留學生essay：斯坦貝克文學風格的幾個特點Some Features of Steinbeck’s Literary Style

Abstract
   With the rapid development of Internet technology, Internet is the symbolism of our time, the world is becoming increasing a global village. Many things develop and boom based on it. Communication all over the world is also through the Internet. Communication on the Internet becomes more and more famous and important. It is known that English is always the dominant language in the communication of Internet language. Internet English merges into people's daily life.  the world is becoming increasingly a global village. Cultural interflows in the world are irreversible trends. Communication can be divided into two categories, namely, verbal communication and nonverbal communication. When people talking about communication, what impresses them is the communication in languages. Besides verbal language, nonverbal languages such as tone of voice, eye movement, posture, touch, facial expressions and so on are also of vital importance to people’s daily communication. Nonverbal communication can exert influences on people’s communication, reflect the people’s thoughts and complement the verbal communication. People can acquire plenty of knowledge from nonverbal languages. Nonverbal communication is universal. It is part of culture and a mirror of culture. In this sense, learning to communicate with another people from a different culture means learning their culture’s nonverbal signals. It is not right that people from one culture simply try to interpret with the “frame” of their own culture messages of the people from another nation. If people fail to handle this, it will inevitably cause conflicts or  misunderstanding when two or more cultures encounter each other. This paper explores the functions of nonverbal communication in cross-cultural exchange, discusses the significance of nonverbal communication, and puts forward some suggestions on how to  avoid and deal with the conflicts or misunderstanding when people from different cultures communicate with each other. This paper aims to promote the exchange of different cultures as the supplement to the study of the communication in languages. The author holds that this aim will surely be achieved.
            
Key words: non-verbal communication；avoid conflicts or misunderstanding；cross-cultural exchange                                                                                                   #p#分頁標題#e#
Contents

1. Introduction-------------------------------------------1
2. Some views concerning the study of meanings--------------------------2
2.1 The naming theory---------------------------------------------------------2
2.2 The conceptualist view----------------------------------------------------2
3. Lexical meaning--------------------------------------------------------------8
3.1 Sense and reference--------------------------------------------------------10
3.2 Major sense relations------------------------------------------------------12
3.3 Sense relations between sentences--------------------------------------14
4. Analysis of meaning--------------------------------------------------------16
4.1 Componential analysis — a way to analyze lexical meaning--------19
4.2 Predication analysis — a way to analyze sentence meaning---------22
5. Conclusion-------------------------------------------------------------------24
Acknowledgements------------------------------------------------------------26
References-----------------------------------------------------------------------28

1．Introduction

To begin at the beginning, the airplane from Minneapolis in which Francis Weed was traveling East ran into heavy weather. The sky had been a hazy blue, with the clouds below the plane lying so close together that nothing could be seen of the earth. Then mist began to form outside the windows, and they flew into a white cloud of such density that it reflected the exhaust fires. [1:26] The color of the cloud darkened to gray, and the plane began to rock. Francis had been in heavy weather before, but he had never been shaken up so much. The man in the seat beside him pulled a flask out of his pocket and took a drink.  Francis smiled at his neighbor, but the man looked away; he wasn't sharing his painkiller with anyone.  The plane had begun to drop and flounder wildly. A child was crying.  The air in the cabin was overheated and stale, and Francis' left foot went to sleep. He read a little from a paper book that he had bought at the airport, but the violence of the storm divided his attention.  It was black outside the ports. [2:66]The exhaust fires blazed and shed sparks in the dark, and, in- side, the shaded lights, the stuffiness, and the window curtains gave the cabin an atmosphere of intense and misplaced domesticity.  Then the lights flickered and went out. "You know what I've always wanted to do?" the man beside Francis said suddenly. "I've always wanted to buy a farm in New Hampshire and raise beef cattle." The stewardess announced that they were going to make an emergency landing.  All but the child saw in their minds the spreading wings of the Angel of Death. [3:89]  The pilot could be heard singing faintly, "I've got sixpence, jolly, jolly sixpence.  I've got sixpence to last me all my life --- " There was no other sound.#p#分頁標題#e#

2. Some views concerning the study of meanings
   The loud groaning of the hydraulic valves swallowed up the song, and there was a shrieking high in the air, like automobile brakes, and the plane hit flat on its belly in a cornfield and shook them so violently that an old man up forward howled, "Me kidneys! Me kidneys!”

2.1 The naming theory
The stewardess flung open the door, and some-one opened an emergency door at the back, letting in the sweet noise of their continuing mortality--the idle splash and smell of heavy rain. Anxious for their lives, they filed out of the doors and scattered over the cornfield in all directions, praying that the thread would hold.[4:9] It did. Nothing happened. When it was clear that the plane would not burn or explode, the crew and stewardess gathered the passengers together and led them to the shelter of a barn. They were not far from Philadelphia, and in a little while a string of taxis took them into the city. "It's just like the Marne," [5:36]someone said, but there was surprisingly little relaxation of that suspiciousness with which many Americans regard their fellow-travelers..
   In Philadelphia, Francis Weed got a train to New York. At the end of that journey, he crossed the city and caught, just as it was about to pull out, the commuting train that he took five nights a week to his home in Shady Hill.
He sat with Trace Bearden. "You know, I was in that plane that just crashed outside Philadelphia," he said. "We came down in a field . . ." He had traveled faster than the newspapers or the rain, and the weather in New York was sunny and mild. It was a day in late September, as fragrant and Shapely as an apple. Trace listened to the story, but how could he get excited?  Francis had no powers  that would let him re-create a brush with death--particularly in the atmosphere of a commuting train, journeying through a sunny countryside where already, in the slum gardens, there were signs of harvest. Trace picked up his newspaper, and Francis was left alone with his thoughts. He said good night to Trace on the platform at Shady Hill and drove in his secondhand Volkswagen up to the Blenhollow neighborhood, where he lived.

2.2 The conceptualist view
The Weed's Dutch Colonial house was larger than it appeared to be from the driveway.  The living room was spacious and divided like Gaul into three parts. Around an ell to the left as one entered from the vestibule was the long table, laid for six, with candles and a bowl of fruit in the center. The sounds and smells that came from the open kitchen door were appetizing, for Julia Weed was a good cock.  The largest part of the living room centered around a fire- place.  On the right were some bookshelves and a piano.  The room was polished and tranquil, and from the windows that opened to the west there was some late-summer sunlight, brilliant and as clear as water.  Nothing here was neglected; nothing had not been burnished. It was not the kind of household where, after prying open a stuck cigarette box, you would find an old shirt button and a tarnished nickel.  The hearth was swept, the roses on the piano were reflected in the polish of the broad top, and there was an album of Schubert waltzes on the rack.  Louisa Weed, a pretty girl of nine, was looking out the western windows.  Her younger brother Henry was standing beside her. #p#分頁標題#e#
 Her still younger brother, Toby, was studying the figures of some tonsured monks drinking beer on the polished brass of the wood box. Francis, taking off his hat and putting down his paper, was not consciously pleased with the scene; he was not that reflective. It was his element, his creation, and he returned to it with that sense of lightness strength with which any creature returns to its home.  "Hi, everybody," he said.  "The plane from Minneapolis . . ."

2.2.1 Other methods used
Language is a product of cultural development and translation is a transfer from one language and culture to one or several others.[6:228]
Influenced by the differences of English and Chinese cultures, when the original titles of the English movies are short but with implied meaning, the original title of the English movies and TV series can be translated using both literal translation and free translation(paraphrase) in order to highlight the themes and contents of the original titles.

2.2.2 The use of literal translation combined with the contents of movies and TV series
Sometimes the translation of the titles of English movies and TV series should be done by means of literal translation, and also the contents and plots of the movies or TV series.
Thus, the audience can get a clearer idea of the movie or TV series
3. Theories concerned

The loud groaning of the hydraulic valves swallowed up the song, and here was a shrieking high in the air, like automobile brakes, and the plane hit flat on its belly in a cornfield and shook them so violently that an old man up forward howled.

4. Analysis of meaning

The Weed's Dutch Colonial house was larger than it appeared to be from the driveway.  The living room was spacious and divided like Gaul into three parts. Around an ell to the left as one entered from the vestibule was the long table, laid for six, with candles and a bowl of fruit in the center. The sounds and smells that came from the open kitchen door were appetizing, for Julia Weed was a good cock.  The largest part of the living room centered around a fire- place.  On ~the right were some bookshelves and a piano.  The room was polished and tranquil, and from the windows that opened to the west there was some late-summer sunlight, brilliant and as clear as water.  Nothing here was neglected; nothing had not been burnished. It was not the kind of household where, after prying open a stuck cigarette box, you would find an old shirt button and a tarnished nickel.

5. Conclusion

Children are buoyant and full of puerility. They dare to speak and think, having no scruples and always seeking novelty. We should use this advantage, and never struck their curiosity and thirst for knowledge in an attempt to keep the classroom discipline. Questions are invited in class, and the form and content shouldn’t be restricted.
It was about to pull out, the commuting train that he took five nights a week to his home in Shady Hill.#p#分頁標題#e#

Acknowledgements

First, I would like to express my sincere thanks to all my teachers for their teaching. From their excellent lectures and valuable instructions, I have benefited a great deal and laid a solid foundation in my English.
 My special thanks should be given to my tutor, … for his (her) patient instruction, insightful criticism, and constant encouragement in scrutinizing this thesis from the beginning to the end. It is worth mentioning that his personality and diligence will be the precious treasure for my whole life.
I would also thank all those who have offered me valuable advice, unselfish support and warm encouragement.
Finally, I would like to I express my gratitude to all the writers whose works, being so instructive and informative, are referred to in my writing

References
[1] Nida, E. A. Language and Culture Contexts in Translating [M]. Shanghai: Shanghai Foreign Language Education Press, 2001.
[2] Fries, Charles C. Meaning and Linguistic Analysis [J]. Language, Vol. 30, No. 1, 1954, pp.57-68.
[3] Ogden， C. K. & I. A. Richards. The Meaning of Meaning [M]. London: Foris, 1930.
[4] 陳汝東. 瑞查茲及其修辭研究 [J]. 《修辭學習》. 1998年第1 期. 第7～10頁.
[5] 陳望道. 《陳望道語文論集》[M]. 上海：上海外語教育出版社. 1980.
[6] 李庚元. 李治中.《古今辭格及范例》 [M]. 長沙：湖南出版社. 1997.
[7] 沈少華.《英語趣味修辭格》[M]. 北京：語文出版社.1999.
[8] 索緒爾著.《普通語言學教程》[M]. 高名凱譯. 北京：商務印書館.1980.
[9] 楊信彰. Charles C. Fries的語言交際理論與信號語法 [J]. 《外國語》. 2000年第1 期. 第41～46頁.
[10] 余中先. OULIPO的文學試驗 [J].《讀書》. 2001年第4期. 第96～102頁.
[11] Downing, A. & J. Lavid.  Information Progression Strategies in Administrative focus: a Cross- Linguistic Study [A]. In A. Sanchez Macarr & R. Carter (eds.). Linguistic Choice Across Genres: Variation in Spoken and Written English [C]. Amsterdam: Benjamins, 1998, pp. 99-115
[12] 王存臻．嚴春友．《宇宙全息統一論》[M]．濟南：山東人民出版社．1995．
[13] Lewin, Kurt. Principles of Topological Psychology [M]. Iowa: McGraw-Hill Book Company, Inc. 1936.
[14] Paivio, A. Imagery and Verbal Processes [M]. New York: Holt, Rinehart, & Winston, 1971.
[15] Paivio, A. Mental Representations: A Dual Coding Approach [M]. New York: Oxford University Press, 1986.
[16] Paivio, A. Dual Coding Theory: Retrospect and Current Status [J]. Canadian Journal of Psychology, 1991 (45), pp. 255-287.
[17] Sadoski, M., Paivio, A. , & Goetz. E. T. A Critique of Schema Theory in Reading and a Dual Coding Alternative [J]. Reading Research Quarterly, 1991 (26), pp. 463-484.
[18] 錢冠連．語言的遞歸性及其根源 [J]．《外國語》．2001年第3期．第8～14頁．#p#分頁標題#e#
[19] Steffensen, M. S. , Goets, E. T. , & Cheng, X. The Images and Emotions of Bilingual Chinese Readers: A Dual Coding Analysis [J]. Reading Psychology, 1999 (29), pp. 301-324.
[20] Verschueren, J. Understanding Pragmatics[M]. London: Arnold, 1999.