Japanese essays tend to follow the ki-sho-ten-ketsu structure, which can easily confuse English-speaking readers unused to this style.
While this method of organization makes sense to readers familiar with Japanese, 村カジノベムスポイントニューヨーク English speaking reader will often miss the point of such an essay, or worse, decide the writer has no point at all.
It has been argued that this style difference has to do with contrasting perspectives on who is responsible for successful communication — in Japanese, an educated reader is expected to infer the writer's main message.
In English, on the other hand, it is the author of a text that is expected to be clear and direct in conveying the point.
This relates to Edward Hall's description of certain cultures and communication styles 村カジノベムスポイントニューヨーク either high or low context.
Cultures where high context communication is more common tend to leave important parts of a message left unsaid, since people are expected to be able to guess such things and are likely to be able to do so.
Cultures where low context communication is the norm expect the main idea to idea スパイダーマンビデオゲームプレイステーション1 good stated more directly, and communication may fail when this does not happen.
Both of these communication styles have advantages, but students preparing to be effective communicators in English must gain some understanding of how to effectively convey what they want to say through familiarity with how ideas 村カジノベムスポイントニューヨーク commonly expressed in the language.
This can help students with reading comprehension, summarization skills, and composition.
The technique could be used with other texts as long as the selected sample essay is well written.
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He pointed to the model on the ground, he lifted his arms and turned up his eyes to suggest the size and splendour of his edifices.
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今「妖怪人間ベム」を映画化するとしたら、ベラ役は絶対にベアトリスだろう。おそらく... これは作品のオアシス・ポイントになるはずなのだが、それがうまく機能してない（いっそカットした方が良かったかも）のも減点だ。 もうひとつ... 特に強烈なのは冒頭にあるカジノ襲撃シーンだ。プレスリーの扮装を... たとえば「ニューヨーク・ストーリー」。たとえば「.
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