商界中的非言語(yǔ)交際(一)

論文摘要
 在商務(wù)談判的過程中，談判雙方進(jìn)行的是智慧與謀略的較量，雙方的心態(tài)也會(huì)隨著談判的緊張程度而跌宕起伏，并不可避免地會(huì)通過面部表情、身體動(dòng)作等非語(yǔ)言交際形式表現(xiàn)出來。結(jié)合語(yǔ)言交流，觀察談判對(duì)方的非語(yǔ)言表現(xiàn)，準(zhǔn)確地把握其心態(tài)變化，對(duì)掌握談判大局十分關(guān)鍵。
 非語(yǔ)言交際作為跨文化交際的一部分在商務(wù)交際及其他日常交流中扮演著十分重要的角色。非語(yǔ)言交際可以傳遞豐富、復(fù)雜、微妙的信息，作為語(yǔ)言交際的輔助工具，有時(shí)候他可以起到語(yǔ)言交際起不到的作用。談判中積極有效的非語(yǔ)言交流方式，能夠促進(jìn)跨文化商務(wù)活動(dòng)的順利進(jìn)行。因此，在商務(wù)談判教學(xué)過程中，引導(dǎo)學(xué)生積極進(jìn)行非語(yǔ)言行為的跨文化比較尤為必要。
 關(guān)鍵詞：Key Words
 國(guó)際商務(wù)談判  International business negotiations
 非語(yǔ)言交際   Nonverbal communication
 重要意義     important
 傳遞信息       information
 
 
 
 商界中的非言語(yǔ)交際

 1.介紹
 (1)在大部分的工作領(lǐng)域中，非言語(yǔ)交際在取得成功中起著關(guān)鍵的作用. 首先，它是幫助你很好地理解接受到信息的關(guān)鍵, 在這方面，喬比程有優(yōu)勢(shì)，因?yàn)樗�能夠更好地理解非語(yǔ)言符號(hào)在發(fā)送信息中的作用。程，一個(gè)來自中國(guó)并沒有在一個(gè)美式環(huán)境下成長(zhǎng)的人，在剛剛學(xué)習(xí)工作的環(huán)境中對(duì)非言語(yǔ)符號(hào)的理解上處于劣勢(shì)。）因此，他的聽力能力是有限的，因?yàn)樗麑?duì)發(fā)送過來的言語(yǔ)信息理解起來相當(dāng)困難。因此，非語(yǔ)言交際其實(shí)是和言語(yǔ)交際一樣重要的，在很多方面甚至更重要。
 .    眼神交流
 手勢(shì)
 動(dòng)作
 姿勢(shì)
 書面溝通
 (2)讓我們反過來看看每個(gè)非語(yǔ)言因素能夠如何最大限度地幫助我們發(fā)揮自己的潛能，從而進(jìn)行有效的溝通
 (3)我從事企業(yè)管理，你的網(wǎng)站在我完成任務(wù)上給了我很大幫助，非常感謝！卡隆 佩內(nèi)爾
 (4)謝謝你的免費(fèi)信息，我自己做一個(gè)溝通方面的展示，正需要?jiǎng)?chuàng)意。珍妮特 什利 
 (5)這篇文章不僅在內(nèi)容上很寶貴，而且能使你使得的這一切流動(dòng)起來。謝謝你”帕姆卡曼
 2.眼神交流
 (6)好的眼神交流能夠幫助發(fā)展觀眾對(duì)你的信任，從而提升你和你發(fā)出信息的可信度，而貧乏的眼神交流則剛好相反。
 2.1那么什么才是好的眼神交流呢？
 (7)人們通常以視覺信號(hào)決定要不要發(fā)出自己的信息，當(dāng)他們發(fā)現(xiàn)在自己要講話時(shí)并沒有人注意自己時(shí)，他們會(huì)感到不自在。因此，一個(gè)明智的商業(yè)溝通者，能夠使他的每個(gè)觀眾通過看著他的眼神得知他的觀點(diǎn)。
 (8)在你的觀眾只是一小部分人時(shí)候很容易做到，但在一個(gè)禮堂它可以是一個(gè)非常困難的任務(wù)，因此，好好平衡你這三個(gè)領(lǐng)域之間的時(shí)間,慢慢掃視全場(chǎng)的觀眾,注視那些特別的群體，也許是在看著墻上兩國(guó)元首相片而在想著你還在公眾場(chǎng)合出言不遜的人,然后給每個(gè)會(huì)員聽眾一人5秒的目光,在一個(gè)大集團(tuán)中找到那個(gè)看似'棘手'的成員來獲得的他的優(yōu)先權(quán),同樣，它可以是一個(gè)很好的平衡，如果你的聽眾只有一兩個(gè)人，花太多時(shí)間注視他們，他們便會(huì)感到害怕，覺得自己在被 '追捕'.這里有個(gè)有用的技巧：把你的眼神交流分成四五秒一塊,也就是說，看一個(gè)人四到五秒就轉(zhuǎn)移視線，那樣就不會(huì)讓那個(gè)他們感到不安了。
 (9)自已先一個(gè)人練習(xí)一下上述技巧, 對(duì)著墻上的一個(gè)點(diǎn)看，數(shù)到五，然后轉(zhuǎn)移視線, 通過這個(gè)練習(xí)，你將能夠建立一個(gè)'感覺多久能尋找到你的觀眾的眼睛，直觀地知道什么時(shí)候該把目光移開，集中精力于另一人或物體上。
 (10)當(dāng)你要在一個(gè)大會(huì)議室或禮堂注意個(gè)別成員的時(shí)候，要知道怎樣地理性地透過整個(gè)房間散開你的注意力,也就是說，不要把你的目光只是焦點(diǎn)在房間的一個(gè)部位上，（如從當(dāng)你要掃描的房間或在房間看不同的部分）除非在那個(gè)時(shí)候你是想要與一個(gè)你指定的人交流，否則把你的目光放在整個(gè)房間里的每個(gè)人身上。 
 3.手勢(shì)
 (11)大部分人，在與朋友交流的時(shí)候，都會(huì)用我們的手和臉幫助我們?nèi)ッ枋鲆患�事情或物品，這是一種強(qiáng)大的非言語(yǔ)輔助手段。我們揮手，用手比手勢(shì)，瞪眼，豎眉毛，微笑或者皺眉。然而我們當(dāng)中的許多人也會(huì)在更正式場(chǎng)合里提交給別人信息時(shí)出其不意。我們的朋友和我們生意上的觀眾沒有任何區(qū)別，他們都通過我們的臉和手，有時(shí)候甚至的腿、腳或其他身體部位來了解到我們更多更形象的信息。我們完全可以理解因?yàn)榫o張引起的語(yǔ)塞，但在我們和我們溝通的最佳利益中，最佳的效果是我們可以掌控在這方面的緊張，掌控我們的公共演講的恐懼，并利用我們的肢體語(yǔ)言來幫助我們強(qiáng)調(diào)我們的觀點(diǎn)我發(fā)現(xiàn)，通過加入當(dāng)?shù)氐膰?guó)際演講俱樂部我很快學(xué)會(huì)了如何在展現(xiàn)自我的時(shí)候輕松自如.
 (12)簡(jiǎn)而言之，記住一點(diǎn)最重要的原則：使用能做好手勢(shì)對(duì)你有很大的好處。不要試著去變成別人.杰西.杰克遜的風(fēng)格，可能為他工作，但你不是杰西.杰克遜。 你應(yīng)該有適合你的個(gè)性手勢(shì)。有時(shí)候可能什么手勢(shì)也沒有更好 - 只是輕松把你的手搭在你身上-而不是用笨拙的，分散的手勢(shì)，或試圖偽造他人的手勢(shì)。你的非言語(yǔ)交流必須能成功地傳遞你的信息。
 4.動(dòng)作
 (13)你看到過哪個(gè)優(yōu)秀的演講者，不管是男人還是女人，是一個(gè)人在舞臺(tái)上就能使我們笑，哭，流淚的呢？仔細(xì)觀察他們，你會(huì)注意到，他們不是只站找一個(gè)角落。相反，他們活動(dòng)在整個(gè)舞臺(tái)周圍。
 4.1.他們?yōu)槭裁匆�這樣做呢？
 (14)因?yàn)樗麄冎�道，我們�(nèi)祟�，尤其是男人，都被運(yùn)動(dòng)所吸引。由于人類的基因的影響，我們不自覺得注意運(yùn)動(dòng)。我們馬上就能意識(shí)到他的存在，不論我們要與否，我們都會(huì)接收到運(yùn)動(dòng)給我們的威脅.這個(gè)，理所當(dāng)然地幫助解釋了為什么大部分男人都會(huì)被電視吸引到呆若木雞，它也有助于解釋為什么男人都差不多，當(dāng)電視上有運(yùn)動(dòng)節(jié)目時(shí)特別'粘'到電視機(jī)上。所有這一切都因?yàn)檫\(yùn)動(dòng)！但是回歸到你在的舞臺(tái)，你確保任何動(dòng)作你是有意義的，而不是緊張坐立不安時(shí)的來回?fù)u擺你的腳跟或移動(dòng)兩步前進(jìn)和后退，或一邊到另一邊。緊張運(yùn)動(dòng)'和你的緊張感會(huì)傳送到您自己的觀眾，大大削弱了你的通訊和信息效能。因此盡可能地在舞臺(tái)上走動(dòng)，不僅僅是使你的觀眾開心，也有助于幫助強(qiáng)調(diào)你傳遞的信息。
  5.姿態(tài)
 (15)有兩種類型的'姿態(tài)'，明智的溝通者能同時(shí)掌控管理和利用兩者。
 5.1.姿態(tài)一
 (16)姿態(tài)一是我們的一個(gè)直觀，我們身體每個(gè)部位都在表述著同一個(gè)故事，一個(gè)強(qiáng)有力的非言語(yǔ)的故事。例如，直立，直肩膀，頭部和眼睛正視前方，面帶一個(gè)大大的微笑。再看看你的感覺情緒如何�，F(xiàn)在放松肩部，在地板和你的腳之間稍微移動(dòng)。再看看你的情緒如何。注意到兩者的區(qū)別了嗎？你的聽眾，肯定會(huì)對(duì)你發(fā)出的信息有所反應(yīng).一個(gè)強(qiáng)有力又積極的肢體語(yǔ)言不僅能幫助你更好的呼吸，有效 幫助緩解緊張，而且同時(shí)還發(fā)出了權(quán)威，信心，信任和力量的信息。如果你覺得這對(duì)你而言很困難，可以先在鏡子面前練習(xí)一下，或者參加類似國(guó)際演講俱樂部這樣的演講俱樂部。
 5.2.姿態(tài)二
 (17)第二類姿態(tài)來自你的內(nèi)部精神和情感狀態(tài)。
 (18)你可以有很強(qiáng)大的肢體語(yǔ)言，但是沒有發(fā)自內(nèi)心的感情，你的話講會(huì)顯得空洞蒼白。比如說，兄弟汽車公司的汽車銷售員可以有很強(qiáng)的肢體語(yǔ)言，他們會(huì)在和你見時(shí)給你一個(gè)有力的握手，肯定的凝視，有好的微笑。但如果他的心只把你當(dāng)做一個(gè)遲早到來的內(nèi)部沖突，他說的什么，做的什么都會(huì)讓他的行為看起來虛偽和做作。他的身體會(huì)背叛他真實(shí)的想法，而你也會(huì)覺得在他身邊不自在，雖然說不上為什么。但是，如果這個(gè)汽車銷售員是真心像幫你找到適合你的車，他會(huì)把你的需要擺在最前，緊接著他的言語(yǔ)和動(dòng)作都會(huì)與他內(nèi)心真實(shí)的想法和諧地融合，你會(huì)自然地信任他，雖然也許你自己都沒有能力找到為什么。我曾經(jīng)見過一些所謂'自助'大師，誰(shuí)實(shí)際上并不言行一致。因此他們的話對(duì)我聽起來很空洞。而他們的書籍，CD，DVD和培訓(xùn)材料仍然是賣不出去的。我見過一些推銷員和女性，他們實(shí)際上根本沒有在他們聲稱的'精彩的商業(yè)機(jī)會(huì)'賺到錢，雖然他們的話是實(shí)踐和打磨，他們的身體姿態(tài)是'完美'，他們的話像蜜毒藥滲出從他們的嘴唇，但仍不能讓我信服 。
 (19)第二類'姿態(tài)是從根本上依賴于真理和誠(chéng)實(shí)。它是關(guān)于'談?wù)撜?和你言語(yǔ)范疇的。它是關(guān)于不要嘗試去銷售一些你自己都不相信和沒有用的東西。更不用試圖通過對(duì)自己根本不了解的專家那里說你曾經(jīng)度過他的書。這關(guān)乎于你的話，你的意圖都是以真理和誠(chéng)實(shí)為基礎(chǔ)的。因?yàn)槲覀兇蠹�，不管可以做一個(gè)怎樣完善的主持人，都在以慈悲去'告訴真理'，而不是信口開河。這是非語(yǔ)言線索規(guī)則！
 6.書面溝通
 (20)我愿意花一生去研究書面溝通的藝術(shù)創(chuàng)作。這里有一種可以通過勤奮和聯(lián)系獲得的藝術(shù)，也是科學(xué)，寫得太正式，非正式地寫太多，寫得太簡(jiǎn)單，寫太長(zhǎng)...我的第一個(gè)建議是：利用以下三種自己的書籍之一，其中每個(gè)都在給你絕對(duì)精彩的技能，并有有效的商業(yè)寫作的見解.
 (21)由海倫.坎寧安和布倫達(dá).格林所著的《商業(yè)風(fēng)格手冊(cè)》，一個(gè)A到- Z的寫作指南，在財(cái)富500強(qiáng)與專家中對(duì)話中提取。加里.布萊克和羅伯特W ·布萊所著《商務(wù)寫作要素》：一本對(duì)于字跡清晰，簡(jiǎn)明信函，備忘錄，報(bào)告，建議，以及其他業(yè)務(wù)文檔的指南。瑪麗安五.皮厄特.羅斯基《有效的商務(wù)寫作》：策略，建議和范例。
 (22)從投訴信到有說服力的備忘錄，銷售信，內(nèi)容提要 - 這些非常有用的指南，可以幫助你寫清楚，并以適當(dāng)?shù)男问�，風(fēng)格和基調(diào)。每一冊(cè)書都有眾多的例子，顯示了如何克服作家風(fēng)格，舉辦最大影響的信息，實(shí)現(xiàn)一個(gè)易于閱讀的方式，找到一個(gè)有效的文字系統(tǒng)。
 7.但是，如果你要我的個(gè)人建議……
 (23)如果你想要掌握和吃掉我個(gè)人的最好的建議，那么從這本由肯.伊沃伊所著的《暢銷你的語(yǔ)言》可以找到答案�！绑@艷”是唯一形容它的方法！
  8總結(jié)
 (24)有五個(gè)關(guān)鍵要素，可以促使或者擾亂你的非語(yǔ)言溝通成功的的嘗試
 眼神交流
 手勢(shì)
 動(dòng)作
 姿態(tài)
 書面溝通
 (25)在企業(yè)中，非語(yǔ)言溝通需要的不僅是這些元素，同時(shí)也在滿足他們挑戰(zhàn)的信心
 9.祝你們好運(yùn)，記得用激情去溝通！
 (26)當(dāng)你符合了消費(fèi)心理，你會(huì)找到一個(gè)有效的溝通方式。在霍普金斯商務(wù)通訊Training.com你可以找到成功的秘密溝通。在霍普金斯我們告訴你如何更好地溝通更好的經(jīng)營(yíng)成果。
 
Nonverbal communication in business
1.Introduction
 (1)In most job situations, nonverbal communications is key to your success. First, it is key to your understanding of the messages that are sent to you. .In this situation, Joe has an advantage over Cheng because he should have a better understanding of the nonverbal symbols used in the sending of messages in the workplace..Cheng, because he  is from China and does not have an "American" background, is at a disadvantage because he is just learning the meaning of the nonverbal symbols used in his workplace environment. Thus, his listening skills are limited because it will be difficult for him to attach meaning to the spoken messages sent to him..So nonverbal communication is as important as verbal communication, and it is even more important from some aspects
 Eye contact
 Gestures
 Movement
 Posture
 Written communication
 (2)Let's examine each nonverbal element in turn to see how we can maximise your potential to communicate effectively... 
 (3)"I'm taking up business administration and I've found your web site to be a wonderful help in my assignment. Thank you very much." Karon Pernell
 (4)"Thank you for the free information. I am giving a presentation on communication and needed ideas." Janet Lashley
 (5)"I found this article invaluable not only in content, but also in the way you made it all flow together. Thank you" Pam Carman
 
 2.Eye contact
 (6)Good eye contact helps your audience develop trust in you, thereby helping you and your message appear credible. Poor eye contact does exactly the opposite.
 2.1.So what IS 'good' eye contact?
 (7)People rely on visual clues to help them decide on whether to attend to a message or not. If they find that someone isn't 'looking' at them when they are being spoken to, they feel uneasy.So it is a wise business communicator that makes a point of attempting to engage every member of the audience by looking at them.
 (8)Now, this is of course easy if the audience is just a handful of people, but in an auditorium it can be a much harder task. So balance your time between these three areas: slowly scanning the entire audience, focusing on particular areas of your audience (perhaps looking at the wall between two heads if you are still intimidated by public speaking.and looking at individual members of the audience for about five seconds per person. Looking at individual members of a large group can be 'tricky' to get right at first. Equally, it can be a fine balancing act if your audience comprises of just one or two members -- spend too much time looking them in the eyes and they will feel intimidated, stared at, 'hunted down'. So here's a useful tip: break your eye-to-eye contact down to four or five second chunks. That is, look at the other person in blocks that last four to five seconds, then look away. That way they won't feel intimidated.
 (9)Practice this timing yourself, away from others. Just look at a spot on the wall, count to five, then look away. With practice you will be able to develop a 'feel' for how long you have been looking into your audience member's eyes and intuitively know when to look away and focus on another person or object.
 (10)When focusing on individual members in a large meeting or auditorium, try and geographically spread your attention throughout the room. That is, don't just focus your personal gaze (as distinct from when you are scanning the room or looking at sections of the room) on selected individuals from just one part of the room. Unless you are specifically looking to interact with a particular person at that moment of your presentation, select your individual eye-contact audience members from the whole room. 
 3.Gestures
 (11)Most of us, when talking with our friends, use our hands and face to help us describe an event or object - powerful nonverbal aids. We wave our arms about, turn our hands this way and that, roll our eyes, raise our eyebrows, and smile or frown.Yet many of us also, when presenting to others in a more formal setting, 'clam up'. Our audience of friends is no different from our business audience — they all rely on our face and hands (and sometimes legs, feet and other parts of us!) to 'see' the bigger, fuller picture. It is totally understandable that our nervousness can cause us to 'freeze up', but is is in our and our communication's best interests if we manage that nervousness, manage our fear of public speaking, and use our body to help emphasise our point. I found that by joining a local Toastmasters International club I was rapidly able to learn how to 'free up my body' when presenting to others.
 (12)summary, keep one important principle in mind: Use gestures that work best for you.  Don’t try to be someone that you are not. Jesse Jackson’s style may work for him, but you are not Jesse Jackson.Your gestures should fit your personality. It may be better to use no gestures - just comfortably put your hands at your side - rather than to use awkward, distracting gestures or to try to counterfeit someone else’s gestures. Your nonverbal delivery should flow from your message. 
 4.Movement
 (13)Ever watch great presenters in action — men and women who are alone on the stage yet make us laugh, cry and be swept along by their words and enthusiasm? Watch them carefully and you'll note that they don't stand rigidly in one spot. No, they bounce and run and stroll and glide all around the stage.
  4.1.Why do they do that?
 (14)Because they know that we human beings, men in particular, are drawn to movement.As part of man's genetic heritage we are programmed to pay attention to movement. We instantly notice it, whether we want to or not, assessing the movement for any hint of a threat to us.his, of course, helps explain why many men are drawn to the TV and seem transfixed by it. It also helps explain why men in particular are almost 'glued' to the TV when there is any sport on. All that movement! But to get back to the stage and you on it... ensure that any movement you make is meaningful and not just nervous fidgetting, like rocking back and forth on your heels or moving two steps forward and back, or side to side。This is 'nervous movement' and your nervousness will transmit itself to your audience, significantly diluting the potency of your communication and message. So move about the stage when you can — not just to keep the men in the audience happy, but to help emphasise your message! 

 5.Posture
 (15)There are two kinds of 'posture' and it is the wise communicator that manages and utilizes both.
 5.1.Posture 1
 (16)The first type of 'posture' is the one we think of intuitively-the straight back versues the slumped shoulders; the feet-apart confident stance verses the feet together, hand-wringing of the nervous; the head up and smiling versus the head down and frowing. And every one of the positions we place the various elements of our body in tells a story—a powerful, nonverbal story. For example, stand upright, shoulders straight, head up and eyes facing the front. Wear a big smile. Notice how you 'feel' emotionally. Now-slump your shoulders, look at the floor and slightly shuffle your feet. Again, take a not of your emotional state. Notice the difference? Your audience surely will, and react to you and your message accordingly. A strong, upright, positive body posture not only helps you breath easier (good for helping to calm nerves!) but also transmits a message of authority, confidence, trust and power. If you find yourself challenged to maintain such a posture, practice in front of a mirror, or better yet join a speaking club like Toastmasters International.
 5.2.Posture 2
 (17)The second type of 'posture' comes from your internal mental and emotional states.
 (18)You can have great body posture but without internal mental and emotional posture your words will sound hollow to your audience. For example, the used car salesman at 'Dodgy Brothers Motors' might have great body posture and greet you with a firm handshake, a steady gaze and a friendly smile. But if in his heart he is seeing you as just another sucker then sooner or later his internal conflict between what he says and what he really thinks will cause him to 'trip up'. His body will start betraying his real, underlying intentions and you'll start to feel uncomfortable around him, even if you can't figure out why. But, if that same used car salesman had a genuine desire to help you find the right car for you, and he puts your needs before his own, then his words and actions will remain congruent (in harmony) with his underlying intentions and you will trust him, even though you might not be able to identify why. I have seen some supposed 'self help' gurus who don't actually practice what they preach. Consequently their words ring hollow to me and their books, cds, dvds and training materials remain unpurchased. I have met salesmen and women who don't actually make the money they claim to make in their 'fabulous business opportunity', and while their words are practiced and polished, and their body posture is 'perfect', their words ooze like honeyed poison frm their lips and I remain unconvinced.
 (19)This second type of 'posture' is fundamentally tied to truth and honesty. It is about 'walking the talk' and being who you say you are. It's about not trying to sell something you don't believe in or use yourself. It's about not trying to pass yourself off as an expert when all you've ever done is read a book on the subject. It's all about making sure that your words and your intentions are underpinned by truth and honesty. Because all of us, no matter how polished a presenter we might be, are at the mercy of our body and its ability to 'tell the truth' in spite of what our lips might utter. Nonverbal clues rule!
 6.Written communication
 (20)I could spend a lifetime writing about the art of written communication.There is an art (and also a science) that can be learnt with diligence and practice. To write too formally; to write too informally; to write too briefly; to write too lengthily... My first suggestion would be to avail yourself of one of the following three books, each of which is absolutely brilliant at giving you the skills and insights into effective business writing:
 (21)The Business Style Handbook: An A-to-Z Guide for Writing on the Job with Tips from Communications Experts at the Fortune 500 by Helen Cunningham and Brenda Greene The Elements of Business Writing: A Guide to Writing Clear, Concise Letters, Memos, Reports, Proposals, and Other Business Documents by Gary Blake and Robert W. Bly.Effective Business Writing: Strategies, Suggestions and Examples by Maryann V. Piotrowski
 (22)From persuasive memos to complaint letters, sales letters to executive summaries -- these exceedingly useful guides help you to write clearly and in an appropriate format, style and tone. Each book has numerous examples that show how to overcome writer's block, organize messages for maximum impact, achieve an easy-to-read style, find an efficient writing system and much more. 
7.But, if you want my personal recommendation...
 (23)if you want to want to get hold and devour my personal best recommendation, then it's this book by Ken Evoy: Make Your Words Sell. "Stunning" is the only way to describe it! 
 8.In conclusion...
 (24)There are five key elements that can make or break your attempt at successful nonverbal business communication:
 Eye contact
 Gestures
 Movement  
 Posture
 Written communication
 (25)Nonverbal communication in a business setting requires not only recognition of these elements, but confidence in meeting their challenges.
9.Good luck and remember to communicate with passion!
 (26)When you match consumer psychology with effective communication styles you get a powerful combination. At Hopkins-Business-Communication-Training.com you can find the secrets to communication success. At Hopkins we show you how to communicate better for better business results.

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