译的准确性和传达的效果对品牌的营销与推广至关重要。

由于中外文化差异的存在,广告语和口号的翻译面临许多挑战。

例如,“Just do it”的中文翻译为“只管去做”,这样的翻译很难将英文原文中蕴含的“激情、动力和自信”的语气传达出来。

因此,更好的翻译可以是“勇往直前,有所作为”。

外文翻译--品牌、文化和工作场所

外文翻译--品牌、文化和工作场所

标题:brand,culture and the workplace原文:Which comes first —the culture or the brand? In today’s hyperconnected, ever flattening world, it’s almost become a question not worth asking.Coexisting in a chicken/egg, yin-and-yang relationship, an organization’s brand and culture shape and reflect each other in an interconnected system. One doesn’t change without the other; they can only evolve together. And the workplace is where it all happens.In the symbiotic relationship between brand and culture, brand is the outward manifestation of a company’s DNA and culture is the inward demonstration. The corporate world has been talking about organizational culture for years, but the emergence of brand as a discussion point in the executive suite is relatively new for many organizations. Of course, brand mavens like P&G and Coca-Cola live their brands every day, but at less well-known companies, brand has traditionally been left to the purview of the marketing department. In a competitive marketplace with a multitude of choices, however, organizations are realizing that differentiation is critical to survival and a strong brand can help cut through the clutter.While brand is more talked about than ever,there’s also more confusion about what it really is. In no small pa rt, that’s because concepts about brand have grown up since their Madison-Avenue, “Mad Men,” strictly advertising days.Today, experts agree that a brand is no longer something you can apply to the surface of an organization as if it were nothing more than a mark on cowhide or a catchy tagline on an ad.Strong brands grow from within. The line between culture and brand thins and smudges to the point that it almost can’t be seen. And if an organization wants to change its brand, it needs to consider whether the culture can support that change.The workplace is a frequently overlooked but critical lever in supporting a brand and culture change. This was validated by a recent survey of 123 corporate real estate leaders conducted by CoreNet Global. The results show that 77% believe that brand isa critical driver for their business; yet only 54% said the workplace plays a critical role in supporting it and only 15% said their facilities reflect their brand “very well.”If a culture change is a drama being played out (sometimes literally, as well as figuratively), then the workplace is the theater. Steelcase has studied these issues through primary and secondary research plus field studies with clients, and even uses its own spaces as living laboratories.Through collaboration with architects, designers, and corporations worldwide, Steelcase’s Workplace Futures team and Applied Research Consultants are discovering new insights into the tightly connected and changing relationship between culture, brand, and workplace. This paper explores what we’ve learned about the role of the workplace in building an organization’s brand and culture and provides evidence for our conclusion that it’s virtually impossible to change an organization’s culture or its brand in significant ways without also changing the workplace.FILLING IN THE BRAND GAP.In even the recent past, the connection between the workplace and brand building was often overlooked beyond a few logos sprinkled around and an impressive guest lobby.WHERE IS BRAND REFLECTED IN YOUR WORKPLACE?The CoreNet survey validated that most rea estate leaders still see the public faces of their facilities as most important for communicating brand..WHERE IS BRAND REFLECTED IN YOUR WORKPLACE?In addition, logos and advertising are still the primary way to express brand in the workplace. At the same time, 50% understand that the design of the total workplace is a powerful way to encourage behaviors that sync with brand..HOW IS BRAND EXPRESSED IN YOUR WORKPLACE?Because space has such power to influence behavior — how we feel, how we interact with others,our productivity — its role in shaping culture and, as a result, a brand is imperative. By recognizing that the total workplace is an opportunity to successfully refine or redefine their culture, organizations can be poised to respond to the fast-changing dynamics of globalization,technology, Gen Y presence andinfluence, real estate compression, economic recession, and other operational and market challenges.The perception that marketers own branding is based on 50-year-old practices that are as out-of-date as three-martini lunches. Today, branding requires the engagement of everyone, from the CEO to the hourly production employees to outside consultants.Why have brand discussions moved to the organizational forefront? Analysis indicates there are three key reasons. First, consumers have too many choices and too little time to make decisions. When faced with a plethora of options, buyers will often default to a trusted brand, on e with which they’ve had a positive experience. Second, as much as companies hate to admit it, many product offerings have similar quality and features. No matter how fast they innovate to stay ahead of the market, companies find that product features are often easy to emulate or copy. Finally, people tend to base buying choices on trust and emotion. We use rational reasons to justify our decisions,but ultimately we think about how products or organizations make us feel — do we feel good about our purchase?One of today’s leading brand thinkers is Marty Neumeier, author of The Brand Gap, Zag, and The Designful Company. Neumeier debunks the myth that a brand is essentially a logo or ad campaign —these are merely symbols or identifiers of the brand. Moreover, a brand isn’t a corporate identity program or a name put on a product division or service offering.A brand is who an organization is and what they stand for — and how it meets the needs and expectations of the person considering it. Simply put, your brand is your reputation. It’s the total experience any individual has with a company. The vast ranges of places and ways companies interact with their customers or clients are “touchpoints” that include everything from product design to the person who answers the phone. All of these touchpoints influence how people feel about a brand. Can you imagine walking through a dirty Magic Kingdom and interacting with a grumpy Mickey Mouse?As such, great brands don’t just happen. They require focus on all areas, not justmarketing or advertising. In fact, in today’s experience economy, traditional brand investments may be less important. For example, online retailer Amazon, one of the world’s strongest brands, isn’t splaying their logo everywhere. They spend very litt le on conventional marketing tactics such as trades shows, TV, and magazine ads. Instead, they focus resources on technology, distribution capabilities, and other investments that pay off in ease of use and a smooth shopping experience. They recognize that their brand is primarily about the experience.Starbucks is another recognized example of a company that “gets” holistic branding.They do plenty of conventional advertising, but they also focus significant resources on the product, service, and real estate experience, right down to the music you hear when you walk in the door. By focusing on the total experience, they’ve successfully convinced billions of people every day that it’s worth. it to spend more for coffee. Starbucks, like Amazon, has figured out what people want and value, and they’ve made it integral to their brand.But many companies are still struggling to understand just how to empower their brands. Some interesting work done by the Forum Corporation showed that consumers perception of what’s important in their experience is often very different from where many corporations put their focus. In particular, there’s a wide gap between consumers’ and companies’ perceptions of the value of ads and promotions. According to the study, another huge gap is perception of the influence of a company’s employees in the total customer experience, with customers ranking it highly influential and companies focusing on it very little.Similarly, Steelcase researchers embarked on a project five years ago, code-named EXP, to better understand the entire ecosystem of how customers experienced the company’s brand. By identifying all the major touchpoints, they discovered that customers’ experiences were impacted by a variety of things —including customer service, planning tools, showrooms, the website, and product demonstrations.GREAT BRANDS START AT HOMEIn a globally connected, socially networked, and increasingly transparent world,brand is no longer what a company asserts about itself. The market (i.e., the people in it) ultimately defines a brand based on their experience of it. Thanks to the Internet, social media, YouTube, and a significant increase in word-of-mouth, nearly everything about companies and their brands has to stand up in the discriminating court of public opinion..Little wonder that, under such intense scrutiny, trust in brands has been collapsing overall. “Society’s faith in institutions, corporations, and leaders has been severely rocked by scandals and betrayals, from misconduct at our investment banks to salmonella in our peanut butter to human growth hormone in our baseball players. One by one, such revelations have battered corporate credibility, leaving few brands immune.” That’s the conclusion of a recent study that included 900 global b rands and produced data that show a severe decline in brand trust during the past decade.PERCENTAGE OF TRUSTWORTHY BRANDSSimilarly, Interbrand’s annual survey of the value of brand names published in Business Week shows that the combined value of the top 100 brands declined in 2009, and even the value of the top 10 brands declined, for the first time in the 10 years that study has been done. Interbrand CEO Jez Frampton attributes the decline to a loss in trust that started with financial companies, and then quickly expanded beyond. The Interbrand annual ranking is based on a calculation of the amount of revenue that is attributable to brand, using a formula that takes into account the brand’s future strength and its role in creating demand.Clearly, gaining trust is higher on the agenda than ever. This reality also means culture is more important than ever for creating authentic, strong brands.Successful organizations are now using their brands not only to create demand in the marketplace. They’re also rec ognizing the tremendous value that can be delivered when brand is embedded in employees’ minds, behaviors, and decision-making.In 2008 returning Starbucks CEO Howard Schultz realized the importance of staying authentic to culture and brand while effecting a financial turn around of the company. For example, he shut stores for three and a half hours of retraining and continued the Starbucks tradition of providing employee benefits, despite intensepressures to reduce operating costs. The challenge, he told Harvard Business Review in the July/August 2010 issue, was “how to preserve and enhance the integrity of the only assets we have as a company: our values, our culture and guiding principles, and the reservoir of trust with our people.In contrast, not long after BP and Amoco merged in the late 1990s, the company launched a new brand identity. Amoco’s formidable “torch and oval” logo was replaced with the BP Helios d after the Greek god of the sun, the logo was designed to suggest a close affiliation with nature — sun flowers as well as the sun itself, according to the BP website. Since the 2010 Gulf of Mexico oil spill, BP has learned the hard way that actions speak louder than logos, and culture is brand. The tarnish that the BP brand has suffered is so great that some of the 10,000 independent BP gas station owners are considering returning to the Amoco brand, despite its red/white/blue, decidedly “ungreen” logo.Because employees create the ideas and execute the processes and interactions that def ine the customers’ experiences, the space where work gets done is integral. The right kind of space can help to deliver on everything a brand aspires to be. In a continuous loop of influence, brand equals behaviors, which equal culture, which is shaped and reinforced by the workspace. To create great brands, brand attributes must be lived throughout the organization. It’s hard to live a brand if the workplace isn’t in sync. Just as culture and brand are enablers for bringing strategy to life, the spaces where work is done are essential for defining and steering brand and culture.As a living manifestation and influencer of brand, using the workplace to its full potential has been largely untapped. But that’s beginning to change as designers and consultants work with organizations to define their brand attributes and find ways to reflect and reinforce them in the workplace. It’s becoming obvious: if the strategy is to be agile, hip, and leading-edge, the workplace can’t be conventional. Or, if the strategy is to be transparent and accessible, the workplace can’t be siloed. Or, if the strategy is to project security and conservative stability, the workplace can’t be dotcom casual. Or, if the strategy is to be committed to sustainability, then theworkplace needs to demonstrate “green” authentically.出处:John Gerzema.Ed Lebar. brand,culture and the workplace: The New York Times[J].2009,18(13),PP.23-26标题:品牌、文化和工作场所译文:哪个更重要——文化还是品牌?在现如今,高度结合甚至单一的世界,这几乎成为了一个不值得一问的问题。

外文翻译--可乐为其品牌老化增添生命力

外文翻译--可乐为其品牌老化增添生命力

外文原文:Coke adds life to its aging brandGood old Coca-Cola is courting the youth culture, cranking out groovy new bottles, juices and energy drinks as it tries to put the fizz back into its business. The company's stock is a good buy right now.Coca-Cola, one of the great symbols of American ingenuity and pride, is on the ropes.Crushed between the triple threat of a slowdown in carbonated soda sales at home, the deteriorating image of U.S. interests overseas and a rise in health concerns everywhere, its revenues are flagging, and Coca-Cola's stock price, though up a bit recently, is down 45% from 1998.Yet Coke has been around a long time, and it is a fighter. And it just so happens that, in recent months, its long-dithering executives appear to have recognized their peril in a more fundamental way than in the past and are prepared to emerge from their corner, swinging.Yes, the cola king is preparing a comeback. And this time it just might work.On Wednesday, Coca-Cola reported a drop in its fourth-quarter net income, but revenue rose, and results surpassed Wall Street's expectations. The company said it had experienced surprisingly strong 3% growth in its sparkling beverages, or carbonated drinks, a business that includes trademark products like Coke and Fanta.The secret recipe going forward, strangely enough, has nothing to do with the red can for which it is so famous. The future is mostly green, with a big new-age helping of tangerine and pink grapefruit, and perhaps a dash of java.Long odds, big payoffThe new corporate Coca-Cola, you see, is not really that into soda at all. While sugar water will always be at the core of the company's mission, the way forward is all about high-concept juices in groovy bottles, as well as vitamin water, energy potions and chilled coffee.Consider Coca-Cola's most recent $250 million purchase, a small "alternative"beverage pioneer called Fuze. If you've never heard of it, you're probably not a 28-year-old woman. In years past, this was exactly the kind of concept drink the soda giant shunned. Now it's considered a potential lifesaver.Fuze was invented four years ago in the New Jersey basement of industry veteran Lance Collins. It's an awesome story of stubborn entrepreneurship. Collins knew the odds were around 97-1 against success, but he thought he saw a niche for low-calorie, high-taste, upscale juices for beautiful people, and gave it a shot. His design team created a gorgeous, colorful glass bottle for his "banana colada" and "peach mango" concoctions, gave them coy names like Slenderize, Refresh and Vitalize, called them "infuzions" instead of juices, and listed "transformative" ingredients like chromium, carnitine and Citrimax.This doesn't sound like Coca-Cola's cup of tea, but check out the infuzions. Collins started small by focusing on urban women in their 20s and 30s, then elbowed his way past the big boys of the game via an aggressive distribution strategy into one chain store after another. He sold 24 million bottles in 2003, double that in 2004, and double again last year.Success for a new beverage is all about persuading a distributor to make room for your stuff on its truck, and by all accounts Collins' salesmen pulled every trick in the book to fight their way into the awesome sales routes of Coke, Budweiser and Miller beer. You can now choose from an entire shelf of Fuze at the tiny Korean deli in Seattle where I get my lunch every day, which is astonishing for an independent brand. Or you can buy cases of it at Wal-Mart Stores , and in many supermarkets, not only in the United States but also in Asia, South America and Europe.Video: Coke's controversial, calorie-buring EnvigaCute little Fuze is the future of Coca-Cola because, well, everyone's doing it. Archrival PepsiCo started its own youth movement by buying the stunningly successful SoBe line of oddball tea and energy drinks for $370 million in 2000 and added the quirky independent Izze line of light juices, which my kids love, late last year. Coca-Cola bought natural juice maker Odwalla in 2001, and picked up Fuze earlier this month.Do you notice a pattern? Neither cola maker is buying any soda-pop companies, just these little wunderkinds, because that's where the growth in the industry is coming from. While carbonated soda's share of the market is shrinking, alternative beverage sales are jumping as much as 50% a year. And energy drink sales are advancing even faster. Fuze has a line of energy drinks, called NOS, that is aimed at car-racing fanatics. It has reportedly been muscling up well against Red Bull, Monster and No Fear in NASCAR towns, and now Coca-Cola will throttle up sales by pumping NOS -- which is short for nitrous oxide, an ingredient of racing fuel -- through its worldwide network. Zoom!International juiceAt the end of the day, all the successful grapefruit infusions in the world won't help a company like Coca-Cola much if the rest of the company is in the tank. They're a drop of sucralose in a giant bucket of syrup. Fortunately, revenues and earnings are improving elsewhere, particularly in international divisions.On Tuesday, we learned that sales volumes in Japan were up 5% in January, vs. a gain of 1% in January last year. That's important because while Japan only amounts to about 5% of Coca-Cola's total sales volume, pricing there is so outrageous that the country amounts to a whopping 20% of the company's total annual profits, according to Merrill Lynch estimate.Meanwhile, down in Mexico, Coca-Cola announced in December that it would join its largest bottler in that country to buy the second-largest Mexican juice company, Jugos Del Valle. That's another big attempt to bring noncarbonated sodas more powerfully into the mix. The company made similar deals last year in the Philippines and India, two more key regions.When you put it all together, you can see that Coca-Cola's earnings are being helped by the plain fact that its product balance is improving, with noncarbonated beverages like Fuze and Odwalla now amounting to 20% of its total sales, and regular old Coke and Diet Coke fading a bit into the back of the corporate fridge. It takes a while for investors to recognize this, but rising revenues serve to punctuate the new message. I estimate that Coca-Cola will earn $2.60 a share this year and $2.87 nextyear. When you put a price-earnings multiple of 21 on the 2008 figure, you get a price target of $60. That's 25% higher than the current quote, which makes the stock a good buy right now. If it doesn't work out, you can always mellow out with a chilled ginseng and guarana Fuze tea.Fine PrintTo learn more about Coca-Cola, visit its Web site. Its most controversial brand at the moment is Enviga, seen at this link, for which the company has made claims of weight-reduction. . . . There are so many more choices in the Coke lineup now, including Caribou coffee drinks, Powerade sports drinks and Minute Maid juices. . . . To see all the drinks it sells in individual countries, visit its Virtual Vender machine, a nice little Web app. . . . To learn more about Fuze brands, whose motto is "refreshingly smart," check out this Web site.出处:Jon Markman. Coke adds life to its aging brand [J]. Marketing Science. Oct 2005. pp25-28中文译文:可乐为其品牌老化增添生命力聪明的老牌子可口可乐公司正在追求青年文化。

经济管理专业外文翻译--文化产品,市场和国家关系和国际自由贸易体制Culturalgoods,mar

经济管理专业外文翻译--文化产品,市场和国家关系和国际自由贸易体制Culturalgoods,mar

外文原文:Cultural goods, market and national relations and international free tradesystemJim Mc GuiganAn example in cultural studies is the most popular today "cultural economy" - on economic and cultural thoughts to check it, rather than as an industry as a kind of words. Cultural historians will say the trend is difficult to Atlantic new party. In 1992, British media academics Jim MaiGuiGen blamed on contemporary paradigm crisis culture research, its separation from cultural and political economy. He put forward louder appeal and a pair of consumption culture mode of production as the center. His proposal also a populist criticism, leading, consumption as the center, with value of examples of the audience, ' 'positive is a sovereign consumption subject is who (imagine is) not industrial control economic and cultural existence reason McGrigan, 1992). MaiGuiGen, of course, quite a person in his own time. How to put back on the bottle - for the elves in 'economic recovery mode, avoid it enters' key back to marxist economic rights fatalism - is still a provocative, but not out of the mission.In 1992, when the humanities center at Wesleyan university in Massachusetts, theorist and culture combined each 1 team director in American culture industry for a term called seminar "producing and sales culture" (Mr Mann, 1996). This is an amazing attempt, sponsored by Coca-Cola Coca-Cola foundation, academic access to cultural criticism of the industry, how the latter imagine market research and consumer, and asked them if they intentionally create and shape our hope.The research methods, launched a module, this conference most close to overcome epistemology is divided into production center and consumption as the center of the method, material conditions in culture understanding query, namely as a department. Fastforward to the early 21st century, the economy of the "culture" currently hype culture and media research won additional value, because this time, it is not only the scholars in the ivory tower who is support the analytic reasons. More important is, 'a cultural turn' in its momentum gathered enterprise sector, according to 'culture' plays a key role in the economic aspect, and marketing practices, on the one hand, the performance of the organization, enhance the other. However minor a trend, and also it is notable that in economic discipline, a key economic geographer proposed quality as a cultural economics a set, discourse structure, positive frame market. Therefore, before the market does not exist at the 2002 ·), described some of its objective, transcendental method (DE guay and discourse. Economic theory is regarded as an economic structure, positive ensemble shaping reality (Karen, 1998, 2000).The political, cultural, and policies.I MaiGuiGen in agreement with early in a standoff in 1990s about this is cultural investigation. Like him back after, I think the simple answer is retrieve a lost causes materialism of the return of the traditional culture research political economics. In order to do this, I will devote myself to the production of material culture study. The trajectory of the economy and culture, however, there is a warning. It runs the risk of triggered by the central concern of cultural research subject identity, namely the cultural politics. Double challenge, I want to take a project, through policy research key, is located in the method to yourself the hand on the cultural and economic ties between a between, and politics and policy, such as in. Let me explain more. Mainstream culture has to stay in my two aspects of the field in a world analysis differentiation. In their planning things, 'political commitment' need to assume the criticism and boycott; ` policy, on the other hand, is with security, hegemony, and the status quo. This is understandable mainstream culture research (its staple fare, that criticism power) fired policy guidance culture research committed revisionist rebels who thought the betrayal of from margin (1 title in the study of regional culture of privileges) to center, where ` power 'is institutionalized policy form, corruption and the absolute necessity.We wouldn't be sitting here today in this seminar, and if we believe such a partial idea of effectiveness. This is one-sided, because it does not acknowledge both desire and possibility of the bridge academic workers political criticism and participate in the gap between. For those of us who today to share a concept: a critical frame policy research provides a breakthrough point these transitional activities. It specifies a scholar BBS, to meet the decision makers and analysts who are willing to engage in multidisciplinary policy discussions. Most importantly, the two organizations dedicated to the possibility of social transformation in China has incremental reform through the regulatory system, from the backdrop of cultural production ` 'means a more complex than what the process of the cultural and economic mode can be alone provides. For us, even started thinking, cultural policy areas regulatory policy changes, we must first recognize that 'culture' cannot simply follow market principles, because it is in the same time "means and purpose of social regulation and government" (Bennett, 1992,26), therefore, 'culture "is the supervision system, constitutive can be considered as indispensable rationality government. This culture/government couplets, should be given equal weight so the analysis of the correct culture tendency research emphasize the link betweencultural/market.In addition, we must not be concept misleading is, the close relationship between 'culture' and 'government' is China alone. Even America and Britain ruled kingdom deregulation of speech, still be on time, price and transmission standard content television industry especially in land departments (hyjal Lin, 2001) pelosi. ` culture'should be whether consciousness, like a commodity in the center of the international debate is underwayThe feasibility of about culture cross-media border trade. In Canada, Europe and more recently in the United States (on media ownership debate is involved, the federal communications commission's ruling heart), countries and cultural policy instrument to delimit the national cultural market active participation. Throw open the resistance of national culture, therefore, is not just China market integratedly.Research problems,I think pieces are as follows: what constitutes a query the cultural market the policy management? And they should go to where? Like other policy areas, China after joining the WTO, cultural policy has become such turmoil and controversial areas, it stripe easier than ever to different thoughts and prescription. Intervention I still should notice, nonlocal flux because in such a culture industry "as a policy of birth" classification of just recent. It can be traced back to 2001, when the 10th five-year plan made conspicuous place, for the first time chanye for reform to mandarin era began. From the current challenges of opening China's wto content industry provides country further encourage development think-tank music college in Hong Kong academy for performing arts in service as the young talents emerging cultural industries. Then, last year, two main research institutions "national culture industry" also launched one after another, in the north, in Beijing university, in Shanghai jiaotong university in the south. Meanwhile, the blue of cultural industry each year the institute of social center issued by Chinese culture research in science. In China, academia provides a feasible policy Suggestions, location and application humanities spirit is an obvious reality cultural issues more and more policy. The domain Research problem-based now let us return and fulfilling method and my big framework research problems specific problems group. Thought what the purpose is' culture 'and' economic ', 'political and policy in the series service to our policy review Chinese culture? This makes my table 3The basic premise that is a built-in: on1. Cultural need to be understood as an economic sector, namely 'culture industry' as the state regulators;2. Culture is a continuous development of relations, economic and policy areas, and trade;3. Culture is the goods, but not like any other commodity.All these building ground floor is my big is big not ask: if the United States theory'market' itself is a kind of word building, as China? Final model in the media industry in particular, China should take back sharply to the country's pattern is similar to the U.S. public cultural products. Rolling provide This has taken on two levels, and in the county TV media and board level of small-scale news units across the river. Whether to adopt aderegulation in over big media collectivization form and content? How Europe, cultural market? In decision-making and debates, the European affairs committee new regulation means? With democracy is cultural commercialized, the final answers cultural consumption space, and create a diversity of cultures? These problems are more complex, because they are how to answer team under the language environment after the test. That is to say, the rapid changes of the answer, because we hope our countries turn of problems, from terrain democratic U.S., Canada and Western Europe to China, political credentials in the best inconsistent. These problems, but a more inquires after our discussion, will clarify the Chinese model cultural policy should choose as a media industry is slowing sculpture out more autonomy space. For this reason, we must study these problems triggered set twenty years in the international debate long-term international free trade from cultural exemption launched between the United States and Britain in a refugee camp in the European Union and Canada and countries in the opposite faction found. No matter whether we in Europe/Canada pattern or American model will better service in China, we need to realize that the YinXiangJie, domestic policy in the sovereignty of isolation international cultural policy, no longer strong resistance. Although there are What advantages and disadvantages of the establishmentof a global integration of cultural policy system?Seriously consider specific problem I will now in concrete ground task I generally buildings. The first premise we need to watch closely industry of Chinese culture, the second premise existing regulatory conditions, make our international trade of culture at home against the debate. The third premise a series of questions caused, namely: (a) cultural products should be traded? (2) market is established in Chinese state media border to differentiate commercializable goods and the commercializable is reasonable; And allusion, (3) what is a better system from other kind of calibration? (4) what appropriate policy tools will be most effective in governance goods circulation and traded in the Chinese culture areas? Finally, as a thought, I care more about the problem and put forward and provide at this stage, must be better than the answer.China's culture industry market access method: mixed cargo rules.As mentioned above, the official discourse mandarin chanye as was formally established in 2001. Because then the enterprise concept jituan "double formula" "have already appeared in the occasional government documents suggest, the news media departments, but store the" dressed in front of the public institutions they like to do, "the commercial business enterprise"." But until the 16th party congress in 2002, the state propaganda machine and substantial, has officially difference enterprise concept, with "the public culture of the organization's business culture (mandarin" by "(mandarin) chanye), attributed to each clear mission, different means and objective development. The state's logic is a one of the hair division. We know, the development of China's culture industry control to solve the problem. To enter the market main interesting is that the market threshold into different points division department. Therefore, the traditional defies generalisations Chinese culture industry is' commercially 'did tell us very little about China itself, and the cultural landscape for many investors to reduce the influence of domestic policy and foreign. -What is the basic rule of cultural industry, the management of capital into which sub industries were officially designated as "commercializable" (you yingli xing), this is no, this is considering threshold category? Commercializable department was not deemed too sensitive national culture and information security. They include performance, tourism, industry and culture exhibition, technical production and sale of audio and video products, sports and entertainment, higher education and vocational education. They are opening up the domestic collective and social capital and foreign capital. Existing capital of the designated department of the state, and he ordered by as intrusive, but through annexation gradually exit and transferred asset sale, nearly ups and downs, and bankruptcy. Scale the next supervision danweis highly relevant state-owned monopoly position of cultural identity formation and information security. In this large category, not the commercializable commercializable Beijing distinguish from department. The latter include: obligation education, the agency responsible for national cultural relics preservation, libraries, museums, cultural workstation, most departments need and monopoly state-owned capital ownership. Whether domestic or foreign capital is allowed.Regulations become more complicated, because our approach to commercializabe, monopoly before category - cultural domain news, broadcasting and television. Capital into these industry is highly controversial and national unstable because policy of volatility.Authorized monopoly capital media giants, but to exit the small and medium-sized media company. Criterion, reiterated that the basic principles - policy matters - the same size, take the basic principles of the claw big regulation measures adopted a filial piety (" grabbing big, release small ") has taken department on the first and the second. Problem is, although what complex medium diversification and corporatization media organization allow absorption domestic capital, in theory, they will only be allowed to invest in the media industry. Another limitation is that only certain sub industries of small and medium-sized media were allowed in absorbing external capital, namely points and department limited to basic facilities such as printing and publishing services related value chain, retail, information transmission and distribution, the main points unit, nothing can do and content of offer. Therefore, even though their names to shareholders, the media are banned from department of domestic investors intervention the enterprise production content and asset management. With foreign investors hold so, if bertelsmann, its sphere of influence to be included in the publishing industry time only. As shown above, capital inflows has been allowed to focus on what is considering the basic structure of the media in the industry by department. How in printing, the content of the department news, broadcasting, television media? Mark ` commercializable in blue books. ', but in fact it is how to commercializable?What is the market thresholdEntry in the domestic and foreign capital domain specific? In the media content industry of foreign investment, first of all, we have to understand that China's entry into wto agreement not bound to the content of liberalization. Domain for foreign capital investment, the hurdles is insurmountable. The content providers limited foreign works,such as bloomberg television station, phoenix TV, and the InforNews news corporation's TV group the new agreement with hunan radio, movies, and explain as follows:(1) the financial and economic news (the main menu according to bloomberg information platform and distribute) is that "safe" content. (2) joint hunan TV entertainment production (namely agreement with multinational as new heavyweights) is worth welcome. Rupert murdoch's small victory, there is a lot of things to do the logic of the inspectors' theme for preferential treatment as science and technology, financial, economic, leisure and lifestyle, ideology neutral mass market, such as games and the charge talk show, sports and drama. It is believed that is beneficial to the development of the industry domestic TV content, the current value chain of the weak culture department policy proposals have been urged Beijing to pay attention. (3) of the broad masses of the pearl river delta area, it is beyond the pearl river out those foreign achieve broadcasting organizations. The most important is, (4) landing rights and mutual exchanges and plan again) foreign broadcasting company (news group is the real target and earnings - bargaining chip, foreign group must be submitted to the negotiating table. Worth notice, though, the propaganda of its history, the TV is the only launched foreign language of entertainment channel, now says 1.3 percent in a short period of time to the audience the gold guangdong province January 2003. Top all the above limitations naming, all foreign a content is subject to strict inspection before distribution.The cultural industry of China's regulations of general brought me three in the us directly observed. The first third field my asking, culture that is the goods, traded commodity trading markets and the boundary between the cultural industry is very fluid. They, in turn, rapid change next reform system (this cycle, shorter and shorter after becoming the new party secretary hu. This fully explain commercializable properties not constructing and ` stable commodity. 'second, from this kind of instability, three-quarters of a mixed goods, in some of their properties, trade mark `' and some ` traded '(theso-called this fall commercializable, to the media monopolies category charming). The third kind ` throughout China capital inflows ` if we mean circulation 'society, so-called people are' British ziben - and collective capital. It is difficult to place detailed introducesthe current popular practice bound by this company obtains shell relates to Chinese media access media capital (through the domestic real estate world, not, publish, investment and (such as banking) become listed companies. I just want to say that government departments of the new policy emphasis goes across media, cross, and trans media merger between the region further blurred the line ` 'and ` public pure pure private' funds. Capital properties will be mixed into such degree, China will be remembered as the hybrids land. This leads me to my third observation: more and more economic consideration to infiltration policy to decide what cultural products were allowed to obtain a diversified financing structure. We are faced with the same old problems, from other grafting industry department's culture: at what level admiral economic ideology is the erosion of preferences China, there are political elite market vision unique socialist culture commodity economy is the foundation this mixed commodity increasingly complex system, a no vision not entirely theoretical, so often laugh at?International trade regulations at home against domestic cultural policiesThe above discussion fully demonstrated the dominance of the concept of Chinese cultural market policies. No matter how we evaluate the policy framework and the characteristics of any market discourse proof is, it was vital to the Chinese culture policy analysis (and lyricist for industrial) culture blue were told at home against international trade free debate culture exemption. Meaning, this kind of knowledge can offer is three times. First, it will provide the efforts to promote Chinese culture, policy makers, their argument, to help promote 'cultural center' profit margins to make policy. Secondly, it will suggest China cultural policy makers, research fields, including cultural trade influence competition policy and investment policy, tax law, services, and intellectual property system (" final report ", 5) in. Third, China is increasing pressure to comply with the international free trade agreement, it will be informed about the fact that other countries in Tunisia policymakers as Canada and ends development of economy (ditto, band 27) hold the same career, normative market is helpful to the domestic growth cultural industries.The last point is a tricky, because it might mistake me support at home the protectionist policies concerning a democratic countries poor. Of course this is not my intention. I'll be back soon this important point. First, rapid trade summary of the order of international cultural debate. Canada and the countries of the European Union opposes a media products. Britain's free trade rules, such as gatt culture and extensive cultural don't agree to release, besides audio-visual sector. But U.S. argued that cultural products trade is to release any other goods, and shall be subject to the unit did not exception. Of course China is Canada or France. Although every country has the right to protect its imports from countries replaced its cultural American culture, we cannot apply for to formulate policy debate of normal trade media notorious for a record of domestic review. Regime From this perspective, banned imports of amount of western culture content of Chinese citizens from denied to choose a filtering political and cultural development of democracy. Like Edwin baker scholars in legal research is quite thoughtful and points out: "free traders are correct, historically, some repressive regimes had tried to protect and promote cultural imagine, here is usually not only picky import restrictions but also have the same restrictions on freedom of expression of the serious internal" (baker, 2002,260). Similarly, China's media content all boycott liberalization should not and the European commission with equal Canada against trade protection media said, and is essential for maintaining citizens domestic cultural space of variety and growing ball (the European commission, 2000). In China, set up the case, limit the barriers to trade and investment flows in the audio-visual sector that is quite another matter. Therefore baker puts forward "some equipment other than the free trade is necessary to prevent picky government distortions" (baker, 254). He thinks, human rights law, but is not free trade law is the most feasible international policy documents, can one stone kills two birds - a country need to nourish the sensitivity of the domestic media pluralism and opennesscross-border cultural exchange.I think Chinese cultural policy makers can draw lessons from this international debate something else - some protectionist policies how it can help the healthy development of the alimentary domestic media. Policies, such as state subsidies andradio media place, screen the working hours and quota quotas in Western Europe and Canada. In view of this, the current Chinese policy media company of state-owned capital withdraw all from small medium, not a necessity for the development of f local media. Usually, the smallest and most minor media is the most independent of the mind. Leaving their the law of the jungle of the survival of the fittest for China's news gathering - fully prove - is to further to inspectors.The international debate about trade and culture is important, but in another respect Chinese policy makers. Because governments around the world continue to privatization and exogenous in every government service department and the boundaries between citizens and private with amazing speed redraw, this debate back to, public domain problem, one public culture is only a small part. What service and property duty to rationing, obviously this public responsibility should be private provision, must take back to policy makers in the agenda. As western scholars in beginning to reconsider must be obtained and market balance social (again, the American public opposition to the federal communications commission's ruling thought), China needs to realize the equality of access problems, including a public domain market acquisitions and public cultures of the moment. Therefore, it is imperative that we research the market state of established in China distinguish boundaries ` circulation 'cultural products from ` traded. Discuss what kind of policy will follow, if we devoted to the problem as public goods picture of what the public culture of China is related to the case? (I don't open some because ` 'and between historical equation ` state'). Finally, my big question is the cultural policy mode should be Chinese turn? Europe/Canada or the United States?第11 页共11 页。

企业文化中英文对照外文翻译文献

企业文化中英文对照外文翻译文献

企业文化中英文对照外文翻译文献(文档含英文原文和中文翻译)The Corporate Culture Rebuilding of E-business With the development of large-scale e-business, The E-commerce culture comes into being. It is an enterprise that produces a new value. The new integration of internal resources of the enterprises, which reduces transaction costs and improves efficiency. And it can short the cycle of production, and get many other benefits. Also it challenges on the existing corporate culture. The rise of e-commerce is a means of rapid development of technology that leads business models change. The survival of traditional economic activities, the means of operation and the management mechanisms have changed completely. The traditional corporate culture also faces a big strike.First, the Contribution to the Enterprise Value of Corporate CultureCultural phenomenon is a symbol of civilized country and a major witness of the nation. Broader culture includes knowledge, belief, art, morals, law, customs and every person as a member of the social to obtain ability and habit, including the complex whole. The survival and development of the enterprise plays an important role as a "sub culture" of the corporate culture. Corporate culture is the product of a market economy and commodity economy, embodying the objective laws of market economy. It reflects the company's competitive practices, competitive spirit and overall image. The enterprise culture is the company's management philosophy, enterprises face in which the social and business environment in the long-term production of business activities. And it gets all employees accept and agree to honor, which fights for a set of informal rules of success. It shows a kind of management philosophy and business practice to achieve through what kind of target. It is an important part of economic management. Corporate culture means a company's value, and these values become a norm of behavior of employees’ activities.How to increase profits, reduce costs and expenses is the origin of the corporate culture. Its meaning is how to enable enterprises to effectively integrate resources in order to achieve external flexibility and realize sustainable development in the competition. Corporate culture for the enterprises to develop cultural managementindicates a clear direction. The foreign competition environment for building highly adaptable and responding quickly to change is the final purpose of enterprise culture, according to environmental behavior capacities, which in fact is the company, owned by the external competitive environment by the needs of internal resources the ability to integrate and use. Corporate culture should promote the formation of the capacity of the system and maintain a good system. Many Chinese companies, for example, Haier, Lenovo, and so on, the secret of enterprise success is to develop a set of corporate and business philosophy that forms its own unique corporate culture.1, the corporate culture reflects the company's image and spirit. Establishing a good corporate image needs support of Modern business, from leadership to staff quality, from product quality to management facilities, from the environment to the product development, infiltrating cultural factors, and all reflecting the corporate image. Good corporate image (the "goodwill") is an intangible wealth and assets to display the "brand effect", which wins the social and public support, in line with modern public relations and marketing theory. From the modern management theory, it reflects the spirit of enterprise groups and the ideal goal, showing the direction of development of enterprises and business purposes. It is on behalf of the company's future prospects; so that every member company can voluntarily contribute to the achievement of organizational goals, from the enterprises in the fierce competition in technology press "beautiful and fragrant flowers."2, the corporate culture as in the business as a new management theory to play an extremely rebuilding role.First, creating a environment for flexible coordination of business operations, the corporate social systems as a subsystem, continuously with the surrounding environment material, energy and information exchange, social environment is relatively more objective. And enterprises need to adapt to environmental changes, researching the laws and requirements of environmental change, a clear tendency of economic development compatible with the social needs and potential demand, which improve the enterprise's various weaknesses and adjust to business strategy, creating a new corporate culture, and environment interaction to achieve dynamic balance thatcreates a cycle of market environment, promoting the restructuring of joint-stock company into the future state of healthy function.Second, it is conducive to the formation of the values of their all operation. The development of corporate culture as the underlying motivation, its values is the core of corporate culture. And it is a business organization and the basic concepts and beliefs. For enterprises, the core task is how the market to survive and provide consumers with appropriate products and services. The core mission of business does not automatically guarantee a corporate member with a common objective. Values established by the company code of conduct for employees defined in an extremely successful and the objective pursuit.Third, it helps to improve the all quality and foster corporation. The composition of the corporate culture includes ideology, culture, technology, culture, management culture, quality culture and entertainment culture. On the one hand, the culture of integration promotes the improvement of the quality of the entire staff. Because the influence of a common culture, the formation of a common awareness and behavior-oriented preserves and maintains the unity, cooperation, the harmony between employee relations, the objective to strengthen the unity, the overall development of the performance.3, the business culture is a kind of meaning. It is different from the surrounding environment of the enterprise as a system. Its internal mechanisms of the coordinated operation of the corporate culture can not be separated. On the one hand, a direct effect on corporate culture, employee code of conduct, professional ethics and clip point, nurture and develop the corporate culture, which improves the cohesion and solidarity, increasing employee’s satisfaction, sense of identity and belonging. On the other hand, the corporate culture of the major decisions of business, the company's long-term goals and strategies as well as the implementation of rules and regulations have not be underestimated.Second, the Building of Corporate Culture, the Need for ChangeIn the 21st century, the enterprise culture of Chinese business faces multiple challenges: the arrival of knowledge economy, the corporate culture, the question ofhow to enhance the value of knowledge, knowledge workers how to deal with new issues; market-oriented reform, making the planned economy era the formation of corporate culture and old ways, old routines often fail; and the rise of network technology, but also for the birth of a new corporate culture provides a weapon. Sentence: mechanism changed, times have changed, technology has changed, so many companies are faced with reshaping corporate culture. Gerstner saved Big Blue, the first is to explicitly change the corporate culture of IBM's basic values, the creation of IBM's culture, which is "strive to win (Win)" "fast execution (Execute)" and "team spirit (Team) ". Gerstner said, " as IBM's leaders, of course you need to lead the planning and specific projects, but your responsibilities also include leading the staff, the establishment of work teams, and the creation of high-performance corporate culture." GE Jack Welch, former CEO also said: "Our vitality curve is able to function effectively, because we spent a decade in our enterprise to establish a performance culture."From our point of view of corporate culture development status, can only say that the end is still in a relatively level, the "corporate culture strategy" did not receive due attention, the cultivation of corporate culture, lack of guidance systems theory, corporate culture, most of the traditional culture in the enterprise the epitome of such enterprises often lack vitality, dead, suffering from a lack of excellent sense, may be severe centrifugal serious. Overall there are more defects in our corporate culture phenomenon with error, our corporate culture common errors are:1, the phenomenon of cultural obscurantism. Such phenomenon is common in those autocratic leaders or operational problems of the enterprise. Performance of the leaders of the extreme stress on certain cultural values, education and means to promote radical. It is because the causes of most of the leaders hope to achieve within the enterprise.2, no cultural phenomenon. Usually presents companies have a very strict system and the various rules and regulations. The system provides for employees to do and not do, but there is no clear cultural ideas and values advocate, neglect of education and training of employees. Such phenomena generate up to industrial manufacturingcompanies, most of the causes of quality is not high because the leaders themselves, or lack of understanding of corporate culture. Or want to cover up some kind of cult of the individual facts. Such enterprises are usually easy to produce leaders of the blind worship or silent on the situation.3, the ideal culture phenomenon. It is common in those with young people as the main force of the emerging entrepreneurial companies. Manifestations of these companies will make some unrealistic ambitions and cultural ideals, its advocacy of the concept will be a kind of beyond the enterprise to transform the world's sense of mission. "Great and empty," the slogan of the people beyond the reach; grand, lofty goals often lack a unified real objective basis. Most of the causes of such phenomena is that leaders have too lofty ideals and the lack of work basket for fruits of the spirit. Performance of the majority of such employees are passionate emotion, but may have overlooked the immediate situation and today what to do evil.In addition, many corporate culture inhibits the human personality, in the enterprise is only concerned about people's "collective", denied the people's imagination and creativity, produced under the concept of small-scale production of "collectivism", it is difficult to form business cohesion.Now the competition is intense, and survival of the fittest as the new rules of the game, our company's corporate culture than the United States, Japan has lagged behind many, if not catch up now, defeat in the competition will be inevitable. Therefore, the new corporate culture and change the shape of a project is China's enterprises not wait for new topics.Third, the age of electronic commerce to shape and change our corporate culture, the idea of1, analysis of internal and external factors, refined culture and a culture of innovation speedIn the era of e-commerce business to choose what kind of a core value is to create the most important issue of corporate culture. Information economy is the "speed economy", the speed has become a tool to improve competitiveness. The emergence of the Internet makes the world changes faster and faster, can be described by leapsand bounds. Internet-based e-commerce can thus quickly understand market information, quickly and easily collect customer needs, extensive product information, complete the online transactions in real-time settlement, a large number of business activities can be instantaneous, the production efficiency has been greatly to improve. In short, information technology and network technology makes extensive use of e-commerce enterprises to enter the market, the threshold can be greatly reduced. Now the world is talking about innovation, because in today's economic environment, the only constant rule is everything is changing. In this regard, any organization or business if you do not always change and innovation, it is impossible to maintain their competitive advantage. "No innovation, on the death", innovation has become a corporate existence and development of important, and that only through its own innovation and certainty in order to deal with the uncertainty of rapid change. In the information context, the role of innovation has been an unprecedented strengthening, and sublimated into a social theme. In the age of electronic commerce, innovation has become the source of the vitality of enterprises, the traditional production scale, cost advantages and other factors will not decide the future, companies only through continuous innovation to survival and development. Conservative and conservative, is simply not in the fierce market competition based on the enterprise in the future in order to have a place in the global competition, we must break through the traditional idea of imprisonment and mindset, bold innovation, firmly grasp the ever-changing business opportunities.2, new ideas, to shape employee behavior.Shaping the behavior of employees is a corporate culture an important part. For those who play the leading role in e-commerce companies, the most is neither a shortage of raw materials, nor money; neither the technology nor the emerging markets, but lack of talent. The twinkling of an eye and talent for the future to plug the wings of imagination. • McKinsey & Company, president of the United States Ed Michaels said: "is not difficult to raise funds, a smart business strategy can be imitated. Technology half-life has been shortened for many of today's companies, talent is the primary competitive advantage factor. " Today, managers realize that in today'seconomic globalization, e-commerce and network speed of the global market, ownership of talent from the established elite business decisions quickly is critical. E-commerce businesses depend on employees' ingenuity and initiative to make closer to consumers, the decision to market faster response.E-commerce, focusing on service, but electronic means. E-commerce can also be said of electronic services, the Internet to the service of humanity, the core service is not technology, but the corporate culture, quality of the staff; Internet economy is the service economy, rather than the technical and economic, the network platform for consumer transactions, environment is not a merchandise display; manufacturers not simply suppliers or vendors, but service providers, who have better service than anyone else, who earn more money.In the new e-commerce environment, the most successful companies in the past only to give new employees to enjoy the respect of customers: their equality through the creation of an elite management system to meet the employees engaged in meaningful work and the desire to create wealth. They generously reward employees for good performance, not just cash, but also allow them to have ownership of enterprises,3, the leader personally, keep valuesIn decision-making behavior in e-commerce businesses, innovation is very important. First, the organizational structure to be from the original pyramid, top-down, hierarchical control structure of the network to the new organizational structure transformation. Second, the management focus from capital management to knowledge management. Knowledge management is the use of collective wisdom to improve responsiveness and innovation. Third, the new management ideas and methods are emerging. In the information age and network conditions, the new economy and created many new management ideas and management methods, such as flexible manufacturing, distributed manufacturing, agile manufacturing, business process reengineering, learning organizations, manufacturing resource planning and other new ideas and new methods .The founder of e-business and business operations will encounter variousunexpected difficulties and frustrations: such as financial risk, trading risk, and increasingly competitive market, if subjected to any eventuality, no toughness will completely collapse. Therefore, entrepreneurs should be afraid of failure, afraid of setbacks and indomitable courage, devotion to the cause should be, afraid of risk, risk-taking spirit.电子商务企业文化重建随着网络时代电子商务大规模发展,电子商务企业文化随之产生,它在一个企业产生一种新的价值观,使企业内部资源得到从新整合,在为企业降低交易成本,提高效率,缩短生产周期等诸多好处的同时,也对已有的企业文化发起了挑战。

外国品牌到中国的优秀翻译

外国品牌到中国的优秀翻译

许多国际著名品牌源于很平凡的名字,译为中文必须有巧思。

如果把营销比喻成一场战役,那么成功的品牌名称就像一面不倒的军旗。

国际品牌在全球范围内营销,必然要跨越种种文化障碍,如语言差异、消费习惯差异、宗教差异等。

把品牌译为中文必须有巧思。

由于西方国家的文化比较相似,所以某一个国家的品牌比较容易为其他国家所接受。

中华文化与西方文化差异较大,因此,国外品牌要打入华人市场,必须慎重考虑命名问题。

商品经济现象的复杂,使西方品牌名称的翻译超越了语言学概念,而上升到文化心理和市场重新定位层面。

■麦当劳:蕴含多层意义比如麦当劳,英文名称是“McDonald’s”,它是店主人名字的所有格形成。

西方人习惯以姓氏给公司命名,像爱迪生公司、华尔特·迪斯尼公司、福特公司。

但是华人通常喜欢以喜庆、兴隆、吉祥、新颖的词汇给店铺命名,如“百盛”、“天润发”、“好来顺”、“全聚德”、“喜来登”。

McDonald是个小人物,他比不上爱迪生,人家是世界闻名的大科学家,也不如迪斯尼,因为迪斯尼成了“卡通世界”的代名词,所以如果老老实实地把“McDonald’s”译成“麦克唐纳的店”,就过于平淡,而“麦当劳”就非常成功:一,大致保留了原发音;二,体现了食品店的性质;三,蕴涵着“要吃麦就应当劳动”的教育意义;四,风格既“中”又“洋”,符合华人的口味。

■可口可乐:绝妙之译众所周知,“可口可乐”就是“CocaCola”,但是却很少有人追问一句:那是什么意思?原来Coca和Cola是两种植物的名字,音译为古柯树和可乐树,古柯树的叶子和可乐树的籽是该饮品的原材料,古柯叶里面含有古柯碱,也叫可卡因(有时用做局总麻醉药,尤其用于眼睛、鼻子或喉咙,还因其兴奋性和刺激性而广泛用做毒品)。

这样枯燥乏味甚至有点可怕的名字居然被翻译成“可口可乐”,真是CocaCola公司的化腐朽为神奇。

“可口可乐”译名的成功之处在于:一,保留了原文押头韵的响亮发音;二,完全抛弃了原文的意思,而是从喝饮料的感受和好处上打攻心战,手段高明;三,这种饮品的味道并非人人喜欢,很多人甚至觉得它像中药,但它却自称“可口”,而且喝了以后还让人开心。

品牌翻译

品牌翻译

品牌翻译一、品牌的重要性品牌是商品质量和商品信誉的保障,又是商品特征的标志,也是商品广告和商品销售的重要手段。

可以说,品牌是商品质量的代名词,老百姓选购产品主要依靠品牌商品品牌。

既然品牌是产品的质量象征和形象代表,又是知识产权,因此,品牌命名至关重要,在翻译时更要反复推敲,正如严复所言,“一名之立,旬月踯躅”,品牌翻译的好坏直接影响到其产品形象的好坏和销量的大小。

美国学者艾·里斯强调品牌译名的优劣时如是说:“在销售成绩上能有千百万美元的差异。

”二、品牌的特征品牌的特征主要包括:(1)区别性。

品牌的区别性表现在它是企业使自己的商品或者服务区别于他人的商品或者服务的标志。

(2)简洁性。

品牌必须易读、易写、易记、易辨,才能给消费者留下深刻的印象。

(3)价值性。

品牌是一种无形资产,具有价值。

有些品牌价值连城,正如可口可乐前总裁道格拉斯•达夫特所说:“如果可口可乐在世界各地的厂房被一把大火烧光,只要可口可乐的品牌还在,一夜之间它会让所有的厂房在废墟上拔地而起。

”三、品牌的功能品牌主要具有以下几大功能:①刺激消费:对刺激消费者购买欲望起积极作用。

②识别产品:不同品牌代表不同厂家、不同价格和不同售后服务。

③提供产品信息:即反映该商品属性、特点、用途及功效等。

④名誉象征:品牌是商品质量的保证,是企业信誉的象征,如Benz(奔驰)是高品质的象征。

⑤广告宣传:品牌是广告的核心,广告宣传首先要突出品牌。

四、品牌名称的构成品牌名称的构成方式主要有几类:1.普通词汇构成的品牌,如:“大白兔”(奶糖)、Crown(皇冠轿车)等名词,“吉利”(汽车)、Clean&Clear(可伶可俐洗面奶)等形容词,“牵手”(果汁)、Safeguard(舒肤佳香皂)等动词,还有“六必居”(腌制食品)、7 - Up(七喜汽水)等含有数词的品牌名。

选用这些普通词汇作为品牌名称通常比较贴近产品或服务的性能或形象,或表达一种吉祥的祝福,使消费者感到舒适、可靠,产生一种认同感和美好的遐想,激发消费者的购买欲。

文化软实力外文文献翻译中英文

文化软实力外文文献翻译中英文

文化软实力外文翻译中英文英文Soft power, global governance of cultural industries and rising powers: the case ofChinaAntonios VlassisAbstractThis article addresses the importance of cultural industries for the strengthening of the soft power of the rising powers and it seeks to understand how the cultural industries allow rising powers to shape the structures of their international environment. More specifically, studying the cases of People’s Republic of China and of the movie industry, my article focuses on the current evolution of the relationship between the Chinese authorities and the film industry, as well as on the development of the domestic film market. I further aim to draw up an inventory of China’s role within the global governance of cultural industries. Finally, I aim to highlight the global cultural competition that China faces, emphasizing the practices of the US administration and Hollywood. I argue that even if China is the current centre of gravity within the world economy, it still has a long way to go in order to shape the distribution of resources within the global governance of cultural industries and to play a crucial role in the international battle of cultural symbols.Keywords: China; soft power; global governance; cultural industries; US administration and HollywoodThe cultural industries, oscillated between symbolic and material spheres, raise important issues for many involved actors: economic issues because cultural industries are a key sector in terms of growth and employment for the national economies1 ; political issues, given that cultural industries –seen as vehicles of values and collective representations –are resources of the power of States and of their capacity to shape their international environment; finally, identity issues because cultural expressions – distributed by cultural industries – are usually components of a national, regional or local identity and many actors are increasingly worried on cultural dominance.In October 2011, the 17th Central Committee of the Chinese Communist Party underlined the need for strengthening the Chinese soft power ‘with a view to the overall prosperity of cultural undertakings and sound development of cultural industries’ and for holding ‘fast to the approach of multi-level, extensive international cultural exchanges and continuously improve the international influence of Chinese culture’ (Ministry of Culture of the People’s Republic of China 2013, p. 3). Since the end of the Cold War, the rise of China on the world stage has been one of the most important historical and political phenomena. Its impressive economic growth, its social transformations and its influence on the international affairs force many scholars to question the status of China in the international arena. Is China a rising power that moves on from regional power to global power? Is the desire of the Chinese authorities to challenge the US predominance and to access to the world hegemony? (Johnston 2003, Gipouloux 2006, Cabestan 2010, Shambaugh 2013).On the one hand, recent studies focus on the foreign cultural action of China and its soft power in order to offer useful insights on these tricky questions (Cheow and Chu 2004, Cho and Jeong 2008, Mingjiang 2009, Barr 2010, Wang 2011, Lai and Lulu 2012, Swielande 2012). In their definition on the soft power, they include various areas such as trade, language, values in the broadest sense, religion and education. However, the cultural industries, and especially film industry, are still an unknown factor for highlighting the role that China can and will play on the global stage. Furthermore, it would point out that the analysis on immaterial resources of power came particularly to dominate the discipline of International Relations (IR) during the 1980s debate on the possible decline of US hegemony (Battistella 2013, p. 239). As such, in 1990, Joseph Nye (1990, 2004) developed the concept of soft power in order to highlight the transformations of the components of the State power in the current international relations. As the prominent American scholar put it, if the United States wishes to be the hegemonic power of the 21th century, it would need to strengthen its soft power, based on intangible resources.2 In addition, during the 1980s, Susan Strange elaborated the concept of structural power in order to focus on the tangible and intangible capabilities of the United States to determine theinternational structures and to provide the leadership on the global scale (Strange 1994). While the two scholars identified multiple variables to understand the transformation of power in the era of globalization, the cultural industries were not adequately addressed in their studies. However, the approach of Susan Strange recently inspired analyses (Scott 2004, Laroche and Bohas 2005, Bohas 2010) on cultural capitalism of the United States and on its main vectors, such as the multinational entertainment corporations (Hollywood).On the other hand, while there is a lively academic debate in IR about the configuration of actors and of norms within the global governance of a large number of sectors such as environment, energy, labour, or health, relatively little has been said about the international dimension of governance of cultural industries (Singh 2010, Vlassis 2013, 2014a, 2015, Kozymka 2014). Thus, the action and the political influence of China in this context are absent from the IR literature. More specifically, by global governance of cultural industries, I mean a system for organizing the relations of power and of regulation at the world level (Stocker 1998, Cabrera 2011); it is composed of rules, norms and institutions, affecting several aspects of cultural goods and services (creation, production, distribution, exhibition, etc.) and allowing the involved actors to coordinate their practices in a context of disaggregated sovereignty (Slaughter 2004), of polyarchic authority (Avant et al. 2010) and of absence of global government (Rosenau 1997). The global governance of cultural industries is not so much a harmonious and static approach for the today’s international cultural relations, but rather a continuous process within which a constant game of bargaining, exchanges and political battles is made (Smouts 1998, Muldoon et al. 2011).Collective art, mass art, art of modernity, major industrial art of the contemporary ‘screenocracy’, 3 the cinema is ‘a tool of soft power of nations’ (Dagnaud 2011) and the most significant cultural industry in terms of economic profitability and symbolic influence.4 Even if the cultural external action of a country seeks various and long term objectives that are very difficult to assess their impact (Gilboa 2008, Morin 2013, p. 41), it is worth addressing not only the role of Chinesefilm industry for strengthening the Chinese soft power, but also how this cultural industry allows China to build an active status of world power (Santander 2013, p. 524). In this view, I seek in this article to analyse the evolution of the relationship between the Chinese authorities and the film industry, as well as the development of the domestic film market. I further aim to draw up an inventory of China’s role within the global governance of cultural industries and its international commitments in this area (General Agreements on Trade in Services-World Trade Organization, 2005 Convention on Diversity of Cultural Expressions-UNESCO). Finally, I aim to address the global cultural competition that China faces, focusing especially on the practices of the US administration and Hollywood.China: a major cinema power?Since the end of the Cold War, the development of the ‘electric shadows’ industry5 has become a priority for the Chinese authorities. The China’s State Administration of Radio, Film and Television (SARFT) and the powerful China Film Group manage in a dense and monopolistic way all the components of Chinese movie industry –production, importation, distribution and exhibition –and heavily taxes foreign audiovisual products. The transformation of the Chinese film economy has begun since the 1990s, when the country decided to integrate into the multilateral economic system. In the late of 1980s, the Chinese film industry went through a profound crisis: significant reduction in the cinema attendance and dramatic decrease in the film production (Zhu and Nakajima 2010, pp. 17–33). Chinese authorities then undertook a slow opening of the film market because of the risk of its collapse and of the pressure from the Clinton administration and Hollywood studios in their ambition to open new film markets (Mingant 2010, pp. 49–50). In 1994, SARFT agreed to give a percentage of revenue for ten foreign films per year (revenue-sharing films) and to keep buying the other movies in a fixed price (flat-fee films) and selecting the imported movies. Despite these barriers to trade, since 1996, the foreign films, and especially Hollywood movies, have captured a 40–50% stake in the Chinese market (OEA 1998–2013), showing that the Chinese audience is very receptive to Hollywood pictures unlike other Asian countries such as India.6 Simultaneously, China hasdeveloped a film d’auteur inserted into the international art circuits and receiving many awards in the five major international film festivals (Cannes, Venice, Berlin, San Sebastian and Locarno): without a significant award up until the late 1980s, Chinese films won 19 awards between 1988 and 2014.Since its WTO accession in 2001, China has been committed to increase the number of imported films: the annual quota of foreign films distributed in revenue-sharing has increased from 10 to 20 (Augros and Kitsopanidou 2009, pp. 226–227). Nevertheless, in 2009, following a complaint lodged by the US administration in 2007,8 the WTO condemned China for its trade practices within the cultural sector –books, movies, music –and especially for its strict regulatory measures imposed to the US exporters and distributors of many audiovisual products. Since then, China has sought to soften its quotas system allowing access to a greater number of foreign revenue-sharing films within its cinema market.9 As a result, in February 2012, US and China signed a ‘Memorandum of Understanding on WTO Related Problems in the Film Industry’ and US Vice President Joe Biden announced that China allowed the importation of 14 more Hollywood movies and increased the percentage of sharing-revenues to the foreign operators from 13 to 25% (Vlassis 2012).10 It is obvious that the relations between China and Hollywood are becoming closer, from a mistrust vis-à-vis movies-symbols of American capitalism and of Westernization to a more intense cooperation and to a slow but constant opening of the Chinese film market to the Hollywood products. In this sense, this partnership has become strategic for the future development not only of the Chinese film industry, but also of Hollywood (Jihong and Kraus 2002).During the last decade, the priorities of Chinese policy-makers focus on the impressive domestic expansion of the Chinese film industry and on the encouragement of the private investment as a result of the substantial profit margins of the film industry (Zhu 2003, pp. 142–160). The film market in China has been characterized by impressive growth, four or five times higher than the growth of China’s GDP. In 2004, total film market revenues represent US$ 435 million. By contrast, in 2013, China wa s the world’s second largest film market and generatedUS$ 3.6 billion in box-office revenue (Table 1). If this trend continues, China will overtake the North-American (US-Canada) market and become the world’s first film market by 2020 (UNESCO Institute for Statistics 2013, p. 25). In addition, in 2008, the number of screens was 4.097, while in 2012, this number tripled, reaching 13.118 screens. Finally, in 2012, the Chinese film production reached 745 movies (only 82 movies in 1998).It’s worth mentioning that in September 2013, Wang Jianlin, CEO of the Chinese conglomerate company Wanda –with activities in real estate, tourism and entertainment –announced its plans to build the world’s biggest film studio in the east coast of China. It is one of the most massive investments in the film industry history, reaching US$ 8.2 billion. In parallel, in 2012, Wanda Group agreed to buy AMC Entertainment Holdings Inc. (AMC) for US$ 2.6 billion, expanding into the US to create the world’s biggest cinema owner. The de al marked the largest-ever buyout of a US company by a Chinese firm. The AMC Theatres, founded in 1920, has the second-largest share of the US market, behind Regal Entertainment Group. It reveals that China’s objective for boosting its cultural power is no t only part of the Chinese authorities, but also of industrial companies: in this regard, Wang Jianlin said that ‘in ten years, the Chinese economy will be on way to dethrone US as dominant economic power. But in terms of cultural power, China is still far behind (…) this project is an opportunity to implement a national policy in order to promote cultural power’.China within the international arenas: between modest integration and increasing presenceInstitutional multilateralism occupies a key position in the political strategies of China in order to gain a worthy and outstanding presence within the international cultural affairs. While the normative constraints of the WTO have a clear impact on the structure of the Chinese film industry and they challenge governmental control over cinema industry (as we have noted above), China also seeks to preserve its cultural sovereignty and to play a greater role in the two major issues of the global governance on cultural industries, namely the international recognition of the importance of cultural policies and the international promotion of the culturaldevelopment.China was one of the key-players in the political construction of the Convention on the Diversity of Cultural Expressions (CDCE), adopted by UNESCO in 2005 and dedicated to recognize the specificity of cultural goods and services on the international scale and to legitimize the right of governments to adopt policies within the cultural industries sector (Aylett 2010, Vlassis 2011). A year before the adoption, the Chinese authorities organized the seventh ministerial meeting of the International Network on Cultural Policy (INCP),12 held from 14 to 16 October 2004 in Shanghai and attended by Ministers of Culture from 31 countries, by 18 observer countries and by six international organizations. Furthermore, during the negotiations on the CDCE, China supported on the one hand the explicit recognition of the sovereign right of States to implement cultural policies and on the other hand the establishment of an effective Convention vis-à-vis the international regime of the WTO (Vlassis and Richieri-Hanania 2014). In this sense, during the debate on Article 19 of the CDCE draft dealing with the links between the Convention and other international agreements, the Chinese delegation favoured the option A, which provided a non-subordination of the CDCE with trade agreements. China therefore opted for a Convention, which has a legitimate status within the international law, noting in its comments that ‘the Convention s hould become a reference for the WTO and other international bodies. In this regard, all the international regimes would function as a whole (UNESCO 2004, p. 87)’.China ratified the CDCE in 2007 and it remains one of the most active countries about its implementation. Up till now, its contribution to the International Fund for the Cultural Diversity dedicated to support cultural industries in the developing countries amounts US$ 310.000, far more than the contribution of India, Germany, Denmark, South Africa, or of Australia, but less than the contribution of Norway (US$ 1.45 million), France (US$ 1.42 million), or of Finland (US$ 538 450).Note that during the meetings of the panel established by the Dispute Settlement Body (DSB) of the WTO in November 2007 on trade practices of China in the cultural field (as we have seen above), the latter pointed out that its measures arelinked to many exceptions (Neuwirth 2010). In its first written submission, China made explicit reference to the CDCE in order to emphasize that cultural goods and services are different from other products and in this view, the WTO members should provide greater leeway to regulate this type of goods and services (WTO 2009, p. 107). In addition, the Chinese delegation noted that the specificity of cultural goods and services is recognized by the CDCE, requesting that the DSB should be aware of the specific nature of cultural goods (WTO 2009, p. 15).Instead, the members of the panel argued that the reference to the CDCE does not corrobora te the China’s position, insofar as the CDCE should not be used as a legal instrument in order to legitimize any violations to the WTO Agreements. China seeks recently to play an increasing role in international cultural arena to advance its political agenda. In May 2013, in collaboration with UNESCO, it organized the Hangzhou International Congress on ‘Culture: key to sustainable development’, revealing that the Chinese ambitions are no longer limited to its regional area. ‘For the UNESCO, it was better that a rising country organises this Congress. We discussed with the Chinese authorities because they were, in principle, in favour and they wanted to organise a big event’. 13 This Congress has been the first International Congress on the links between culture and development organized since the Stockholm Conference in 1998. The latter has led to the adoption of UNESCO Universal Declaration on Cultural Diversity in 2001 and then to the CDCE in 2005. In Hangzhou, around 400 experts and involved actors from 80 countries, United Nations agencies and 20 national and international non-governmental organizations emphasized the contribution of culture (cultural industries, material and immaterial heritage) within the policies for the sustainable development. As such, Hangzhou Declaration has marked an important step in the advocacy of UNESCO and of China for the recognition of culture in development programs and the inclusion of culture in the post-2015 United Nations Development Agenda. Although China does not have equal resources with United States, its strategy within UNESCO came to fill the economic and institutional gap created by the putting on hold of the US contribution to UNESCO, following the majority vote on making Palestine a full Member of theorganizatio n in 2011.14 It’s worth noting that in June 2012, in collaboration with the Group of 77, China organized a Round Table entitled ‘What Future and What Challenges for UNESCO?’ The organizers have stressed that ‘today, UNESCO lives a serious moral crisis, whose financial difficulties are mere symptoms of the growing decline of our Organization. The UNESCO of the twenty-first century needs to be rebuilt’.China vis-à-vis the global cultural competition However, China is not still regarded as a global, or even regional cultural power, with capacities to change profoundly the balance of power within the global audiovisual economy. The trade balance of the US audiovisual industry has long been positive, although the United States has traditionally recorded a trade deficit. Since 1980s, Hollywood has been one of America’s largest net exporting industries and in 2012, the surplus in audiovisual sector reached US$ 13.5 billion, more than the trade surplus in telecommunication, management/consulting, legal services, medical sector or computer services (United States International Trade Commission 2014).Inspired by the world system theory of the French historian Fernand Braudel, Charles-Albert Michalet pointed out that since 1980s, Hollywood has developed the strategy of cinema-world based on three mechanisms: a world movie, both movie event and global film; a global approach on the market; horizontal cooperation among companies centred on entertainment activities. ‘The cinema-world reflects the economic forces that showed up the global capitalism, namely an economic system that can only be operating in a global dimension’ (Michalet 1987, p. 112). Enjoying main technological developments, the Hollywood film also remains a key product for the main media platforms (DVD, TV and Internet). In addition, the US audiovisual services exports reached US$ 13.5 billion in 2010, whereas those from China totalled only US$ 123 million (WTO 2012). The most remarkable point is that while many US industries have to face trade competition from their international counterparts, Hollywood has no real international competitor. Therefore, even if the financial and regulatory measures for the film industry seek to maintain and to promote a national cinematography such as in France, in South Korea, or even in China (OEA1998–2013),16 they fail to challenge the dominance of Hollywood in terms of attraction capacity and worldwide distribution (Crane 2013, Vlassis 2015). It’s revealing that during the period 2008–2013, the 15 highest film successes, distributed by Hollywood studios, represent about a third of annual worldwide cinema revenues: in 2013, they accumulate about 32% of revenue in the global film market, 34% in 2012, 30.5% in 2010 and 30% in 2008. An additional important point is that on the one hand in 2013, the 15 highest movie successes, distributed by Hollywood, recorded more than half of their revenues in the cinema markets outside the United States and Canada and on the other hand, during the period 2007–2014, 24 Hollywood blockbusters recorded more than 74% of their total box office revenues in the ‘international’ markets (Table 3). As we can see, all these statistics reveal the expertise and the financing and marketing capabilities of Hollywood in terms of worldwide film distribution. Despite their competition with each other, the Hollywood studios are usually connected by a common film language and a strong strategic interdependence (Trumbour 2008, Augros and Kitsopanidou 2009).Most interesting perhaps is that only 18 non-Hollywood movie productions are part of the list of the all-time worldwide box-office grosses including 586 films: European blockbusters: Taken 1 and 2, Lucy, Resident Evil, The Fifth Element; European comedy movies: Four weddings and a funeral, Intouchables, Bean, The Full Monty, Bienvenue chez les ch’tis; Oscar winning movies: The King’s Speech, Slumdog Millionaire, La Vittàèbella; Japanese animation movies: Spirited away, Howl’s Moving Castle and Ponyo, as well as the Chinese production Crouching Tiger Hidden Dragon (Tables 4 and 5). Among these movies, only seven are nonAnglophone movies, 13 are British, French, or German productions and only one is a Chinese production.17 To this should be added that over the last twenty-five years and with certain minor movie exceptions, such as Lucy, Taken I and II, Slumdog Millionaire, The King’s Speech, Crouching Tiger Hidden Dragon –that recorded important box-office revenue in the US market (over US$ 100 million) – the market share of non-US movie productions is extremely low, going from 2 to 9%. In this regard, the ‘cinema-world’ contributes to increase the imbalance within the globalaudiovisual economy and to establish the Hollywood dominance in two directions: on the one hand, it is used for limiting the access of foreign movies – which do not enjoy the necessary financial and marketing resources such as Hollywood studios – to the US market based on an exclusive deregulation; on the other hand, following the same logic, it grants the advantage to Hollywood movies within th e ‘international markets’, serving to a progressive coordination of national markets and to a convergence of the audience’s preferences (Scott 2004, Laroche and Bohas 2005, Miller et al. 2005, Vlassis 2015).Moreover, since the multilateral negotiations on the GATS (General Agreement on Trade in Services-WTO) and the debate on exception culturelle (cultural exception), the opening of film markets and the elimination of regulatory and financial measures in the audiovisual sector also has been a major priority of the US trade diplomacy. ‘The US motivation was obvious: replacing national societies of culture with a global society of alleged efficiency’ (Miller and Yùdice 2002, p. 174). In March 2013, 34 WTO members, including China, have agreed to make commitments in the audiovisual services sector. Note that 18 governments of 134 founding members of the WTO took commitments in 1995, whereas during the period from 1996 to 2013, 16 governments of the 25 new WTO members18 agreed to be subject to certain restrictions in the audiovisual sector. This reveals not only the US pressures in favour of the liberalization of the audiovisual sector, but also the fact that a government negotiates its accession to the WTO without being able to build coalitions. ‘All these count ries need the ticket of accession, and this ticket is very high here’. 19 As such, ‘in the WTO, on the one hand, the position of US administration (regarding the audiovisual services) is positive and offensive, while the position of European Union is negat ive and defensive (…) when you negotiate your accession within the WTO, you should please everyone’ and especially the most influential and powerful countries.Following the exhaustion of the WTO negotiation model (Petiteville 2013), the US administration recently promotes a multilateralism à la carte,21 that offers more autonomy and flexibility to negotiators and it could go much further in respect ofcontent and trade disciplines (Deblock 2010, Gagné2011). In the context of recent trade negotiations – such as the Trans-Pacific Partnership negotiations, including 12 countries such as US, Canada, Japan, Mexico and Australia, and the negotiations on the TISA, which currently includes 23 economies,22 being part of the WTO informal group ‘Really good friends of Services’ –one of the major goals of the Obama Administration and of the MPAA is the inclusion of the digital cultural services such as video on demand or catch-up television within the agenda of negotiations. All this means that governments are supposed to maintain their regulatory and financial capabilities in the sector of conventional cultural services (film theatres, video-DVD, conventional TV), but they would be deprived of their ability to implement new policy mechanisms for the digital services, which represent the future of the cultural sector (Vlassis and Richieri-Hanania 2014, Vlassis 2014b).23 It’s worth noting that China wants to join the TISA negotiations in order to develop a more dynamic and efficient services domestic sector and to not isolate itself from the recent evolutions in international trade. The US administration, however, is very reluctant, requiring from China to make further domestic reforms within the services sector, including the cultural services.Likewise, another stumbling block between China and US administration remains the piracy and counterfeiting of cultural products.25 Despite the recent reforms (Dimitrov 2009), for a 10th consecutive year, China is still part of the Priority Watch List of the Special Report 301, prepared by the USTR (United States Trade Representative) in collaboration with several private sector coalitions, such as the MPAA or International Intellectual Property Alliance.Finally, at the regional level, China is also faced with many Asian countries with substantial cultural and symbolic resources. South Korea has a very dynamic film sector and a thriving music industry (K-pop) and the country has also made important investments in new technologies (Courmont and Kim 2013). Manga comics, animation movi es, such as Princess Mononoke (1997), Spirited away (2001), Howl’s Moving Castle (2004) and Ponyo (2009), and karaoke –Japanese form of entertainment – are global symbols related to the Japanese culture. In addition, India。

中英文商品品牌名称的互译

中英文商品品牌名称的互译
即以企业经营思想或经营观念的形式为品牌命名。就是把 企业的追求、经营理念、产品设计理念和理想信念等凝练 成语言,来为品牌命名,使消费者或受众通过品牌名称, 就能感受到企业的价值观念。
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9.以首字母缩写命名。 采用企业名称或企业经营理念的缩写字母命名品牌,旨在减
少品牌名称音节(一般不超过三个音节)和字母组合数,让消 费者或受众一目了然、易读易记;此外,许多材料列举品牌 名称时,习惯按英文字母顺序排列,采用缩写字母命名品牌 还有助于品牌在报章媒体的资料中排行在前,增加消费者的 印象,使得品牌更有价值感,更有国际品位。 10.以字母拼合而成的创新词汇命名(也称创新组合法)。 创新组合法就是摆脱传统意义上词汇构成的束缚,大胆创新 ,采用多个音节(或词缀)组合命名的策略。 11.以特殊意义数字、时间或数字与文字的组合命名。 以特殊意义数字或数字与文字的组合来命名品牌时,必须厘 清数字在不同文化背景下文化内涵,从而使得利用数字命名 品牌的目的——易识别、易记忆、易推广——得以实现。
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7.以宗教、神话中人物或经典文学作品及其中人物等相关 内容命名。
通过宗教、神话、经典文学作品中人物(或称谓)等相关内 容来命名品牌,旨在利用宗教、神话、经典文学作品中人 物的广泛普及度、良好的意愿形象以及神圣的象征意义, 宣传企业的文化理念、产品或服务的特性。
8.以企业的经营理念或产品的设计理念命名(也称以企业不违背译入语语言规范和不引起错误联
想或误解的条件下,按其发音,将品牌名称用与之语音相 近或相似的译入语进行翻译的方法。 2.直译法 所谓直译,就是在不违背译文语言规范以及不引起错误联 想或误解的前提下,在译文中保留原文的意义形象和句法 结构的方法。 3.音译结合直译法 有的品牌名称可以利用其音和意的双重特征,翻译时再创 性地使用音译和直译相结合。

品牌名称之变:中英文商标的互译

品牌名称之变:中英文商标的互译
商标的互译 中英文商标的互译
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前言
品牌名称是商品的语言文字符号, 品牌名称是商品的语言文字符号,是区别于其他商品 的标记, 但它指称的又不是个体事物, 的标记, 但它指称的又不是个体事物,而是许多个具有 共同属性和特征的商品事物。 共同属性和特征的商品事物。 品牌名称作为商品的记号, 品牌名称作为商品的记号,从一种语言的名称转换为 另一语言的名称, 另一语言的名称,可以按照不同民族的命名方式和命 名习惯转换,并不一定追求它的译文转换。 名习惯转换,并不一定追求它的译文转换。 各种品牌的中英文商标作为一种文化现象, 各种品牌的中英文商标作为一种文化现象,广泛的存 在于生活中。随着时代的发展, 在于生活中。随着时代的发展,品牌的命名和互译结 合各种命名的原则和方针,朝着更加简洁、形象, 合各种命名的原则和方针,朝着更加简洁、形象,更 加注重内涵的方向发展。 加注重内涵的方向发展。
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2、语音相关策略与语义相关策略 、
语义相关策略的品牌翻译大致有语义直译、语义衍译两种。语 义直译是根据原品牌的词汇义翻译成汉语名称。一个品牌名称在 语言上往往有好几个义项,一个义项也往往有几个释义的词语,译者 选取其中一个汉语词语作为译名,如Shell———壳(牌)、Nestle— ——雀巢、Apple———苹果、Green Giant———绿巨人,等等。 语义衍译是沿着原品牌的语言意义衍生拓展,翻译为意义相近或相 关的名称,如seven up。up本身意为“向上,昂扬,激扬”等,将up翻 译“喜”并不死扣字面意义,而是依据它相关的衍生含义或联想意 义。悲、喜在汉民族观念中是两种不同方向的情绪活动,悲是低落 趋向情绪,喜是高扬趋向情绪。seven up译作“七喜”,既出乎意 料,又在情理之中。电池Energizer译为“劲量”、Head & shoulders译作“海飞丝”、Smart译为(醒目)等。

开发企业文化作为一种竞争优势【外文翻译】

开发企业文化作为一种竞争优势【外文翻译】

外文翻译Developing corporate culture as a competitive advantageGolnaz Sadri, Brian LeesAbstract Defines the concept of corporate culture and shows how it affects organizations. Corporations that have been successful in establishing and fostering positive cultures are profiled. The authors find that an effective culture must be aligned with employee values and be consistent with the environment in which the organization operates. While it is best to establish a positive culture with which employees can identify during an organization's infancy, it is possible to change an existing culture. Such change is best accomplished by modeling desired behavior at all levels of management and by planning events that foster frequent interaction among cross-functional employees. Concludes that a positive culture can provide a significant competitive advantage.IntroductionCorporate culture has become an important topic in business primarily during the last two decades. While corporate culture is an intangible concept, it clearly plays a meaningful role in corporations, affecting employees and organizational operations throughout a firm. While culture is not the only determinant of business success or failure, a positive culture can be a significant competitive advantage over organizations with which a firm competes. This paper will review how the concept of corporate culture became popular, define corporate culture, show how it affects real-world organizations, and consider ways in which cultural change may be brought about.The rise of corporate culturePeople come from a variety of ethnic backgrounds and cultural heritages, have a variety of personalities, and have been shaped by a diverse range of experiences. When people from diverse backgrounds are brought together in a work environment, these factors will manifest themselves in an infinite variety of ways. Over time a dominant set of norms will emerge, guiding the way in which work is accomplished within the organization. This phenomenon gives rise to the concept of corporate (or organizational) culture. Corporate culture only began to be studied and appreciated in the USA during the last two decades. An influential book entitled Corporate Cultures: The Rites and Rituals of Corporate Life (Deal and Kennedy, 1982) popularized the notion of understanding, establishing, and fostering a positive corporate culture. In less than two decades since the time that this book was published, culture has gone from a relatively unknown concept to being widely recognized as playing a central role in corporate strategy. It is clear that corporate culture has become an important consideration for top management, and therefore it is worthwhile to consider the definition of corporate culture in more detail.Corporate culture definedThere are many ways to define corporate culture because it is influenced heavilyby factors such as the industry in which the company operates, its geographic location, events that have occurred during its history, the personalities of its employees, and th eir patterns of interaction. Some of the formal definitions offered include “ a cognitive framework consisting of attitudes, values, behavioral norms, and expectations”, “the collective thoughts, habits, attitudes, feelings, and patterns of behavior”, and “the pattern of arrangement, material or behavior which has been adopted by a society (corporation, group, or team) as the accepted way of solving problems”. In more useful terms, a positive corporate culture typically encompasses several key elements. First, it is fostered not merely by a mission statement, but by a clear corporate vision, which is a mental picture of the company's desired future. Corporate visions are most effective when clearly communicated by top organizational leaders who exhibit strong values and have dynamic, charismatic personalities. Second, corporate culture is supported by corporate values that are consistent with the purpose of the company and aligned with the personal values of organizational members. Corporate vision and values permeate all levels of the organization and are consistently modeled by top management. Third, employees are highly valued at all levels of the organization (they are often referred to as ``associates'' or ``team members''), and there is extensive employee interaction both within and across functional departments. Fourth, the culture is adaptable, adjusting quickly in response to external conditions and is consistent, treating all employees equally and fairly. Finally, corporate culture is perpetuated in some way, perhaps through tangible symbols, slogans, stories, or ceremonies that highlight corporate values.The aforementioned characteristics of a positive culture cannot exist without widespread employee support. Even within an organization that has a strong overall culture, there will also be many subcultures. These could form for many reasons, perhaps due to functional differences in the organization, or to ethnic or geographic differences among employees. The dominant culture in the organization must be strong enough for members of various subcultures within the organization to identify with, accept and embrace it. This necessarily requires that the values of the dominant culture be aligned with the values of each of the subcultures as well as the personal values of each individual.Categorizing corporate cultureIn order to provide a basis for further analysis, researchers have sought to place corporate cultures into general categories. One such categorization by Sonnenfeld defines four types of cultures: the academy, the club, the baseball team, and the fortress. The academy exposes employees to many different jobs so that they can move around within the organization. The club is very concerned with how people will fit in to the organization. The baseball team consists of talented people or ``stars'' that are rewarded heavily for their accomplishments but who will readily leave the organization when a better opportunity comes along. The fortress is an organization that is concerned mainly with survival.Goffee and Jones offer another categorization, postulating that corporate culture is determined by levels of sociability (a measure of sincere friendliness amongmembers of a community) and solidarity (a community's ability to pursue shared objectives quickly and effectively) and they have developed a survey that can aid in understanding where an organization fits on this scale. The combination of these dimensions gives rise to categories that they have labeled as networked, mercenary, fragmented, and communal. None of these categories is considered to be better than the others. Instead, they serve as a way for management to determine where their culture fits relative to other types of cultures. A networked culture is distinguished by high sociability and low solidarity. Individuals in this type of culture feel like family and socialize often. Promotions are achieved and work is accomplished via informal networks or subcultures within the organization. This corresponds loosely with Sonnenfeld's club category. A mercenary culture has low sociability and high solidarity. Individuals do not interact socially but are united in supporting strategic business objectives. They do not tend to exhibit a strong degree of loyalty, staying only as long as their personal needs continue to be met. This category is similar to Sonnenfeld's baseball team. A fragmented culture has low sociability and low solidarity. People in This type of organization rarely interact. They may work with their office doors shut or from home. This type of culture might be found in a law office or in a company that is downsizing. This category would be similar to Sonnenfeld's fortress.Finally, a communal organization has high sociability and high solidarity. This type of culture is often found in small start-up companies. Members of such an organization work very closely together for long hours and will likely socialize together. They strongly identify with the corporate culture and have a high sense of fairness so that rewards are shared equally. This category is most similar to Sonnenfeld's academy.Categorizing an organization's culture can help managers in several ways. First, categorizing the culture is a precursor to better understanding the pros and cons of that particular type of culture. Second, a clear understanding of their corporate culture can assist managers in getting the correct person-organization match when recruiting for new employees. Third, knowing where a company is right now can assist managers in making decisions about and progress toward cultural change.Benefits of a positive cultureAn organization that is able to maintain a positive culture is likely to enjoy many benefits. When organization members identify with the culture, the work environment tends to be more enjoyable, which boosts morale. This leads to increased levels of teamwork, sharing of information, and openness to new ideas. The resulting increased interaction among employees activates learning and continuous improvement because information flows more freely throughout the organization. Additionally, such a culture helps to attract and retain top employees, evidenced by books such as The 100 Best Companies to Work for in America in which culture is emphasized as a primary determinant of the attractiveness of an employer. When considering corporate culture, it is helpful to consider actual companies that have demonstrated the positive effects that a corporate culture can have.Changing corporate cultureA lot of examples show that a positive culture can make a significant contribution to organizational success while a negative one can lead to failure.While it is easiest to establish a desirable corporate culture during a company's infancy, it has been shown in practice that culture can be changed for the better. In order to go about changing corporate culture, top management must first understand the culture, as it exists today. This can be accomplished by surveying employees on important topics such as their perceptions of and identification with the corporate values and mission, interactions with other employees both inside and outside of their departments, beliefs about whether they are treated fairly, and so on. This will help management to determine the type of culture that exists and to identify areas for change.Once the current culture is understood, management must decide how the culture should be changed in order to improve results. For a culture to be effective, it should be consistent with the business environment in which the organization operates. For example, high technology firms tend to operate better using a culture that encourages sharing of information and that responds quickly to external events. As discussed previously, sharing of information and quick response to external events are fostered by frequent interaction among employees across organizational functions. If management wishes to encourage this type of behavior, they should plan events that foster more interaction among employees such as social events and ceremonies.Management should seek cultural change by modeling the behavior that they wish to encourage, and then reinforce the desired culture by taking steps such as developing visionary statements and/or slogans, celebrating employees' successes or promotions, distributing newsletters and videos that reinforce the culture, recruiting new people into the organization that are compatible with the desired culture, changing dress codes, and so on.ConclusionThis paper defined the term corporate culture and considered the rise in popularity of corporate culture in recent decades. We also looked at two different ways in which corporations can categorize their culture, and considered the benefits of a positive culture to organizations such as Wal-Mart, Southwest Airlines and Hewlett Packard. Finally, we suggested that while a positive culture should be established during a company's infancy, it is possible to change a corporation's culture should it be necessary to do so. Today's globally-competitive business environment has made a positive corporate culture a critical aspect of success for firms. No longer just a competitive advantage, it has become a prerequisite for success, allowing companies to attract and retain top employees. We strongly recommend that organizations of all sizes assess and categorize their corporate cultures, looking in particular at the impact of that culture on employee productivity and morale. Where the culture is serving to lower morale, we recommend that management take proactive steps to change the corporate culture using a top-down approach, establishing a new vision and demonstrating new behavior consistent with the revised vision. Much like national culture, our understanding of corporate culture and its impact on employee behavior is still in its infancy but one thing is for sure, culture can have a tremendouspositive impact on employees. In conclusion, we urge companies to shape their corporate culture to their advantage in improving both their employees' experience of the workplace and, in turn, improving their own profitability.Resource: Journal of Management Development 2010,853-859译文开发企业文化作为一种竞争优势资料来源: 《管理学发展》2010.第853-859页作者:格纳茨·桑德里,布莱恩·李斯摘要定义企业文化的概念,并阐述他是如何影响组织的。

品牌的翻译

品牌的翻译

运用双声与叠韵.使得品牌译名读起来流转自如、情韵悠 长、抑扬起伏、铿锵有力、朗朗上口又富有异国情调!!!
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Ⅲ. 形象美
商品译名直观清楚地陈述其产品特性,使产品形象鲜 明突出,易引起消费者共鸣。
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Mercedes-Benz---奔驰
Mitsubishi—— 三菱
艺术特征:含义明了、图形简洁、形象鲜明、容易记忆, 具有直观形象的表现力。
( 星巴克)
& Lomb( 博士伦)
& Shoulders( 海飞丝)
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独立法(不考虑外文品牌的原来语义和谐音,另辟新径, 完全从市场的传播需要,确定一个脱离母语的品牌 名称。)
●Citibank-----“花旗银行”
●American Express Bank----“美国运通银行”
商品品牌翻译中的失误及其对策
whiteelephantautoparts白象牌汽车配件sprite雪碧logo品牌翻译的方法与技巧直译法纯意译法直接将字面直接译成外文nestle雀巢apple苹果time时代microsoft微软rejoice飘柔apollo阿波罗logo谐音法音译法根据外文品牌的读音赋予谐音转换成品牌名pepsicola百事可乐audi奥迪walmart沃尔玛nokia诺基亚nike耐克haagendazs哈根达斯simens西门子logo多重法根据当地文化一个品牌采取多重转换方式来满足不同市场需要
1.片面的字面翻译造成语用损失
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我国生产的“蓝天牌”牙膏,译名分别为Blue Sky,殊不知在美国英语中,Blue Sky常用来指 “企业收不回来的债券”。
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2.违反消费心理引起语用失误
我国出口试销美国的“轻身减肥片”原译名:obesity reduce in Tablets,在以减肥为时尚的美国却无人问津。 市场调查发现问题出在商品的英译名违反购买者的消费心理。 美国人看了药名产生的联想是此药专为Obese people(肥胖 症者)服用的。改译为Slimming pills就打开了销路。

服饰设计外文翻译文献

服饰设计外文翻译文献

服饰设计外文翻译文献本文旨在介绍关于服饰设计的外文翻译文献,下面列举了几篇相关的文献供参考。

文献一标题: "The Influence of Culture on Fashion Design" "The Influence of Culture on Fashion Design"作者: John Smith John Smith摘要:本文探讨了文化对时装设计的影响。

研究表明,各个文化背景的差异对时装设计有着重要的影响。

通过分析不同文化背景下的时尚元素和审美观念,本研究提出了在跨文化时装设计中应考虑的因素。

本文探讨了文化对时装设计的影响。

研究表明,各个文化背景的差异对时装设计有着重要的影响。

通过分析不同文化背景下的时尚元素和审美观念,本研究提出了在跨文化时装设计中应考虑的因素。

文献二标题: "The Role of Sustainability in Fashion Design" "The Role of Sustainability in Fashion Design"作者: Emily Johnson Emily Johnson摘要:本文探讨了可持续性在时尚设计中的重要性。

时尚产业对环境和社会产生了重大影响,因此,越来越多的时尚品牌开始关注可持续性。

本文介绍了一些可持续时尚设计的实践案例,并讨论了如何将可持续性原则融入到时装设计的各个方面。

本文探讨了可持续性在时尚设计中的重要性。

时尚产业对环境和社会产生了重大影响,因此,越来越多的时尚品牌开始关注可持续性。

本文介绍了一些可持续时尚设计的实践案例,并讨论了如何将可持续性原则融入到时装设计的各个方面。

文献三标题: "The Role of Technology in Fashion Design" "The Role of Technology in Fashion Design"作者: Laura Martinez Laura Martinez摘要:本文研究了科技在时尚设计中的作用。

品牌营销战略参考文献和英文文献翻译

品牌营销战略参考文献和英文文献翻译

品牌营销战略参考文献和英文文献翻译目录外文文献翻译..............................................................................................1 摘要..........................................................................................................1 1. 品牌战略内涵与其功能意义.......................................................................2 2. 我国企业品牌发展概况..............................................................................3 2.1 国内品牌与国外品牌相比存在着很大的差距............................................3 2.2 品牌发展缺乏整体规划. (4)2.3 产品质量低下品牌个性不足缺乏创新和发展能力.....................................4 2.4 品牌发展策略存在误区. (4)3. 企业品牌策略选择..................................................................................6 3.1 树立正确的品牌竞争意识着力提高品牌竞争能力......................................6 3.2 搞好品牌定位培养消费者品牌偏好与品牌忠诚.. (6)3.3 遵循品牌设计规律注重品牌形象..........................................................7 3.4 采用多种品牌竞争手段 (7)外文翻译原文………………………………………………………………………………….9 1. Brand strategy with its connotations of the functional significance ……………………10 2. Enterprise Brand DevelopmentOverview ………………………………….……......…..12 2.1 Domestic brands and foreign brands……………………………………….………..…..13 2.2 Brand DevelopmentPlanning ………………………………………………..…..……..13 2.3 Overall lack of poor product quality……………………………………………....…….14 2.4 Brand Development Strategy existMistakes …………………………………..……….14 3. Brand strategy to establish a correctchoice ………………………………………….….16 3.1 Brand awareness of competition and strive to improve the competitiveness ……..…....16 3.2 Brands improve brand positioning…………………………………………………..…..16 3.3 Followed branding laws……………………………………………………………..…..17 3.4 Oriented brand image using a variety of means to brand competition ……………..…..17 参考文献1 年小山. 品牌学M . 北京: 清华大学出版社,2003,5 . 2 余鑫炎. 品牌战略与决策M . 卲林: 东北财经大学出版社,2001,7 . 3 梅清豪. 市场本文源自六维论文网M .北京: 电子工业出版社,2001,156. 4 叶海名. 品牌创新与品牌营销M .石家庄: 河北人民出版社出版社,2001 . 5 翁向东. 本土品牌战略M . 杭州: 浙江人民出版社,2002,30-46 . 6 刘威. 品牌战略管理实战手册M . 广州: 广东经济出版社,2004 . 7 广州本田汽车有限兯司EB/OL. 8 李辉. 2007年度家用电器品牌分析J . 2007:3 9 宋永高. 品牌战略与管理M . 浙江大学出版社,2003,73-75. 10 巨天中. 品牌战略M .北京: 中国经济出版社,2004,231. 11 Charles W,Lamb Joseph,Hair Carl McDaniel,Marketing M 6th〃ed〃北京大学出版社,2001 .12 Hart. C.W〃L Heskett J.L &Sasser W. E. Jr. The Profitable Art of Service Recovery〃M . Harvard Business PreviewJ . 1990 :1 48-56 . 13 Kate Bertrand,Marketers Discover What Quality Pearly MeanM . Business Marketin6 1987 4:58-72 . 14 苻国群〃消费者行为学M . 武汉: 武汉大学出版枉,2000 52 . 15 菲利普-科特勒〃市场营销原理M 〃北京:清华大学出版社,2001 . 16 刘强军. 商场现代化J . 2005 2453: 23-27 . 17 美理查德.L. 霍德霍森.市场营销学M 〃上海: 上海人民出版社2004M 〃1326 品牌营销战略参考文献和英文文献翻译摘要从品牌战略的内涵与其功能意义入手探讨了品牌战略在企业营销中的作用。

零售企业营销策略中英文对照外文翻译文献

零售企业营销策略中英文对照外文翻译文献

零售企业营销策略中英文对照外文翻译文献随着全球化的不断深入,零售企业的营销策略已经成为企业成功的关键因素之一。

在国内外,许多学者和实践者都在探讨零售企业的营销策略,并取得了一定的研究成果。

本文将介绍零售企业营销策略的中英文对照,并对外文翻译文献进行探讨。

一、零售企业营销策略的概念及重要性零售企业营销策略是指通过制定和实施一系列营销策略,来满足消费者需求,实现企业目标的过程。

这些策略包括产品定位、价格策略、促销活动、渠道策略等。

在日益竞争激烈的市场环境中,零售企业的营销策略对于企业的生存和发展至关重要。

二、零售企业营销策略的中英文对照1、产品定位(Product Positioning):产品定位是指企业在目标消费者心中为产品建立独特形象的过程。

在英文中,产品定位通常被称为Product Positioning。

2、价格策略(Pricing Strategy):价格策略是指企业根据市场需求和竞争状况制定价格的过程。

在英文中,价格策略通常被称为Pricing Strategy。

3、促销活动(Promotion):促销活动是指企业通过各种手段刺激消费者购买的过程。

在英文中,促销活动通常被称为Promotion。

4、渠道策略(Channel Strategy):渠道策略是指企业选择合适的销售渠道,以实现产品的销售目标的过程。

在英文中,渠道策略通常被称为Channel Strategy。

三、外文翻译文献探讨在研究零售企业营销策略的过程中,许多学者和实践者都进行了深入的研究和探讨。

其中,最具代表性的外文翻译文献包括《零售管理》、《营销管理》等。

这些文献提供了对零售企业营销策略的全面分析和实践经验的总结,对于指导企业制定和实施有效的营销策略具有重要意义。

《零售管理》一书主要介绍了零售企业的组织结构、运营管理、营销策略等方面的内容。

其中,在营销策略方面,作者提出了产品定位、价格策略、促销活动、渠道策略等关键因素,并详细阐述了这些因素对于企业成功的重要性。

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毕业论文(设计)外文翻译题目:浅谈企业的品牌文化建设一、外文原文标题:Brand and Culture原文:This is the first paper in a series of papers presenting a new model of branding, one which draws upon the anthropological concept of culture. It replaces the old model of a separate and controllable external brand image—an image created to speak to consumers on behalf of a company. In the new model, a company’s true values replace the external brand image. We call this new model Brand Culture.Not that we’re looking for a proprietary term we can put a little after and ―monetize‖ or anything.Actually, we developed this model while trying to solve our clients’problems and, at the same time,while trying to figure out where this branding thing was going next.The theory of Brand Culture was partly informed by Douglas Ai tkin’s groundbreaking book, The Culling of Brands, which was one of the first books to apply anthropological theory in understanding how certain brands work—sp ecifically ―cult‖brands. While cults, by definition,are experienced by the few, every human experiences culture, and every brand has the potential to develop a brand culture. Our concept of Brand Culture has also been informed and validated by the recent writings of some really bright anthropologists who are studying the way consumers use brands. And we love reading really bright anthropologists.Brand can promote the growth of the enterprise.In the new economical time, marketing of the biggest problems is how to establish and manage an enterprise's brand. Whoever has a strong brand, the competition will have the capital. In the future marketing is the brand name of the war . Corporate brand from unknown to develop into a famous brand's success is a small to large process, and the enterprise is the growth of the life corresponding brand strategy and the focus has different characteristics.Brands occupy an increasingly prominent place in the managerial mind as well as the cultural landscape. Recent research has shown that brands are interpreted or read in multiple ways, prompting an important and illuminating reconsideration of how branding "works," and shifting attention from brand producers toward consumer response to understand how branding interacts with consumers to create meaning. Largely missing from these insights, however, is an awareness of basic cultural processes that affect contemporary brands, including historical context, ethical concerns, and consumer response. Neither managers nor consumers completely control branding processes - cultural codes constrain how brands work to produce meaning. Brand Culture places brands firmly within culture to look at the complex underpinnings of branding processes.Reputation as a business and information mix, brand enterprises and their products are included in the technology, quality, function, culture, position in the market triggered the formation of information systems, enterprises and their products are identifiable symbol system. Brand, through its connotations of market information system and its response evaluation, which would affect market behavior, have the benefit of the enterprise's behavior preferences, and further distinguishes it from the tangible elements of existence, become a functioning and intangible assets, the realization of their economic value and promote the growth of enterprises. A large number of Chinese and foreign enterprises of practice has proved that the brand is promoting enterprise growth is the main driving force Brand and the contribution of enterprises with the growth of enterprises have been expanding.Brand in the eyes of customers and products is a sign that represents product quality, characteristics, represent enterprises operating characteristics, quality management requirements. Customers through brand can be very easy to identify and access the information, Access to information means that the costs of customer acquisition cost decreased. And the customer familiar with the brand or higher brand visibility, and also allows customers to purchase coefficient decreased risk perception. These two aspects of the comprehensive role of the customers buy psychological and purchase behavior of a certain brand products Preferences, thus broadening theproduct sales.Brand culture is a company culture in which employees "live" to brand values, to solve problems and make decisions internally, and deliver a branded customer experience externally. It is the desired outcome of an internal branding, internal brand alignment or employee engagement effort that elevates beyond communications and training.A brand in order to be relevant to consumers and sustainable over time must operate much like a culture. A company must develop an ethos and a worldview that it absolutely believes in and then should act in accordance with it. Everything the company does - every product or service it offers, every public statement, advertisement, website, internal policy, memo and business decisions it makes must be congruent with that ethos and worldview.If the brand truly represents an ethos and worldview which are attractive to consumers they will embrace the brand as part of their own identity. They will join the brand culture and participate in that culture as a way of expressing to the rest of the world who they are and what they believe in.An Apple iPod stands for a courageous, inventive, rebellious and audacious approach to life that make every iPod user proud and give a badge of identity. It stands for the Apple way of doing things. Harley Davidson has created a rich body of meaning and embodied that meaning in a system of symbols and actions. This is the Harley Davidson brand culture - belief, passion, excitement, commitment etc.When consumer connects to a brand that aligns with their most deeply held beliefs and sense of identity they are essentially both pulling that brand into their own world and entering the world of that brand. The vital thing for any organization is to create this world for its consumers. The value of brand culture comes out when companies give its consumers something to believe in.Branding is usually associated with expensive advertising campaigns that draw a rosy picture of a given company. A picture that customers cannot always recognize when dealing with the company in real life.At Brand culture we introduce a more sustainable way of branding. We believe that for a brand to be credible and profitable in the long run, there must be consistency and authenticity in every contact interface –from advertising to store decoration, employee behavior as well as product quali ty. That’s why we help companies identify and remove the gap between what they communicate and what their customers really experience.The key to successful branding lies in building a company culture where every employee feels and acts like a passionate brand ambassadors. We have created processes that help companies involve their employees in the brand building process.The process of globalization is demolishing the physical boundaries of the markets and fuelling competition. Now brands, result-oriented strategies and efficient customer relationship management play important role in achieving an edge over competitors.The charisma of brands cannot be undermined. Some of the brands have become, more or less, generic names. These include Fridge, Xerox, Insta, Dalda, Surf and Lifebouy. People use these brand names whenever they wish to refer to the actual product even if it carries a different name. The word Fridge has become a synonymous for refrigerator, Xerox for photocopy, Insta for cellular phone, Dalda for vanaspati ghee, Surf for washing powder and Lifebouy for carbolic soap.The brand names assure the users of certain quality standards and consistency of quality. At the same time brand loyalty generates repeated sales for the brand owners. The confidence level is often to the extent that consumers even do not know the name of manufacturer or the country where these products have been manufactured.Pakistan cannot remain immune to the process of globalization. While it has to open the domestic market for the overseas suppliers, Pakistani manufacturers not only have to face the competition in the local market but also compete in the international markets. The biggest challenge is for textiles and clothing sector which has been surviving due to quota regime. Some of the Pakistani brands from the sector of Bonanza and ChenOne have become known in global markets and many more namesare passing through the process of recognition. Therefore, by following the foot prints of the leaders, other can also let the world known about their products.Exploring the influence of branding in various industries is very interesting story. While most of the marketeers accept the importance of brands in case of consumables and durables, even agricultural inputs are being sold with brand names. The two examples are Engro and Kissan urea. As a majority equity participant in FFC-Jordan, Fauji Fertilizer preferred to use Kissan name due to its widespread brand loyalty.In the consumer market the strength of brand names like Surf, Dalda, Robin Blue are the stalwarts. In urban areas and in case of brand-loyal customers the insistence of a consumer to buy a product is understandable. However, in rural areas where people cannot read names, they identify the products by logos. Some of these brands are often considered as generic names. This kind of brand loyalty or association has been developed due to extensive and intensive promotion by the companies. The impact of brand influence can also be gauged by lubricants buying habit of drivers. Now they insist of a brand rather than compromising on unbranded lubricant.As regards consumer durables, some of the brand names have been imprinted in the memories of users. These are Philips, IBM, Intel, Sony and Waves. Consumers consider these names as industry bench mark. Interestingly, Intel was initially a microprocessor manufacturing company but the name Intel was, and still, considered to be the bench mark for evaluating the performance of a computer. The other interesting example is Sony. They are the pioneer of flat screen technology. Wega is their flat screen model but when people go to purchase a television, they insist on Sony although they mean a flat screen model produced by the Sony company.TeeJays was a pioneer of branding in ready made garments. While it has not been able to get wide recognition at local and domestic level, some other manufacturers have attained such recognition. Two such names are Bonanza and ChenOne. While Bonanza became known due to its massive marketing and promotion, ChenOne has become a pick of those who love to buy world known brands. The manufacturers of ChenOne based their marketing strategy on four Ps, product, price, promotion and placement.They realized the importance of product and produced items which were, in way, inferior to the some of the world leading brands. They also priced the products accordingly and used massive advertising to let the buyers know about the products. However, they were very choosy about placement. They decided to sell the product from their own outlets which are located in the areas where the residents have the corresponding purchasing power. Lately the ChenOne products have been made available in the Middle East market. To conclude, it is enough to say that unless local manufacturers establish the credibility of their products by branding them they may not be able to compete in the local market and maintain their share in the global markets.Branding today must be a company-wide initiative based on core values. A company’s performanc e in the marketplace usually starts with the internal dynamics of the company. And if a brand sprouts from an internal truth rather than a manufactured image, then the brand starts here as well—on the inside of a company.Executive leadership must realize that branding is no longer the province of the marketing department. Companies must build a brand culture that is rooted in the heart of the organization and radiates outward as a natural set of actions based on a common ethos and worldview. This brand culture will not only unite employees in a common purpose and vision, it will also attract consumers and engage them in a deep and meaningful relationship that transcends the traditional marketing goals of brand preference and brand loyalty.出处:Spenser E. Ante. Brand and Culture:Business Week[J].2009,9(28),PP.56-67二、翻译文章标题:品牌与文化译文:这是一个系列文章的第一篇介绍一种品牌的新模式,这种新模型利用了文化人类学。

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