新媒体外文文献翻译最新译文3000多字

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Edward Riedl, Bernd Skiera
Abstract
This research examines the impact of online display advertising and paid search advertising relative to offline advertising on firm performance and firm value. Using proprietary data on annualized advertising expenditures for 1651 firms spanning seven years, we document that both display advertising and paid search advertising exhibit positive effects on firm performance (measured by sales) and firm value (measured by Tobin's q). Paid search advertising has a more positive effect on sales than offline advertising, consistent with paid search being closest to the actual purchase decision and having enhanced targeting abilities. Display advertising exhibits a relatively more positive effect on Tobin's q than offline advertising, consistent with its long-term effects. The findings suggest heterogeneous economic benefits across different types of advertising, with direct implications for managers in analyzing advertising effectiveness and external stakeholders in assessing firm performance.

3000字外文文献翻译

Human resource management more and more drives value. Under the system that economy development mature, human resource management have to match with fight for the best resources performance, if out of character of the manpower form couples out of character of post, the resources performance be not only whole have no, or may have already exhaust. The modern economy stress balance and match, promote management effect and quality vegetable, will human resource match with make balance, the inside contents establish human resource structure frame, use most in keeping with of the person do most in keeping with of work. Establishment human resource terrace is a communication and collection information way, everyone's opinion comprehensive, give up short take long, with processing salary, welfare etc. affair. Human resource most the importance be a training and development, human resource development have to investment at training aspect, with exertive each stratum of human resource potential.人力资源管理愈来愈被重视。

新媒体社交媒体营销外文翻译文献

文献信息：文献标题：Elements of strategic social media marketing: A holisticframework（战略性社交媒体营销要素：整体框架）国外作者：Reto Felix, Philipp A. Rauschnabel, Chris Hinsch文献出处：《Journal of Business Research》,2017,70:118-126字数统计：英文2632单词，15772字符；中文5082汉字外文文献：Elements of strategic social media marketing:A holistic frameworkAbstract Social media marketing is an integral element of 21st-centurybusiness. However, the literature on social media marketing remains fragmented and is focused on isolated issues, such as tactics for effective communication. The curr research a pplies a qualitative,theory-building a pproach to develop a strategicfour generic dimensions of strategic social m ediaframework that articulatesmarketing. Social m edia marketing scope represents a range from defenders t osocial media marketing c ulture includes the poles o f conservatism andexplorers,modernism, social media marketing structures fall between hierarchies and networks, and social m edia marketing governance ranges from autocracy t o anarchy. B yproviding a comprehensive conceptualization and definition of strategic social mediaframework that e xpands beyondmarketing, this r esearch proposes a n integrativeextant marketing theory. Furthermore, managers can apply the framework to position their organizations on these four dimensions in a manner consistent with their overa corporate mission and objectives.Key Words: Strategic social media marketing; Holistic framework; New media; Definition of social media marketing; Social media strategy; Digital marketing1.IntroductionUnderstanding the role of social media in the context of marketing is critical f both researchers and managers (e.g. Fong & Burton, 2008; Kumar, Bezawada,2013). Most existingRishika, Janakiraman, &Kannan, 2016; Schultz &Peltier,studies focus on particular issues, such as purchase behavior (Chang, Yu, & Lu, 2015 Kumar et al., 2016; Relling, S chnittka, Sattler, & Johnen, 2016), customerrelationshipmanagement (Trainor, Andzulis, R app, & Agnihotri, 2014), brandmanagement (Asmussen, Harridge-March, Occhiocupo, & Farquhar, 2013),innovation management (Gebauer, Füller, & Pezzei, 2013), and employee recruitment (Sivertzen,Nilsen, & Olafsen, 2013). W hile these s tudies detail advancements inspecialized areas of social media knowledge in a marketing and management context, extant literature does not provide a holistic framework for social media marketing the strategic level. This deficiency is surprising because both academics (Labrecqu vor dem Esche, Mathwick, Novak, & Hofacker, 2013; Schultz & Peltier, 2013; Yadav& Pavlou, 2014) and practitioners (Divol, Edelman, & Sarrazin, 2012) acknowledge new complexities accompanying these m edia and agree that r esearch into s ocialsocial mediastrategicmedia marketing n eeds to be reconceptualized.In a nutshell,marketing remains an untested user interaction paradigm (Naylor, Lamberton, & West, 2012) with little published academic research.The current article aims to address this theoretically and managerially importan research gap by exploring the following two research questions: How is strategicsocial m edia marketing defined a nd conceptualized? and What factors demandsocial media marketing s trategy?an organization'swhen constructingconsiderationSpecifically, this research attempts to define the continua on which critical strat social media marketing decisions lie and to integrate them into a holistic framewor2.MethodologyThe study e mployed a two-stage r esearch design. The first stage c onsisted ofin-depth interviews (Fontana & Frey, 1998) with seven European social m ediaexperience in socialmarketing e xperts who possess b oth national and internationalmedia marketing. Following a purposive sampling strategy (Lincoln & Guba, 1985), experts were recruited according to their job position, experience, and direct expos to social media marketing practices in real industry settings. Seeking depth rather tthe qualitative research breadth, the sample size instage 1 was commensurate with-richparadigm in which relatively small sample sizes are used to generate informationdata (Patton, 1990). A ll informants agreed t o audiotape the i nterviews (between 25and 60 min), which resulted in 117 pages of double-spaced, verbatim transcripts.procedure c onsisted of a qualitative The second stage o f the data collectionsurvey of social media marketing experts (Miles & Huberman, 1994). The survey data were used not for confirmation but as a new and independent qualitative data source with a focus on triangulating the information obtained through the depth interview and online surveys (Jack & Raturi, 2006). Respondents came from a list of 265 social media marketing experts identified through managerially focused magazines, through interviews in business magazines, or because they were mentioned as knowledgeable and experienced experts in personal communication. E-mail requests were sent to allexperts along with two reminders, which resulted in 50 returned surveys (responserate = 18.9%). Seven data s ets w ere eliminated because o f incomplete a nswers orbecause social media marketing plays a minor role in the respondents' daily work. The final sample consisted of 43 respondents (age: m = 37; SD = 9 years; 74% male; 88% European) with various backgrounds in their position and/or industry.Table 1 Summary of stage 2 informantsCompany size (employees)< 50 14 (32.6%)50–99 5 (11.6%)100–499 3 (7.0%)500–9998 (18.6%)1000–4999 6 (14.0%)5000–10,000 3 (7.0%)>10,000 4 (9.3%)Social media marketing experience (in years)Average: 6.4 years1–2 5 (11.6%)3–519 (44.2%)6–812 (27.9%)9 and more 7 (16.3%)Percentage of working time associated with social mediaAverage: 52.8%<20%7 (16.3%)20–3910 (23.3%)40–59 6 (14.0%)60–79 3 (7%)80–10015 (34.9%)n/a 2 (4.7%)Age (in years)Average: 37< 30 9 (20.9%)30–3919 (44.2%)40–4910 (23.3%)50–59 5 (11.6%)Self-reported experience in…Means aSocial Media 6.2Social Media Marketing 5.9Marketing 5.7Customer Management 4.7Advertising 5.2Communications/Public Relations 5.6How much experience do you have in the following areas? (1 = no experience at aall; 7 = highly experienced)Respondents were asked to (1) define s ocial m edia marketing, (2) discussself-selected best and worst practice examples of social media marketing, (3) discusssuccess factors and success m etrics, and (4) d escribe their ideal implementation of-selected organization. The survey employed commonsocial media marketing in a self& Mcbride, 2009), s uch as addingdesign t echniques (Smyth, Dillman, C hristian,large answer fields and asking respondents to be as specific as possible, to increrespondents' motivation to provide detail.3.FindingsFig. 1 shows the strategic social media marketing framework with its four central dimensions.Fig. 1. Strategic social media marketing framework.social media marketing s cope addresses the question whether companies First,use social media marketing p redominantly for communication with one or a fewstakeholders or comprehensively (both externally and internally) as a genuine tool f Defenders use social m edia marketing primarily a s a one-waycollaboration.rather than communication tool t o entertainconsumers or to inform stakeholders,groups. Conversely, explorers are interested in integrating employees or communityan authentic social media marketing c ollaborationinteractionsbased on reciprocalwith many different stakeholders such as clients, employees, suppliers, andgovernment agents.between conservatism, Second, social media marketing c ulture distinguishesapproach t owhich is represented by an encapsulated,mass advertisingtraditional,social media marketing, and modernism, which is characterized by a more permeable,open, and flexible social media marketing culture.Third, social media marketing structure addresses the organization and departmentalization of the social media marketing assignment in the firm. Hierarchieapproach with a clearly defined s ocial media marketingstand for a centralizedassignee. Networks represent an organizational structure in which all employees are responsible for social media marketing, and thus a dedicated social media marketing director is no longer necessary.Fourth, social m edia marketing governance refers t o how the companyestablishes rules and guidelines and how social media marketing responsibilities ar controlledin the company. The extreme position of autocracy describes a situationwith precise regulations on who in the company is allowed to interact on social medi platforms. Conversely, anarchy represents a situation without any such rules o rguidelines.The current research focuses on the extremes of each continuum, but, in general, firms likely choose (intentionally or unintentionally) a position somewhere between the poles o n each dimension. For example, c ompanies need to find a position onsocial media marketing g overnance t hat neither regulates everything employees areallowed to say nor leaves t hem without any guidance on which to base their responsibilitiesor behaviors. Fig. 1 also suggests that d ecisions on social mediageneral(e.g.,marketing s hould i ndeed b e guided by the firm's internalinfluencersvision, mission, corporate goals, corporate culture, available resources), which in should be in line with external i nfluencers (e.g., communities, competition,government regulation).4.Discussion and implicationsThis research addresses the absence of a holistic framework for strategicsocialreveals several approachesmedia marketing. A review of the marketing l iteraturemanagementregarding aspects of strategicmarketing s uch as customer r elationship(e.g., Payne & Frow, 2005) or marketing organization (Workman, Homburg, &Gruner, 1998). However, few articles address the strategic marketing of social mediaand none put forth a holistic social media marketing framework.While extant research related to social media marketing investigates social media mostly through the lens of a particular marketing problem (e.g. Fong & Burton, 2008; Kim & Ko, 2012; Kumar et al., 2016) or witha focus on customers and communication (e.g., Chang et al., 2015), t he findings of this s tudy reveal f ourgeneral social m edia marketing dimensions that firms should address when conceptualizing or managing their strategic social media marketing approach. As the findings indicate, these dimensions are interdependent, and companies should strive position themselves on the four dimensions in an integrated way, rather than treati them as isolated, independent decisions.4.1.A new definition of social media marketingThis research suggests a new definition of social media marketing: Social media-functional concept that uses social media marketing is an interdisciplinary and cross(often in combination with other communications channels) to achieve organizational goals by creating value for stakeholders. On a strategic level, social media marketi covers an organization's decisions about social media marketing scope (ranging from defenders to explorers), culture (ranging from conservatism to modernism), structurto networks), and governance (ranging from autocracy to(ranging from hierarchiesanarchy).4.2.Implications for social media marketing scopeSocial media marketing provides firms with an opportunity to use social media to with customers, employees, communities, and other stakeholdersbuild relationships(i.e., when they act as explorers). At the same time, firms may choose to view soci media as simply another c ommunications channel through which they can pushwhen they act as defenders). Though potentiallyinformation to customers (i.e.,approach does nottake advantage of thefor c ustomers, the defendercreating valuewithin the network of customers,opportunitiesfor building r eal relationshipsemployees, interest groups, the government, and other stakeholders, as propagated by modern relationshipmarketing (Payne & Frow, 2005). However, the explorerstakeholders in theapproach may require firms to redefine the role o f differentorganization.4.3.Implications for social media marketing cultureManagement and organizational behavior researchers (Zheng et al., 2010) as well as marketing academics and practitioners (Deshpandé & Farley, 2004) recognize the-financial firmimportance of culture and organizational climate for financial and non performance. The current research emphasizes t he importance o f culture for s ocialmedia marketing. Companies engaging in social media marketing must acknowledgethat stakeholders can take control of and manipulate social media content (Labrecque et al., 2013). Thus, companies should contemplate t he trade-offs between anwhich provides m oreencapsulated social media marketing c ulture (conservatism),connect a nd engageand consumers' desire tobrand constructs,control of importantwith firms displaying a more progressive, permeable culture (i.e., modernism).4.4.Implications for social media marketing structureExtant marketing research investigates how the elements of marketing should besuch as formalization,characteristics,organized a ccording t o a firm's structural(e.g.,Olson, S later, & Hult, 2005). C onsequently,and specializationcentralization,and organizationalsocial m edia marketing structure focuses on responsibilitiesemployed to configure social media marketing. Whereas social mediahierarchiesmarketing governance pertains to who can or should say what in social media, social media marketing structure focuses on who has the responsibility to post and interac in these m edia. A s the informants emphasized, firms s hould i ntegratesocial mediaThe informantsmarketing in a way that fits with their o verarching strategies.or asets o f benefits that c an emerge from either a hierarchicalidentifieddifferentnetworked structure. However, they recommended that specific decisions about who has the responsibility to interact online with customers, activists, and pundits sh be formally discussed in the organization.4.5.Implications for social media marketing governancerights, and Research on governance usually investigates the structures,responsibilities among different employees in organizations (Freeman & Reed, 1983).-discipline of corporate governance, Information technology (IT) governance, as a subfocuses on specifying which individuals have the responsibility for making decisions on the use of IT (Brown & Grant, 2005). Whereas IT governance traditionally focuses-related purposes, social media can potentially be used byon the use of IT for work(company-granted a ccess) or unofficial(personalany employee in either officialaccount access) capacities. Therefore, the applicability of IT governance research is limited u se when extended to social m edia marketing. S ome companies havedeveloped the idea of educating e mployees about the personal a nd firm-related consequences of “undesirable” social media use through social mediamarketingguidelines andguidelines(Linke &Zerfass, 2013). However, building social mediagovernance into a holistic framework for social media marketing is novel. The role o employees in promoting brands in other contexts (and thus increasing firm value) is(Morhart, Herzog, & Tomczak, 2009).well represented in the academic literatureWeber Shandwick's (2014) recent s tudy reveals a n emerging movement termed“employee activism” in which one-third of the surveyed respondentswere socialwho defended their employers and advocated f or the firm online.media activistsEmployees may be better able to understand the needs of consumers and products that can meet those needs, and they can effectively advocate and promote the firm online. These technologiesall employees to champion the firm. Forhave allowed v irtuallyNordstrom has policies to provide e mployees withexample, the fashion r etailerof social media marketingThis applicationand expectations.knowledge, d irection,governance can increase the overall social media marketing s uccess o f the firm (Nordstrom, 2015; Ross, Beath, & Sebastian, 2015).5.Limitations and future researchavenues forfruitfulSeveral limitationsto the current study s uggest p otentiallyapproach r eveals four d imensions o f strategicfuture research. First, the qualitativesocial media marketing and identifies the extreme points of each dimension. However,of differentto identify the impactfuture researchcould u se quantitative approachespositions on each of these dimensions. Research could also investigate the influenc of each dimension on firm or social media marketing p erformance. For example,studies could try to isolate the effect of each dimension on outcome variables such2013) or, m ore specifically,newconsumer–brand engagement (Schultz & Peltier,is themedia brand engagement (Hennig-Thurau et al., 2010). A second limitationover-representation of European (especially German) informants in the analyses. Prior research d iscusses cross-cultural differences in consumers' u se of social m edia(Bernoff &Li, 2008; World Newsmedia Network, 2015). Furthermore, extantresearch advocates for the adaptation of social media content to the targeted cult(Tsai &Men, 2012). T hus, caution should b ebased on differingconsumer profilestaken in extrapolating the framework to other cultural contexts. Future research mig determine w hether aspects of cultural or economic context add dimensions t o theapproaches r egardingproposed f ramework or whether they simply require differentthe four dimensions.Future research should also investigate how other characteristics, such as cultur the type of firm (e.g., B2B vs. B2C), the industry (e.g., financial services vs.“idealadvertising agency), company size, or available resources, influence a firm'ssocial media marketing. Finally,position” on each of the dimensions o f strategic-regulatory bodies (e.g.,future research could investigate the role of regulatory or selfon social media marketing g overnance a ndWord of Mouth Marketing A ssociation)how firms can create v alue and form core competencies b y superseding t hese requirements.6.ConclusionThis study sheds light on the complex nature of strategic social media marketingis too complex to be managed and executedSocial m edia marketing, in practice,-functional collaborations exclusively by a single individual or even department. Crossalong the four d imensions o f social media marketing a re necessary to successfullynavigate in this dynamic arena.中文译文：战略性社交媒体营销要素：整体框架摘要社交媒体营销是21世纪商业的一个组成部分。

学术英语(社科)Unit7原文及翻译

Introduction: Understanding the Impact of New Media on Journalism1 Journalism is undergoing a fundamental transformation, perhaps the most fundamental since the rise of the penny press of the mid-nineteenth century. In the twilight of the twentieth century and the dawn of the twenty-first, there is emerging a new form of journalism whose distinguishing qualities include ubiquitous news, global information access, instantaneous reporting, interactivity, multimedia content, and extreme content customization. In many ways this represents a potentially better form of journalism because it can reengage an increasingly distrusting and alienated audience. At the same time, it presents many threats to the most cherished values and standards of journalism. Authenticity of content, source verification, accuracy, and truth are all suspect in a medium where anyone with a computer and a modem can become a global publisher.2 Although the easy answer is to point to the Internet, the reasons for the transformation of journalism are neither simple nor one-dimensional. Rather, a set of economic, regulatory, and cultural forces, driven by technological change, are converging to bring about a massive shift in the nature of journalism at the millennium.3 The growth of a global economic system, made up of regional economies, all interrelated (witness the volatility in the world’s financial markets in August 1998, when drops in Asian and Russian markets triggered drops in European and U.S. markets) and increasingly controlled by multinational corporate behemoths, has rewritten the financial basis for journalism and the media in general. Deregulation, as outlined in the U.S. Telecommunications Act of 1996 and 简介：了解新媒体对新闻的影响1新闻业正在发生根本性的变革，或许最根本的变革是十九世纪中叶的便士报的崛起。

会展经济与管理新媒体营销中英文对照外文翻译文献

中英文对照外文翻译(文档含英文原文和中文翻译)原文:Social Networks and the Mass MediaAdapted from: American Political Science Review,2013,107 Social networking has become an every day part of many peoples’lives as evidenced by the huge user communities that are part of such networks. Facebook, for instance, was launched in February 2004 by Harvard under graduate students as an alternative to the traditional stud ent directory. In tended to cover interaction between students at Univers ities–Facebook enables individuals to encourage others to joint he network through personalized invitations, friend suggestions and creation of s pecialist groups. Today Facebook has a much wider take up than just s tudents at Universities. Facebook now facilitates interaction between peo ple by enabling sharing of common interests, videos, photos, etc. Sharin g,Some social network populations exceed that of large countries, for example Facebook has over 350 million active users. Social networks provide a platform to facilitate communication and sharing between user s, in an attempt to model real world relationships. Social networking ha s now also extended beyond communication between friends; for instanc e, there are a multitude of integrated applications that are now made a vailable by companies, and some organizations use such applications, su ch as Facebook Connect to authenticate users, i.e. they utilize a user’s Facebook credentials rather than requiring their own credentials(for exa mple the Calgary Airport authority in Canada uses Facebook Connect t o grant access to their WiFi network). This ability to combine a third party application (including its local data) to authenticate users demonstr ates the service-oriented approach to application development. By tappin g into an already established community around a particular social netw orking platform, it becomes unnecessary to require users to register wit h another system.The structure of a Social Network is essentially the formation of a dynamic virtual community with inherent trust relationships between fri ends. (Szmigin et al., 2006) identify how “relationship marketing” (ident ified as referring to all marketing activities directed towards establishing, developing and maintaining successful relational exchanges) can be faci litated through the creation of on-line communities. They discuss how o n-line communities can be used to facilitate interaction and bonding bet ween consumer and suppliers, intermediate parties and specific brands. Similarly, (Shang et al., 2006) discuss how brand loyalty can be achiev ed through various types of participation within an on-line community (focusing specifically on the –a virtual communit y of Apple users in Taiwan). They discuss the motivation for individua ls to promote certain products during on-line discussions (active particip ants) and for others to remain as lurkers (passive participants). The stu dy particularly focuses on the incentives for participants to contribute to an on-line community, based on the perception of a user about the de gree of relevance towards an object that is being discussed –focusing on both cognitive (based on utilitarian motive –concerning an individua l’s concern with the cost and benefit of the product or service) and aff ective (a value-expressive motive, referring to an individual’s interest in enhancing self-esteem or self-conception, and in projecting his/her desir ed self-image to the outside world through the product or service).It is also useful to understand, for instance, how such trust relation ships could be used as a foundation for resource (information, hardware, services) sharing. Cloud environments are typically focused on providin g low level abstractions of computation or storage. Using this approach, a user is able to access (on a short term/rental basis) capacity that is owned by another person or business (generally over a computer networ k). In this way, a user is able to outsource their computing requirement s to an external provider –limiting their exposure to cost associated wi th systems management and energy use. Computation and Storage Clou ds are complementary and act as building blocks from which applicatio ns can be constructed –using a technique referred to as “mash-ups”. S torage Clouds are gaining popularity as a way to extend the capabilities of storage-limited devices such as phones and other mobile devices. T here are also a multitude of commercial Cloud providers such as Amaz on EC2/S3, Google App Engine, Microsoft Azure and also many smalle r scale open clouds like Nimbus (Keahey et al., 2005) and Eucalyptus (Nurmi et al., 2009). A Social Cloud (Chard et al., 2010), on the other hand, is a scalable computing model in which virtualized resources co ntributed by users are dynamically provisioned amongst a group of frie nds. Compensation for use is optional as users may wish to share reso urces without payment, and rather utilize a reciprocal credit (or barter) based model (Andrade et al., 2010). In both cases guarantees are offered through customized Service Level Agreements (SLAs). In a sense, thi s model is similar to a Volunteer computing approach, in that friends s hare resources amongst each other for little to no gain. However, unlik e Volunteer models there is inherent accountability through existing frie nd relationships. There are a number of advantages gained by leveraging social networking platforms, in particular one can gain access to hug e user communities, can exploit existing user management functionality, and rely on pre-established trust formed through existing user relations hips.The author thanks Jason Barabas, Jon Bendor, Ted Carmines, Jami e Druckman, John Freeman, Matt Golder, Sona Golder, Bob Jackson, J enn Jerit, Kris Kanthak, ?zge Kemahlioglu, Charlotte Lee, Valerie Marti nez-Ebers, Adam Meirowitz, Scott McClurg, Will Moore, Chris Reenock, John Ryan, John Scholz, Jake Shapiro, Anand Sokhey, Jeff Staton, Ji m Stimson, Craig Volden, Jon Woon, four very helpful anonymous revi ewers, and audiences in the Political Economics group at the Stanford GSB, Political Science departments at FSU, GWU, Minnesota, Pittsburg h, and Stony Brook, and the Frank Batten School of Leadership and P ublic Policy at UVa. Any errors are my own.To begin to answer this question, I develop a novel theory of aggr egate opinion and behavior. The theory considers a heterogeneous popul ation of individuals who must choose between dichotomous options. It incorporates the interaction of social network and mass media influences at the individual level; its key assumption is that the more others cho ose an option, the more one is apt to do so as well. In the theory, soc ial networks provide information about the choices of those to whom o ne is directly connected, while the mass media provide (potentially bias ed) information about aggregate choice. The theory thus applies to, for example, voter turnout and political participation (e.g., Gerber, Green, a nd Larimer 2008; Lake and Huckfeldt 1998; Leighley 1990; McClurg 2 003; Rolfe 2012), opinion formation (e.g., Beck et al. 2002; Druckman and Nelson 2003; Huckfeldt and Sprague 1995), protests and social mo vements (e.g., Kuran 1991; McAdam 1986), and vote choice (e.g., Beck 2002; Huckfeldt and Sprague 1995; Ryan 2011; Sinclair 2012; Sokhey and McClurg 2012).Three major results follow from this theory. All hold both when in dividuals treat media identically and when they select into media in lin e with their preferences. First, understanding the aggregate effect of the media generally requires considering social networks, because social ne twork structure conditions media's impact. For example, additional weak ties between disparate social groups can reduce the media's impact, an d the presence of unified social elites can eliminate the media's impact entirely in the aggregate. Empirical studies of media impact that fail t o consider media's interaction with social networks risk bias.Second, social networks can amplify the effect of media bias. A bi ased media outlet that systematically under- or over-reports a poll of th e population by a only a few percentage points can in some cases swi ng aggregate behavior (e.g., turnout or vote share) by over 20% in eith er direction due to positive feedback within the network. Open advocate s in the media can have a yet larger impact even when not comparativ ely influential. Unified social elites limit the effect of media bias, but c annot fully counter an advocate; selection into media, made ever easier with technological improvements, tends to enhance the effect of bias. We should therefore expect media bias to become increasingly importan t to aggregate behavior.AN INDIVIDUAL-LEVEL THEORY OF AGGREGATE BEHAVIO RThough I present a theory of aggregate behavior, it is based on in dividual-level assumptions informed by what we know about the way p ersonal characteristics, social networks, and mass media outlets affect in dividual behavior. Due to this, the theory can explore the effect that int eractions between these three factors have on aggregate behavior. As i mportantly, the theory incorporates empirically realistic heterogeneity acr oss people in allthree factors.Additionally, people are exposed to individuals, groups, and organiz ations external to one's network, such as mass media outlets, state prop aganda, national party leaders, NGOs, and Internet personalities. These outlets can provide information, increasing political knowledge.As this small sampling of large literatures indicates, individuals' de cisions are influenced by the information they obtain via both local soc ial networks and global media outlets. However, comparatively little sch olarship has explored the three-way interaction of personal characteristic s, social networks, and mediaIn the second type of bias, which I call advocacy, the media outle t simply states a preference for one of the options, providing no inform ation about aggregate support. The goal in advocacy is to sway the po pulation toward one or the other option. As before, many goals could u nderlie advocacy beyond just the support of a biased media outlet's pre ferences. Advocacy represents the editorial power of the media or the i nfluence of an external actor; it is a "one-message" model (Zaller 1992).I focus my analysis in all three sections on the case in which one of the two options is the status quo, and all individuals begin supporti ng it. For political participation and social movements, the status quo is not participating. For opinion formation and vote choice, the status qu o is an existing option such as a policy in place or an incumbent politician, as contrasted with an alternative such as a newly proposed policy or a challenging politician. For simplicity I subsequently call participat ion the option that is not the status quo; this should be read as "partici pation in support of" the option that is not the status quo in contexts o ther than political participation or social movements.In my analysis I simultaneously vary media strength, network prop erties, media bias, and, for two outlets, the strength of the L outlet. Th ough I keep my analysis to two biased outlets, it can easily be extende d to multiple biased outlets with the addition of parameters dictating th eir relative strengths.二、译文社交网络和大众传媒社交网络已经成为许多人每天生活的一部分，即证明了这种网络庞大的用户群体。

广告学社交媒体中英文对照外文翻译文献

中英文对照外文翻译(文档含英文原文和中文翻译)译文：并非所有的社交媒体都是一样的：分析机构的社交媒体使用模式摘要：本研究探讨了组织如何使用消费者关系管理的各种社会媒体应用。

基于聚类分析，317组织的社会化媒体的使用模式进行了分析。

六组的组织是按照主要用于各组织的社交媒体应用程序鉴定网络版。

在第一个三组主要采用了单一的社会媒体应用（博客，社交网站，或者部件）与客户沟通，而第二三组采用多种社会化媒体应用中，常与可视化，虚拟化，或交互式协作的重点。

此外，该研究发现，企业倾向于使用具有双向通信能力社交媒体应用。

这些发现的理论和实际意义将在本文讨论。

1.引言随着业务的新媒体技术的日益显着性，企业现在正在使用新媒体工具战略性地以满足其不同客户的需求。

越来越多的新媒体技术提供能力，使企业能够为他们的客户提供了许多新的服务。

认识到使用新媒体技术的优势，大多数企业已经开始在诸如内部结构，管理系统，以及广告和公共关系（帕夫利克，2007）地区实施新的媒体技术。

特别是，组织已经以惊人的速度（巴恩斯，2008年）通过社交媒体，因为社交媒体使客户能够轻松地与组织沟通回来，来回跟上最新在它的新闻，使投诉和查询，访问聊天功能。

针对这一行业发展趋势的研究人员进行了有关社交媒体应用的研究。

首先，研究一个流（例如，格鲁尼格，2009年，卡普兰和Haenlein，2010; Lietsala和Sirkkunen，2008年，菲利普斯，2009年）已要求基于其独特的特点脱科幻NE 的应用是什么样的社会媒体和分类类型的社交媒体应用。

另一个研究流（例如，布里奥内斯等，2011; Rybalko和塞尔策，2010;沃特斯等人，2009年）取得了相当大的努力，以确定哪些类型的社交媒体应用组织正在使用以及如何特定网络C型社会媒体有助于创造和维护组织与顾客之间的关系。

但是，因为它不能提供企业的整体社交媒体使用率巳燕鸥的图片该项研究的限制范围内，特别是企业如何采用以组合的方式不同的社交媒体应用程序，以最大限度的协同效应。

外文翻译范例

外文翻译范例在全球化日益加深的今天，外文翻译的重要性愈发凸显。

无论是学术研究、商务交流，还是文化传播，准确而流畅的外文翻译都起着至关重要的桥梁作用。

下面为大家呈现几个不同领域的外文翻译范例，以帮助大家更好地理解和掌握外文翻译的技巧与要点。

一、科技文献翻译原文：The development of artificial intelligence has brought about revolutionary changes in various fields, such as healthcare, finance, and transportation译文：人工智能的发展给医疗保健、金融和交通运输等各个领域带来了革命性的变化。

在这个范例中，翻译准确地传达了原文的意思。

“artificial intelligence”被准确地翻译为“人工智能”，“revolutionary changes”翻译为“革命性的变化”，“various fields”翻译为“各个领域”，用词准确、贴切，符合科技文献严谨、客观的语言风格。

二、商务合同翻译原文：This Agreement shall commence on the effective date and shall continue in force for a period of five years, unless earlier terminated in accordance with the provisions herein译文：本协议自生效日起生效，并将持续有效五年，除非根据本协议的规定提前终止。

商务合同的翻译需要格外注重准确性和专业性。

上述译文中，“commence”翻译为“生效”，“in force”翻译为“有效”，“terminated”翻译为“终止”，清晰准确地表达了合同条款的含义，避免了可能的歧义。

三、文学作品翻译原文：The sun was setting, painting the sky with hues of orange and pink, as if nature were a master artist at work译文：太阳正在西沉，把天空涂成了橙色和粉色，仿佛大自然是一位正在创作的艺术大师。

论文外文文献翻译

论文外文文献翻译以下是一篇700字左右的论文外文文献翻译：原文题目：The Role of Artificial Intelligence in Medical Diagnostics: A Review原文摘要：In recent years, there has been a growing interest in the use of artificial intelligence (AI) in the field of medical diagnostics. AI has the potential to improve the accuracy and efficiency of medical diagnoses, and can assist clinicians in making treatment decisions. This review aims to examine the current state of AI in medical diagnostics, and discuss its advantages and limitations. Several AI techniques, including machine learning, deep learning, and natural language processing, are discussed. The review also examines the ethical and legal considerations associated with the use of AI in medical diagnostics. Overall, AI has shown great promise in improving medical diagnostics, but further research is needed to fully understand its potential benefits and limitations.AI在医学诊断中发挥的作用：一项综述近年来，人工智能（AI）在医学诊断领域的应用引起了越来越多的关注。

英文文献小短文(原文加汉语翻译)

A fern that hyperaccumulates arsenic(这是题目，百度一下就能找到原文好，原文还有表格，我没有翻译)A hardy, versatile, fast-growing plant helps to remove arsenic from contaminated soilsContamination of soils with arsenic,which is both toxic and carcinogenic, is widespread1. We have discovered that the fern Pteris vittata (brake fern) is extremely efficient in extracting arsenic from soils and translocating it into its above-ground biomass. This plant —which, to our knowledge, is the first known arsenic hyperaccumulator as well as the first fern found to function as a hyperaccumulator— has many attributes that recommend it for use in the remediation of arsenic-contaminated soils.We found brake fern growing on a site in Central Florida contaminated with chromated copper arsenate (Fig. 1a). We analysed the fronds of plants growing at the site for total arsenic by graphite furnace atomic absorption spectroscopy. Of 14 plant species studied, only brake fern contained large amounts of arsenic (As;3,280–4,980 p.p.m.). We collected additional samples of the plant and soil from the contaminated site (18.8–1,603 p.p.m. As) and from an uncontaminated site (0.47–7.56 p.p.m. As). Brake fern extracted arsenic efficiently from these soils into its fronds: plants growing in the contaminated site contained 1,442–7,526p.p.m. Arsenic and those from the uncontaminated site contained 11.8–64.0 p.p.m. These values are much higher than those typical for plants growing in normal soil, which contain less than 3.6 p.p.m. of arsenic3.As well as being tolerant of soils containing as much as 1,500 p.p.m. arsenic, brake fern can take up large amounts of arsenic into its fronds in a short time (Table 1). Arsenic concentration in fern fronds growing in soil spiked with 1,500 p.p.m. Arsenic increased from 29.4 to 15,861 p.p.m. in two weeks. Furthermore, in the same period, ferns growing in soil containing just 6 p.p.m. arsenic accumulated 755 p.p.m. Of arsenic in their fronds, a 126-fold enrichment. Arsenic concentrations in brake fern roots were less than 303 p.p.m., whereas those in the fronds reached 7,234 p.p.m.Addition of 100 p.p.m. Arsenic significantly stimulated fern growth, resulting in a 40% increase in biomass compared with the control (data not shown).After 20 weeks of growth, the plant was extracted using a solution of 1:1 methanol:water to speciate arsenic with high-performance liquid chromatography–inductively coupled plasma mass spectrometry. Almostall arsenic was present as relatively toxic inorganic forms, with little detectable organoarsenic species4. The concentration of As(III) was greater in the fronds (47–80%) than in the roots (8.3%), indicating that As(V) was converted to As(III) during translocation from roots to fronds.As well as removing arsenic from soils containing different concentrations of arsenic (Table 1), brake fern also removed arsenic from soils containing different arsenic species (Fig. 1c). Again, up to 93% of the arsenic was concentrated in the fronds. Although both FeAsO4 and AlAsO4 are relatively insoluble in soils1, brake fern hyperaccumulated arsenic derived from these compounds into its fronds (136–315 p.p.m.)at levels 3–6 times greater than soil arsenic.Brake fern is mesophytic and is widely cultivated and naturalized in many areas with a mild climate. In the United States, it grows in the southeast and in southern California5. The fern is versatile and hardy, and prefers sunny (unusual for a fern) and alkaline environments (where arsenic is more available). It has considerable biomass, and is fast growing, easy to propagate,and perennial.We believe this is the first report of significant arsenic hyperaccumulationby an unmanipulated plant. Brake fern has great potential to remediate arsenic-contaminated soils cheaply and could also aid studies of arsenic uptake, translocation, speciation, distribution and detoxification in plants. *Soil and Water Science Department, University ofFlorida, Gainesville, Florida 32611-0290, USAe-mail: lqma@†Cooperative Extension Service, University ofGeorgia, Terrell County, PO Box 271, Dawson,Georgia 31742, USA‡Department of Chemistry & SoutheastEnvironmental Research Center, FloridaInternational University, Miami, Florida 33199,1. Nriagu, J. O. (ed.) Arsenic in the Environment Part 1: Cyclingand Characterization (Wiley, New York, 1994).2. Brooks, R. R. (ed.) Plants that Hyperaccumulate Heavy Metals (Cambridge Univ. Press, 1998).3. Kabata-Pendias, A. & Pendias, H. in Trace Elements in Soils and Plants 203–209 (CRC, Boca Raton, 1991).4. Koch, I., Wang, L., Ollson, C. A., Cullen, W. R. & Reimer, K. J. Envir. Sci. Technol. 34, 22–26 (2000).5. Jones, D. L. Encyclopaedia of Ferns (Lothian, Melbourne, 1987).积累砷的蕨类植物耐寒，多功能，生长快速的植物，有助于从污染土壤去除砷有毒和致癌的土壤砷污染是非常广泛的。

影视视频剪辑外文文献翻译字数3000多

文献出处：Belk R. The research of film and television video editing techniques [J]. Qualitative Market Research: an international journal, 2016, 8(2): 132-141.原文The research of film and television video editing techniquesBelk RAbstractVideo clip is indispensable to film and television art important constituent, it to a certain extent determines the communication effect of film and television works. Practice has proved that the mature video editing skills can make the film and television work more attractive. Based on the video clip of the related theory on the basis of further explore some video clips of the skill. The film and television works has become the general public today to be reckoned with in the important part of everyday life. The French cafes in Paris the limier brothers showed his first film and television works, marked the film was born. But when the limier brothers just use camera to record what happened around, didn't realize the important role of clips, until the American director Griffith began using a shooting like a shot, video, film and television works of clip art to be the contact and appreciate the people gradually. Keywords: Video; Processing; Skills1 Related conceptsImages, sound clip is the film in a special and meaningful way selection, decomposition and elsewhere, eventually forming a coherent and fluent, clear theme, artistic appeal. A film and television works even if the previous play, shoot picture and sound collection, cast strong enough, but the lack of the improvement of the video clip and packaging, late also unable to produce the desired viewing effect.At the beginning of video clips in general to go through several steps: cutting, after cutting, fine cut, etc. Early shear is based on directed intention, according to a shooting like a copy of material; After cut is on the basis of the initial shear and supplement for the perfection of video for further; Fine cut is editing personnel on double shear repeated verification, examination, on the basis of combining with the special means, the montage and be more careful cutting, after repeated revision,editing video editing techniques to achieve director intention, film narrative and the performance of the double goals are met. Excellent editors on a large number of video clips, to try to grasp the integral style of the works, the intention of the director, programs, etc. Also need to make the film and television works stand out, independent, excellent editing procedure and editing skills. Each clip like people blink an eye, editing final purpose is to meet the needs of the audience and recognition, to work, and ultimately achieve good communication effect.2 TechniquesEditing style, namely video director will own intentions to video editors, editors to show the overall understanding and grasp, eventually form their overall creation idea of editing. Some film let the audience the feeling of being in style is not consistent, most part of the reason is the preparation and editing personnel without a unified style. For the realization of the expected effect of viewing and editing personnel in contact with the video material, must first communicate and choreographer, read a script or a shooting copy, and then choose according to the information unified editing style and make it through the whole video. Clip the ultimate goal is to reach and program, structure, content and form of the theme of the harmonious unification, editors must not throw director intention and the creation of the work itself, according to the individual subjective intend to arrange video editing style along with the gender. Editing style is roughly divided into the following categories:2.1 The traditional editing styleTraditional clip is the basic editing video clip gimmick, it is able to prevent confusion between the lens, the role is to ensure a smooth film and television video conversion, 2 it is to make the film and television works the paragraph is clear, the plot of the narrative time, place, detail and clear, avoid to cause the audience confused feeling. The traditional editing style in film editing the proportion is very big, is also must master the basic skills of editing staff.To grasp the traditional editing style need to pay attention to the following three aspects: first of all, the linkage between the lens directions cannot be disorder. Figurewalking direction, the spatial relationship between the characters to maintain consistent, not because of the transformation of the lens for the confused feeling. For example, to show the characters from the lotus pond in the park to seat walk over and characters from the picture on the left side of the entering and going out from the right, then the next shot, the characters go to the seat should be still from the left into the picture. Otherwise it will let the audience feel a sense of confusion on the vision, especially pursuit, fighting like a lens, etc. Secondly, the change in the lens to be coordinated. The so-called "dynamic", "static", is the video similar material group together in rhythm, form a kind of coordination and stable effect. "Move" is commonly used in the characters' bodies, for example, when a man slapped the other one, a lens is held up his hand before, a camera and then have a fan up continuous motion. Or in the push, pull, shake, shift, with movement in the lens, when the lens is from one scene to another scene, the camera can be directly to switch to another direction, speed close pan, forming a natural transition. "Static" are often used during transitions, two relatively stationary camera can bring harmony on the look and feel, at the same time let the audience play imagination and thinking.Finally, omit unnecessary process.In real life, the audience is familiar with the actions or behaviors, in the process of video editing often can be omitted, only a few key action, form a compact clips of coherent effects.2.2 Creative editing styleCreative editing style aims to improve the effect of the film and television works of art to watch, it including the dramatic effect clip, clip and rhythmic effect clip expressive effect. Dramatic effect clip by changing the lens of sequence and timing, change the lens clips point, finally let each shot in the plot, the best time to bring the audience find everything new and fresh, an Epiphany viewing experience. For example, in the film, props repeatedly appears in the film, it is one of the important props will film to a climax. Expressive effect clip that the whole narrative content in fluency, on the basis of editing combined with their own experience, bold selection, focus some analogy to the lens, so that the film formation reveals a certain meaning, apply colors to a drawing atmosphere effects of editing style. Rhythmic effect cliprefers to the lens time is short, the scene changes quickly, let the audience feel urgency, the effect of psychological tension, this clip effect can't disorderly use, must be combined with the overall structure and the characteristics of the plot to use film.3 The video clips rhythmsThe tempo of the film and television works determines its overall style, some works even depend entirely on the rhythm to infect the audience's emotions and feelings. Editing rhythm to organize various art elements in film and television works effectively, depicting the hero image, create a special artistic conception, and effectively push forward the plot. As a result, the overall pace of film and television works to shape the overall artistic atmosphere, improve work grade having the effect that cannot ignore, even decided to work success or failure, rhythm grasp accurate or not is one of the important factors in evaluating a film and television works.The rhythm of the film can be divided into external and internal rhythm. Internal rhythm refers to the contradiction of the plot itself, the change of character psychology and external rhythm refers to the switching speed of the camera itself, often by means of montage, lenses and other sports. In addition to film the overall rhythm, each fragment, the scene also should have certain rhythm, according to the characters' emotions, drama, image to master, in order to ensure that every scene express a complete and accurate. Editing rhythm of film and television works by images of your body movement rhythm, the rate of movement of the camera, the influence of the length of the lens, transform, the narrative plot and characters in the film and television works mood changes speed to a certain extent, determines the merits of the work.To shoot early photographers according to the director of the creation intention, the overall style of the works and their own professional choice taking lens, on the basis of this formed the basis of film rhythm. After the completion of the preliminary work, editing personnel according to the development of the plot "priorities" to form a relaxation of the editing work. Whether editing rhythm, the rhythm of the film as a whole, or the rhythm of the film passage between, to ensure that all of the appropriateness of rhythm, can't let the audience psychological uncomfortable feeling.But throughout the whole style doesn't mean the whole works always keep the same pace, but rather too appropriately according to the plot unfolds, the formation of the climax of paragraphs and low, as the pace of the film to the audience emotional fermentation. In the film "run Lola run", the three paragraphs respectively represents the three end of Laura and her boyfriend, revealed many details of life often different events that can lead to the final result. Film, Laura lost money trying to save for her boyfriend, she's crazy running lens to form a kind of fast rhythm, at the same time, the roller run of the camera and turn the lens in the clock on the wall switch, enhanced narrative sense of urgency and the sense of crisis, the audience cannot help for the lens the fate of the characters in the tension and fear.4 Apply video clip gimmickPicture like a clever can form special effects, editing, from the video images through a meaningful set, you can generate a constant association and the feeling that find everything new and fresh. The film inception, for example, in like manner, using a variety of means of montage, bring the audience into a special trip to fantasy. Like a smooth way between lens, lens the link between the way there are a lot of, for example, fade, fade in, dissolve, to make use of the means to make smooth and natural to switch between scenes, also can be used directly to the switch, jump cut, flashbacks, make the film forming a rhythm quickly, strong impact effect.译文影视视频剪辑技巧研究Belk R摘要视频剪辑是电影、电视艺术不可或缺的重要组成部分，它在一定程度上决定了影视作品的传播效果。

外刊英文原版+中文翻译

We’ll Be Less Touchy-feely and Far More Wary我们会更少地跟别人身体接触，并且会在这方面会更加谨慎In a normal week, it’s hard to count how many times we come into physical contact with other human beings. For many who are isolating alone, this may be the longest period in their lives that they’ve gone without skin-to-skin human touch. We are faced with the problem of how to return to reality. How do we interact with each other in a way that keeps us safe but doesn’t offend?在平时正常的一周里，很难计算出我们与其他人进行身体接触的次数。

对于许多独自隔离的人来说，这可能是他们一生中最长的一段没有与人有肌肤接触的时间。

我们面临着一个如何回归现实的问题：我们如何以确保我们安全但又不会冒犯到别人的方式来相互交流？Now we’re preparing to go out into the world once more, all those ingrained habits may have to stop. The double-air-kiss beloved by the French could be a vector of transmission; the warm embrace of Italians greeting potentially too dangerous.现在，我们正准备再次进入到这个世界（回归到正常生活），所有那些根深蒂固的习惯可能都必须停止。

关于新媒体的外文文献

关于新媒体的外文文献一、介绍新媒体是指利用互联网、移动通信和数字技术等新兴传媒平台进行信息传播和交流的一种媒介形式。

本文将从不同角度分析新媒体的影响以及其在当代社会中的重要性。

二、新媒体与传统媒体的对比2.1 媒体形式•传统媒体：报纸、电视、广播等传统形式的媒体主要通过纸质或电信号等载体传递信息。

•新媒体：互联网、社交媒体等新媒体形式更加多样和灵活，可以通过文字、图片、视频等多种方式传达信息。

2.2 参与度和互动性•传统媒体：传统媒体主要是单向传播，受众通常是被动接受信息。

•新媒体：新媒体具有较高的参与度和互动性，用户可以主动参与、评论和分享内容，为信息传播带来了更多可能。

2.3 时效性和传播范围•传统媒体：传统媒体的传播速度较慢，而且受到地域限制，覆盖范围有限。

•新媒体：新媒体的传播速度快，可以实时更新信息，并且覆盖范围广泛，能够同时影响全球各地的用户。

2.4 营销和广告方式•传统媒体：传统媒体主要通过平面广告、电视广告等方式进行营销，价格相对较高。

•新媒体：新媒体为企业提供了更多的营销渠道，可以通过社交媒体营销、influencer合作等方式与目标受众更直接地互动。

三、新媒体的影响及重要性3.1 新闻报道和信息传播•新媒体使新闻报道更加立体、多元化，也提供了更多渠道让信息传播均衡和公正。

•新媒体的广泛传播范围让新闻更加及时，可以迅速传播重要的社会事件和突发新闻。

3.2 社交互动和人际关系•社交媒体成为人们日常生活中重要的交流工具，强化了人与人之间的联系和互动。

•通过新媒体平台，人们可以轻松地分享生活、观点和意见，拓宽了社交圈子的范围。

3.3 商业和市场发展•新媒体为企业提供了更多的广告和营销渠道，能够更准确地定位目标受众。

•通过新媒体平台，企业可以主动与消费者进行互动，了解他们的需求和反馈，进一步提升产品和服务。

3.4 政治和社会变革•新媒体在政治和社会领域的影响也日益显著，为民众表达意见和参与公共事务提供了便利途径。

网络广告在线横幅广告外文文献翻译中英文

外文文献翻译原文及译文（节选重点翻译）标题：网络广告在线横幅广告外文文献翻译中英文文献出处：Computers & Industrial Engineering，Volume 140, February 2020, 1-12译文字数：3500 多字（节选重点翻译）英文Online banner advertisement scheduling for advertising effectivenessGwang Kim，Ilkyeong MoonAbstractOnline banner advertisement, which is the most common form of web advertising, has been catching the eye of online users. It is important for online advertisement publishers to schedule advertisements to maximize advertising effectiveness, which might be a predicted value of click-through-rate. In this paper, a model for online banner advertisement scheduling is presented with a new objective function that includes four factors that influence advertising effectiveness. This paper provides not only the integer programming model with a non-linear objective function but also two heuristic and meta-heuristic algorithms as solution methodologies. Most importantly, the heuristic approach finds good lower and upper bounds by using the properties of the model. Both randomly generated and standard data sets are used to test the problem. The results indicate the effectiveness and efficiency of these algorithms tested in small and large data sets. In standard data sets, the results show the advertisement specification for which tighter bounds are obtained by using the heuristic approach.Keywords：Onlineadvertising，Scheduling，Optimization，Advertising effectiveness，Heuristics，Tabu searchAdvertising is used as one of the critical methods for companies to promote products or services. There are various platforms to present advertisements, such as broadcast, print, or the Internet. With a drastic increase in online communities, many companies have been paying attention to web advertising. Besides, web advertising has more traceability, cost effectiveness, reach, and interactivity than other platforms, so the popularity of web advertising can be expected to continue (Manik, Gupta, Jha, & Govindan, 2016). According to an Internet Advertising Bureau (IAB) report, Internet advertising revenue in the United States was $107.5 billion in 2018, an increase of 22% over that of 2017 (IAB, 2019).With the advent of web advertising, studies related to web advertising have also been initiated. Yager (1997) provided a framework for the competitive selection of advertisements on websites. Novak and Hoffman (1997) described terminologies for web advertising measurements and proposed exposure and interactivity metrics. McCandless (1998) explained the growth of web advertising and proposed a web advertising model for effectiveness.Banner advertisement is the most common form of web advertising.A banner is a rectangular advertisement positioned on either side, the top,or the bottom of a web page, such as an Internet article or an online shopping mall. An image in the banner advertisement is clickable and linked to a target web page (McCandless, 1998). By being displayed on a web page, the banner attracts the attention of online users who are interested in the associated products or services.Online advertisement publishers must construct layout partitioning and allocate the appropriate banners at the respective time (Gopal et al., 2011, Marszałkowski and Drozdowski, 2013). A well-constructed advertisement scheduling increases advertising effectiveness. As the advertising effectiveness increases, advertisers’ requests to displ ay their advertisements on the website increase. As the requests increase, online advertisement publishers can ultimately generate more revenue. Hence, online banner advertisement scheduling is important to online advertisement publishers. Online banner advertisement scheduling for online advertisement publishers is addressed in this paper.Many researchers have focused on online banner advertisement scheduling from an optimization perspective and provided mathematical models. Adler, Gibbons, and Matias (2002) presented a MAXSPACE problem of banner advertisement scheduling; it was designed to find a banner advertisement scheduling solution in which space utilization of various-sized advertisements is maximized for specific time slots. Fig.1 shows an example solution to the problem (left) and a webpage for thesecond slot (right) in the planning period. In this example, there are six advertisements (A to F) and ten slots in the planning period. The advertisements each have different lengths, and they can be assigned to each slot. Each slot can be represented as a period of five, ten, thirty minutes, etc. A banner is positioned on the left side of the webpage in this figure.Recent research on online banner advertisement scheduling has focused on maximizing advertising effectiveness, not space utilization by introducing new objective functions (Ahmed and Kwon, 2014, Deane and Agarwal, 2012a, Gamzu and Koutsopoulos, 2018, Ji et al., 2015). They pointed out that maximizing the space utilization of time slots does not directly translate to maximizing online advertisement publishers’ revenue. To measure advertising effectiveness, they primarily took into account the timing when an advertisement is displayed and the number of advertisement exposures. However, they have not extensively investigated the effects of other advertisements displayed in the same time slot. Vakratsas and Ambler, 1999, Henningsen et al., 2011, and Agyei (2018) explicitly demonstrated that the effectiveness of any given advertisement might be diminished by the presence of competing advertisements sorted and served together with it in a time slot. Such interference could play an important role, in particular, when the companies display advertisements of their own products or services onthe website. Therefore, this study develops an online banner advertisement scheduling model that includes critical factors, such as competitive advertising interference, influencing advertising e ffectiveness.In this paper, there are four distinct features for the online banner advertisement scheduling considering advertising effectiveness. First, to reflect the advertising effectiveness, this model considers factors that influence the tendency for online users to click on the advertisement. The tendency is defined as the click-through-rate (CTR) (Gatarski, 2002, Lin and Chen, 2009). This study proposes four factors that influence the CTR: exposure, involvement, size, and competition. In addition to these factors, the contents of an advertisement—features such as message, colour, and animation—also influence the CTR. However, because online advertisement publishers cannot control content features, we do not consider them in this study. That is, this study assumes that the contents of each advertisement are fixed before the banner advertisement scheduling is implemented. Second, this study is the first one in which competition (competitive advertising interference) is introduced to online banner advertisement scheduling. We call the interference ‘competition’. Competition is defined as the extent of interference when consumers are exposed to advertisements for competing products, and negatively affects advertising effectiveness (Henningsen et al., 2011, Vakratsas and Ambler, 1999). When more advertisements are displayed together in a time slot,each advertisement is adversely affected by the high competition within the slot. So, it may not be optimal to display as many advertisements as possible in a time slot.Third, this study presents an expected CTR function as an objective function of the model. The function is based on the consideration of the four factors mentioned above. This study uses the demand function developed by Corstjens and Doyle (1981) to devise the expected CTR function. Each component of the demand function can be interpreted as one of the factors of the expected CTR function. Fourth, variable display frequency bounds proposed by Deane and Agarwal (2012b) are used in our model. The constraint not only reflects a realistic situation but also offers more flexibility for online advertisement publishers to display advertisements in the model compared to fixed display frequency.With a given set of advertisements, online advertisement publishers have to design a well-constructed advertisement scheduling model to maximize advertising e ffectiveness. It leads to an increase in advertisers’ requests to display their advertisements on the website and ultimately generates more revenue for online advertisement publishers. The model that considers the four features, as mentioned above, can be represented as an integer programming model with the non-linear objective function. This study not only develops an online banner advertisement scheduling model to maximize advertising effectiveness but also provides a solutionmethodology to obtain good solutions effectively and efficiently: a heuristic approach to finding good lower and upper bounds of the model. To compare the result from large data sets, we also present a hybrid tabu search.The findings of the problem, the heuristic approach, and the analysis have managerial insights for online advertisement publishers. First, it is not always good to assign as many advertisements as possible in a slot. As the number of advertisements displayed in a time slot increases, the advertising effectiveness decreases due to competitive advertising interference. The decrease in the expected CTR caused by the competition might be similar to the value of 1-(LB/UB) in the numerical experiments. Publishers’ revenues can be affected along with decreasing CTR value. The gap ranged between about 2% and 23% in the experiments using the standard data sets. The gap was more likely to be larger as the number of advertisements and time slots in a planning horizon increased. It would be more important to assign advertisements in terms of advertising effectiveness as the number of advertisements and time slots increases.Second, it is important to consider not only the degree to involvement but also the degree to competition. Publishers often try to prioritize and assign the advertisements that have a high degree to involvement in a specific time slot. However, the results showed that theyalso need to consider the degree to competition between the advertisement in the slot. Thus, it is recommended that publishers choose and schedule advertisements in such a way as to retain the positive effect caused by the degree to involvement while avoiding the negative effect caused by the degree to competition.Third, unlike in the MAXSPACE problem, the expected CTR values from two groups of advertisements assigned in a slot can be different even when the total lengths of the two groups are the same. Also, the value can be different depending on what slot the group is assigned to. Therefore, it is recommended that publishers analyze the solutions obtained by the heuristic approach, and then identify groups of advertisements that will maximize the degree to involvement and minimize the degree to competition. This approach will help publishers understand the logic of how to assign advertisements and maximize advertising effectiveness.Most of the previous literature had only provided the MAXSPACE models, whose the results were not always able to support advertising effectiveness. For online advertisement publishers, it is important to display advertisements in such a way as to maximize advertising effectiveness, which is directly connected to revenue. The study described in this paper contributes to the literature on online banner advertisement scheduling models by considering critical factors influencing advertisingeffectiveness. In particular, the degree to competition has not yet been discussed extensively in online banner advertisement scheduling. The expected CTR function was devised to reflect the factors in the model and used as an objective function of the model in terms of measuring advertising effectiveness.The model devised is an integer programming model with a non- linear and non-convex objective function. In a large data set, whose optimal solution can be intractable to compute, the problem might not be solved directly using optimization solvers within a reasonable time. The heuristic approach presented provided good quality solutions efficiently, even for large data sets of non-convex and non-linear models through the properties of the objective function. Also, the problem was tested with standardized conditions for advertisements and time slots, and the heuristic approach performed efficiently and effectively in the standard data sets. The model and its heuristic approach are expected to be useful for online advertisement publishers when they choose and schedule advertisements over a planning horizon while considering advertising effectiveness.Some challenging considerations are relevant for future research. The model proposed and described in this paper featured a variety of parameters related to the effectiveness of advertising. The value of the parameters should be accurately estimated and be dynamically reflectedin the model over time. If the model takes additional factors of advertising effectiveness or publisher strategies, such as volume-based pricing discounts, into account, then publishers might find more realistic solutions. Publishers also should consider pricing to maximize their revenue (Ahmed & Kwon, 2012). Scheduling problems can be extended by combining a pricing problem to obtain integrated optimal solutions. Recently, some research has proposed online advertisement allocation based on online resource allocation problems (Legrain and Jaillet, 2016, Mehta, 2013). Requests for advertisement allocation arrive online, and online advertisement publishers immediately need to make decisions whether to display the advertisement or not. The decisions are irrevocable. Online banner advertisement scheduling problem where decisions are online and irrevocable can also be future research. In addition to proposing a realistic model, solution methodologies to obtain good solutions should be considered. Although the proposed heuristic approach described in this paper was efficient, it included binary integer programming, which is an NP-hard problem. Therefore, for future research, other methodologies, such as linearization techniques or meta- heuristics, should be considered to solve the non-linear model efficiently.中文在线横幅广告调度以提高广告效果Gwang Kim，Ilkyeong Moon摘要在线横幅广告是网络广告的最常见形式，一直引起在线用户的关注。

新媒体外文文献翻译最新译文3000多字

新媒体外文文献翻译最新译文3000多字文献出处：Kahn R. Commercial space interior design in the new media art [J]. New media & society, 2021,12(5): 87-97. 原文Commercial space interior design in the new media artKahn RAbstractNew media technology and new media art has brought new development spacefor contemporary art and design, it not only changed the traditional form of artistic creation and performance, has also created a new aesthetic experience. The emergence of new media art is broke through the limitation of thetraditional information media, in a whole new way of communication and interaction, constantly enrich people's visual experience, affects the way people live. New media art, in succession on the basis of some concept and characteristics of traditional art, the use of new technology and new artistic thinking innovation and make it with a new artistic features and aesthetic rule. The rapid development of new media and new media art, make its and other new technology, new art, gradually permeated every aspect of People's Daily life, also in different field of art and design has a considerable influence and impact on commercial space design is one of the important items. Keywords: new media art, commercial space design, interior design 1 IntroductionNew media art, as a kind of new science and technology and art means start seeping into the modern commercial space design. In People's Daily life has been completely replaced by sign language and imitating the visual semantic environment, the development, and innovation of new media art, and profound changes the traditional media art forms. And the resulting a series of new media art forms and consciously or unconsciously to the design of commercial space methods produced the profound influence. In the new media art in idea,art form, or creative ways can be called a revolution art, also, new media art injected \vitality\for commercial space design, and the influence of new media art, modern commercial space design is changing consciously or unconsciously.2 Literature reviewNew media (New media) concept in 1967 by American gold mark was the firstto put forward. The so-called new media is compared with the traditional media. Since then, different scholars from different angles about the concept of newmedia to understand: the scholar thinks, new media is a relative concept, the new media usually refers to the time later, to appear on the function or there is some difference with both media according to the characteristic of media; Also some scholars from the view of the new media has the characteristics of digital think that based on digital technology in the field of media use of new media form is new media; Some scholars also see the new media of the Internet technology applied to rely on, new media is based on the Internet to implement many-to-many or point-to-point transmission, which has the function of interact with the user interactions such as media style. The new media theorist, Norwich discuss is indications in the book of new media language on the basis of the computer of the significance of the new media. Norwich viewed our time in a critical period of a new media revolution, all types of media, are deeply influenced by computer media. Some experts put forward new media means that constitute the basic elements of different from the traditional media forms of media. 3 The development of new media art and its artistic features 3.1 The development of new media artSince the 20th century, modern science and technology rapid development, changed the way people see the world, to know the world, also affect the people and society, and others, and the environmental communication mode and thinking habits, at the same time, the progress of science and technology also promotes the development of philosophy and aesthetics thought, in the field of social science, modernism and post-modernism ideological trend beginning, information science and technology revolution and promoted, such as telecommunications, radio and television, the production of new technology such as computer and Internet, makes great changes have taken place in information dissemination tool in the, this, work together to promote the innovation and development of art and art form of diversification.New media art in the 20th century, art and technology innovation and development under the macro background of birth. Known as \show any video projector, was in 1962, created by korean-american artist name June Paik installation art works; “Reada ble city\is a way for a city to instant readable image text of interactive computer device, in 1988, completed by lattice Ronnie Vader creation; In 1996, Christopher try to Berlin tower packing art practice confusing, surprise; Costa, application of digital technology in 1999 \these new technologies and new ideas become the dominant form of contemporary artists to show themselves, to give people a kind of new aesthetic standard, bring a kind of brand-new, with traditional visual experience completely different visual experience.The development of new media art profoundly embodies the perfect combination of science and art, science and technology in a certain extent affect and promote the generation and development of art, artistic development and results also promote and influence the progress of science and development. Can say, new media art has become widespread in the sense of scientific technology practice and the combination of art and culture, new media artbroke through the traditional art creation technique and standard, the science and technology and the new medium of information dissemination of and rely on, make new media art can build on fresh and special atmosphere, the breakthrough and innovation constitute the unique artistic connotation of new media art.3.2 The characteristics of new media art InteractiveNew media art \of interactive technology and art.Interaction isessentially two-way transmission of information and communication, interactive changed the way traditional one-way information dissemination media, the audience is no longer a passive receiver. New media art with the aid of advanced technology, make communication between people and the media of materialized and influence each other, the real-time interactive features of new media art, expand the art activities, to enrich the content of the worksof art, innovation mode of artistic creation. NonlinearNonlinear editing system adopted by the special vocabulary, is against the traditional linear editing mode. In the process of traditional linear editing, is usually in chronological order to material search and the recording,editing and nonlinear editing method to random record or read information, breaking the original information edit form. New media art creation idea and performance forms, draw lessons from this kind of flexible, open and dynamic information edit form, reflect the nonlinear characteristics of narrative art. Virtual sexWith digital technology to achieve the new media art of time and space of virtual reality. New media art with the help of digital, we reconstruct the familiar perception of the environment, make the audience's perception system into quite a degree of the actual situation of scene, virtual sex: the transformation of the relationship between art and life is no longer theartistic life in return, but life imitating art. 4 Apply to commercial space interior design of the new media art 4.1 The modern commercial spaceAlong with the development of commodity economy and the society, the modern commercial space in terms of scale, function and diversity are far beyond the category of the past, \developed into a set of shopping, entertainment, leisure is a body comprehensive architectural space, to meet customers different business needs, commercial space and become a part of the city's public communication space, for information exchange, distributed inthe city, and facilitate the people in social activities. Commercial space along with the rapid development of social economy, the scale size expanded significantly, complete functions gradually perfect, in order to satisfy the functional requirements of commercial space, rich commercial space ofspiritual experience, give priority to in order to meet the goods display, in order to promote product sales for the purpose of space environment design, commercial space design was born. Commercial space design and people's ability to affect the environment function, visual order given environment ability and the ability toimprove the quality of human environment and the decoration level isclosely linked. Modern commercial space design should be on the premise ofmeet the demand of business development, set up business platform, combining innovation and modernity, build a satisfy people business activities of the space environment. 4.2 The combination of new media art and commercial space designNew media art is the product of science and technology and art interactive fusion, has realized the unity of science and technology and artistic thinking. The two sides of the science and art are not necessarily antagonistic. On the contrary, in most cases is the dialectical unification between the two. The progress of science and technology, provides the realistic conditions for the development of art and technology, and the progress of art, in turn, the cause for reflection and summary, science and technology set new requirements forthe development of science and technology and the reference coordinates at the same time, and to provide scientific and technological progress theintellectual support and spiritual sustenance.New media art technology personalized aesthetic pursuit, just the response to the current commercial space design of new technology, and the design ofthe mass aesthetic appeal. Technology constantly updated and progressive sense of art, provides the commercial space design of perfect combination of art and practical design, commercial space in the novel with the help of science and technology progress to create fantasy, having a unique style of the spaceenvironment at the same time, both in art and design meets the needs of people to make effective response to this proposition. Under the influence of new media art, works of modern commercial space design first need to new media art aesthetic, artistic thinking as a guide, to establish the ideas and methods of commercial space design, this also is the soul of the design and the kernel, and then by technical means, to find the most clever and perfect solution, to complete the design work. Artistic thinking is the spirit and soul of the new media art, technology is the new media art of bone and flesh, the two complement each other, to promote the innovation and practice of the new media art.Using advanced technology, new media art has realized the multidimensional nature of the display, virtualization and intuitive. New media art images or boring text感谢您的阅读，祝您生活愉快。

关于新媒体的外文文献

关于新媒体的外文文献With the emergence of new media, people can now connect with each other more easily than ever before. In recent years, the internet has become the most powerful tool for communication and information sharing. Social media platforms like Facebook, Twitter, and Instagram have transformed theway we interact with each other. This paper will provide an overview of the impact of new media on society.Firstly, new media has revolutionized the way we access information. The internet has become the most popularplatform for accessing information, and search engines like Google have made it easy to find information on any topic. Social media has also played a significant role in the dissemination of news and information. Through social media, individuals can share news, opinions, and updates with their friends and followers. The ability to share informationquickly and easily has made it easier for people to stay informed.Secondly, new media has changed the way we communicate. Social media has made it easier for people to connect with each other, regardless of their location. Platforms like Facebook, Twitter, and Instagram have become the primary way for people to communicate with their friends, family, and colleagues. These platforms have also made it easier for people to meet and socialize with new people, creating new opportunities for social interaction.Thirdly, new media has affected the way businesses operate. The rise of e-commerce has made it easier forbusinesses to sell their products and services online. Social media has also become an important marketing tool, allowing businesses to access a wider audience and connect with new customers. The ability to interact with customers and potential customers directly has become a crucial aspect of business success in the digital age.In conclusion, the impact of new media on society has been profound. The internet and social media have transformed the way we access information, communicate with each other, and conduct business. While there are certainly challenges associated with new media, its benefits are undeniable. As we continue to embrace new technologies, it is important that we also consider the impact they have on our lives and our communities.。

英文文献全文翻译

英文文献全文翻译全文共四篇示例，供读者参考第一篇示例：English literature has a long and rich history, with countless works that have been translated into various languages around the world. From ancient epics like Beowulf and The Odyssey to modern classics like To Kill a Mockingbird and Harry Potter, English literature has captured the hearts and minds of readers for centuries.第二篇示例：The world of academic research is vast and ever-growing, with a wealth of knowledge and information being produced every day. One important aspect of this research is the publication of English-language academic articles. These articles cover a wide range of topics across various fields, from science and technology to social sciences and humanities.第三篇示例：English literature is a treasure trove of human culture and knowledge. The literary works of great writers from around theworld offer insights into the human experience, emotions, and imagination. Through the process of translation, these literary masterpieces are made accessible to a global audience, allowing people from different cultures and backgrounds to connect and appreciate the beauty of language and storytelling.第四篇示例：Abstract:Introduction:English literature holds a prominent position in the field of international academia, with a vast number of research articles, books, and journals being published in English. For researchers and scholars in non-English speaking countries, access to English literature is essential for staying up-to-date with the latest developments in their respective fields. However, understanding and interpreting English texts can present significant challenges due to linguistic, cultural, and contextual differences.Challenges in Translating English Literature:。

英语文章长篇3000字带翻译

英语文章长篇3000字带翻译A Better TomorrowPeople often wonder why historians go to so much trouble to preserve millions of books, documents and records.Why do we have libraries? What good are these documents and history books? Why do we record and save the actions of men, the negotiations1 of government officials and the events during wars?We do it because, sometimes, the voice of experience can cause us to stop, look and listen. Sometimes, past records, when understood in the right way, can help us decide what to do and what not to do. If we are ever to create lasting peace, we must seek its origins in human experience and in the records of human history.From the stories of courage and devotion of men and women, we create the inspirations of youth. History records the suffering, the self-denial2, the devotion, and the heroic deeds of people in the past. These records can help us when we are confused and when we really need peace.The main purpose of history is to create a better world. History gives a warning to those who promote war, and inspiration to those who seek peace.In short, history helps us learn. Yesterday’s records can kee p us from repeating yesterday’s mistakes. And from the pieces of mosaic4 assembled5 by historians come the great murals6 which represent the progress of mankind.翻译：一个更好的明天英语励志短文人们常常心存顾虑,为什么历史学家必须费尽周折地留存数以万计的书籍、文献和记录。

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文献出处：Kahn R. Commercial space interior design in the new media art [J]. New media & society, 2015,12(5): 87-97.原文Commercial space interior design in the new media artKahn RAbstractNew media technology and new media art has brought new development space for contemporary art and design, it not only changed the traditional form of artistic creation and performance, has also created a new aesthetic experience. The emergence of new media art is broke through the limitation of the traditional information media, in a whole new way of communication and interaction, constantly enrich people's visual experience, affects the way people live. New media art, in succession on the basis of some concept and characteristics of traditional art, the use of new technology and new artistic thinking innovation and make it with a new artistic features and aesthetic rule. The rapid development of new media and new media art, make its and other new technology, new art, gradually permeated every aspect of People's Daily life, also in different field of art and design has a considerable influence and impact on commercial space design is one of the important items.Keywords: new media art, commercial space design, interior design1 IntroductionNew media art, as a kind of new science and technology and art means start seeping into the modern commercial space design. In People's Daily life has been completely replaced by sign language and imitating the visual semantic environment, the development, and innovation of new media art, and profound changes the traditional media art forms. And the resulting a series of new media art forms and consciously or unconsciously to the design of commercial space methods produced the profound influence. In the new media art in idea, art form, or creative ways can be called a revolution art, also, new media art injected "new vitality" for commercial space design, and the influence of new media art, modern commercial space design is changing consciously or unconsciously.2 Literature reviewNew media (New media) concept in 1967 by American gold mark was the first to put forward. The so-called new media is compared with the traditional media. Since then, different scholars from different angles about the concept of new media to understand: the scholar thinks, new media is a relative concept, the new media usually refers to the time later, to appear on the function or there is some difference with both media according to the characteristic of media; Also some scholars from the view of the new media has the characteristics of digital think that based on digital technology in the field of media use of new media form is new media; Some scholars also see the new media of the Internet technology applied to rely on, new media is based on the Internet to implement many-to-many or point-to-point transmission, which has the function of interact with the user interactions such as media style. The new media theorist, Norwich discuss is indications in the book of new media language on the basis of the computer of the significance of the new media. Norwich viewed our time in a critical period of a new media revolution, all types of media, are deeply influenced by computer media. Some experts put forward new media means that constitute the basic elements of different from the traditional media forms of media.3 The development of new media art and its artistic features3.1 The development of new media artSince the 20th century, modern science and technology rapid development, changed the way people see the world, to know the world, also affect the people and society, and others, and the environmental communication mode and thinking habits, at the same time, the progress of science and technology also promotes the development of philosophy and aesthetics thought, in the field of social science, modernism and post-modernism ideological trend beginning, information science and technology revolution and promoted, such as telecommunications, radio and television, the production of new technology such as computer and Internet, makes great changes have taken place in information dissemination tool in the, this, work together to promote the innovation and development of art and art form of diversification.New media art in the 20th century, art and technology innovation and development under the macro background of birth. Known as "movie of Zen" don't show any video projector, was in 1962, created by korean-american artist name June Paik installation art works; “Readable city" is a way for a city to instant readable image text of interactive computer device, in 1988, completed by lattice Ronnie Vader creation; In 1996, Christopher try to Berlin tower packing art practice confusing, surprise; Costa, application of digital technology in 1999 "let all see better...Fusion of these new technologies and new ideas become the dominant form of contemporary artists to show themselves, to give people a kind of new aesthetic standard, bring a kind of brand-new, with traditional visual experience completely different visual experience.The development of new media art profoundly embodies the perfect combination of science and art, science and technology in a certain extent affect and promote the generation and development of art, artistic development and results also promote and influence the progress of science and development. Can say, new media art has become widespread in the sense of scientific technology practice and the combination of art and culture, new media art broke through the traditional art creation technique and standard, the science and technology and the new medium of information dissemination of and rely on, make new media art can build on fresh and special atmosphere, the breakthrough and innovation constitute the unique artistic connotation of new media art.3.2 The characteristics of new media artInteractiveNew media art "the biggest characteristic is based on the information integration of interactive technology and art.Interaction is essentially two-way transmission of information and communication, interactive changed the way traditional one-way information dissemination media, the audience is no longer a passive receiver. New media art with the aid of advanced technology, make communication between people and the media of materialized and influence each other, the real-time interactive features of new media art, expand the art activities, to enrich the content of the worksof art, innovation mode of artistic creation.NonlinearNonlinear editing system adopted by the special vocabulary, is against the traditional linear editing mode. In the process of traditional linear editing, is usually in chronological order to material search and the recording, editing and nonlinear editing method to random record or read information, breaking the original information edit form. New media art creation idea and performance forms, draw lessons from this kind of flexible, open and dynamic information edit form, reflect the nonlinear characteristics of narrative art.Virtual sexWith digital technology to achieve the new media art of time and space of virtual reality. New media art with the help of digital, we reconstruct the familiar perception of the environment, make the audience's perception system into quite a degree of the actual situation of scene, virtual sex: the transformation of the relationship between art and life is no longer the artistic life in return, but life imitating art.4 Apply to commercial space interior design of the new media art4.1 The modern commercial spaceAlong with the development of commodity economy and the society, the modern commercial space in terms of scale, function and diversity are far beyond the category of the past, "has developed into a set of shopping, entertainment, leisure is a body comprehensive architectural space, to meet customers different business needs, commercial space and become a part of the city's public communication space, for information exchange, distributed in the city, and facilitate the people in social activities. Commercial space along with the rapid development of social economy, the scale size expanded significantly, complete functions gradually perfect, in order to satisfy the functional requirements of commercial space, rich commercial space of spiritual experience, give priority to in order to meet the goods display, in order to promote product sales for the purpose of space environment design, commercial space design was born. Commercial space design and people's ability to affect the environment function, visual order given environment ability and the ability toimprove the quality of human environment and the decoration level is closely linked. Modern commercial space design should be on the premise of meet the demand of business development, set up business platform, combining innovation and modernity, build a satisfy people business activities of the space environment.4.2 The combination of new media art and commercial space designNew media art is the product of science and technology and art interactive fusion, has realized the unity of science and technology and artistic thinking. The two sides of the science and art are not necessarily antagonistic. On the contrary, in most cases is the dialectical unification between the two. The progress of science and technology, provides the realistic conditions for the development of art and technology, and the progress of art, in turn, the cause for reflection and summary, science and technology set new requirements for the development of science and technology and the reference coordinates at the same time, and to provide scientific and technological progress the intellectual support and spiritual sustenance.New media art technology personalized aesthetic pursuit, just the response to the current commercial space design of new technology, and the design of the mass aesthetic appeal. Technology constantly updated and progressive sense of art, provides the commercial space design of perfect combination of art and practical design, commercial space in the novel with the help of science and technology progress to create fantasy, having a unique style of the space environment at the same time, both in art and design meets the needs of people to make effective response to this proposition. Under the influence of new media art, works of modern commercial space design first need to new media art aesthetic, artistic thinking as a guide, to establish the ideas and methods of commercial space design, this also is the soul of the design and the kernel, and then by technical means, to find the most clever and perfect solution, to complete the design work. Artistic thinking is the spirit and soul of the new media art, technology is the new media art of bone and flesh, the two complement each other, to promote the innovation and practice of the new media art.Using advanced technology, new media art has realized the multidimensional nature of the display, virtualization and intuitive. New media art images or boring textannotations on the plane, in the form of audio and video display, let the audience can be more intuitive and comprehensive understanding of commodity information; Through the virtual reality technology, the establishment and real objects corresponding to the object of virtual display, through mastery of detail and characterization, multi-dimensional display to display objects, than the traditional pure physical display more attractive; Graphic text is not a dull thing but a vivid audio-visual information, monotonously physical Zhan hen into a visual feast of high-tech, new media art that presents information more easily by the audience memory and identity. New media art works show us a variety of novel form, paid by creating new audio-visual experience at the same time, also stimulated interest in works of art to explore.5 ConclusionsCurrent social economic development process is accelerated, rising people's various needs, the current commercial space design faces the request of update and a bigger challenge, objectively requires commercial space design is perfect in theory, in practice, continuous innovation, improve the aesthetic level of commercial space design, commercial space design of rich cultural connotation. In the development of commercial space design in the future, you need to new media art aesthetic of technology and art in design, to create excellent works with unique temperament and distinctive features, the latest cutting-edge design show in public, people create a more suitable for diverse choice of commercial space, meet the needs of people of high quality, diversified, and ultimately enhance the value of every level of commercial space.译文商业空间室内设计中的新媒体艺术摘要新媒体技术与新媒体艺术为当代艺术和设计带来了新的发展空间，它的出现不仅改变了传统的艺术创作与表现形式,还创造了新的审美体验。

新媒体外文文献翻译最新译文3000多字

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