The Contributions of Hidden Assumptions to Culture Shock and Communication Barriers
  Jungok Bae

This paper discusses how cross-culturally dissonant hidden assumptions cause culture shock and in many cases contribute to communication breakdown. Examples of culture shock are illustrated. The processes of the culture shock are analyzed applying Gorden's syllogistic nature of interpretations, in which the silent assumption is the major premise, the observation is the minor premise, and the interpretation is the conclusion. Finally, differential levels of cultural awareness are illustrated and analyzed. The analyses support and synthesize some of Gorden's and Hanvey's insightful rules behind cross-cultural miscommunication.   full text

Editor's Note:
  Karen Heise

The View From Here:
Lynne Fukuda

Who are this issue's contributors?

An Education in Copyright Law
  Robert N. Diotalevi

Copyright law has been a hot topic particularly with the emergence of the Internet as a teaching tool. Also known as the Net or cyberspace (ACLU v. Reno), this information superhighway offers a tremendous amount of material. However, the information age has created greater concerns about copyright law.

There are many misconceptions about copyright law such as the belief that one needs to provide notice in order to possess a copyrighted work and that registration is necessary or that photocopying requires express permission from the author in all cases. There is no physicality to copyright protection. A copyright is a type of intellectual property--that is, an attachment of intangible rights that occurs when certain rules are followed. It is reminiscent of our federal or state constitutional protections. A closer examination reveals that there are several privileges afforded by copyright law.   full text

Drawing Sarajevo
  Glen Milan

"Discipline" is More Than a Verb
  Ron Rubin

I grew up in a family of artists. My father was a textile designer and my mother painted portraits. Both of my parents had studios within our home, and as a young child I often had the opportunity to watch them work; I'd be happily engaged on the studio floor with my toys and they would draw and paint. I readily recall their focused attention and steady hands moving pencil or brush while creating what, to me was absolute magic.

Sometimes they never even lifted a pencil or brush but would just sit for hours at their drawing tables doing nothing at all--or so it seemed. One day I asked my father why he was just sitting around. If he wasn't going to work on his designs, why didn't he do something else?.  full text

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