| Acknowledgements | 第1-6页 |
| 摘要 | 第6-8页 |
| Abstract | 第8-11页 |
| 1. Introduction | 第11-21页 |
| ·A brief introduction to John Steinbeck and The Grapes of Wrath | 第11-16页 |
| ·John Steinbeck's philosophical theories | 第12-14页 |
| ·John Steinbeck's literature acquisition | 第14页 |
| ·John Steinbeck's Broadway and Hollywood experience | 第14-16页 |
| ·Relevant theoretical approaches | 第16-18页 |
| ·Literature review | 第18-21页 |
| 2. Editorial Omniscience in Narrative Chapters and Inter-chapters | 第21-33页 |
| ·Objective narration in narrative chapters | 第22-26页 |
| ·Objective narration to introduce the main plot | 第22-24页 |
| ·Objective narration in depicting characters and typical events | 第24-26页 |
| ·Omniscient Narration in Inter-chapters | 第26-33页 |
| ·Introduction of a broad picture | 第27-29页 |
| ·Historical background introduction and the author's commentary | 第29-33页 |
| 3. Dramatic Mode and "Play-novelette" | 第33-42页 |
| ·Dramatic dialogues in characterization | 第34-38页 |
| ·Dramatic monologue revealing the inner mind | 第38-42页 |
| 4. Camera Mode and "Cinematic Novel" | 第42-58页 |
| ·The transformation of cinematic shots and angles | 第42-50页 |
| ·The long shots in showing the broad picture | 第43-45页 |
| ·The close-up in presenting one particular character | 第45-47页 |
| ·The medium shots in revealing the relationships between characters | 第47-50页 |
| ·Montage | 第50-58页 |
| ·Sound-picture montage to show migrants' bad surroundings | 第50-52页 |
| ·Contrastive montage to expose the conflict between the opposite sides | 第52-53页 |
| ·Metaphorical montage in revealing implied symbolic meanings | 第53-58页 |
| 5. Conclusion | 第58-61页 |
| Bibliography | 第61-62页 |
