本文是一篇论文提纲，论文提纲是作者构思谋篇的具体体现。便于作者有条理地安排材料、展开论证。有了一个好的提纲，就能纲举目张，提纲挚领，掌握全篇论文的基本骨架，使论文的结构完整统一；就能分清层次，明确重点，周密地谋篇布局，使总论点和分论点有机地统一起来；也就能够按照各部分的要求安排、组织、利用资料，决定取舍，最大限度地发挥资料的作用。(以上内容来自百度百科）今天为大家推荐一篇论文提纲，供大家参考。
Introduction
0.1 Salman Rushdie and Midnight's Children
0.2 Literature Review
0.3 Significance of the Thesis
Chapter One The Carnival Rhetoric in Midnight's Children
1.1 Carnival Language
1.1.1 Language of Heteroglossia
1.1.2 Linguistic Deviation
1.2 Carnival Rhetorical Devices
1.2.1 The Use of Metaphor
1.2.2 The Use of Satire
1.2.3 The Use of Pun
1.3 Sum-up
Chapter Two The Carnival Characters in Midnight's Children
2.1 Women's Carnivalesque Acts
2.1.1 Widow
2.1.2 Witch
2.1.3 Unfaithful Wives
2.2 Saleem's Carnivalesque Acts
2.2.1 Grotesque Appearance and Eccentric Behavior
2.2.2 Turning into Clown
2.2.3 Crowning and Uncrowning
2.3 Sum-up
Chapter Three Intertextual Dialogue in Midnight's Children
3.1 Intertextual Dialogue between History and the Text
3.1.1 National Allegory
3.1.2 Fictionalization of National History
3.2 Intertextual Dialogue between Pretexts and the Text
3.2.1 Borrowings from Western Culture
3.2.2 Borrowings from Indian Culture
3.3 Intertextual Dialogue within the Text
3.3.1 Palimpsest
3.3.2 Polyphony
3.4 Sum-up
Conclusion
This conclusion
Focusing on contemporary forms of narrative, Hutcheon argues that postmodernistfiction embodies several carnivalesque structures. Firstly, in its metafictional preoccupationsand its tendency to foreground the artifice of literary construction, contemporary narrativeenacts a carnivalesque rebellion against the official ideology of realism （Hutcheon, 1988:83-4）。 Secondly, contemporary fiction has succeeded in blurring the distinction between highand popular culture, incorporating “comic books, Hollywood movies, popular songs, andpornography” （Hutcheon, 1988: 87）。 Thirdly, there is a tendency for contemporary fiction todraw on sexual and erotic imagery, and thus to appeal to the material bodily principle of thecarnivalesque. For Hutcheon, Bakhtin's notion of the carnivalesque provides a potent meansof characterizing postmodern literary techniques. Bakhtin's carnival theory thus facilitates anappropriate lens through which readers can explore the political potential of postmodernist artin that the playfulness and conviviality inherent in carnival theory seems to miniature thepostmodern condition.
Carnival is manifested in a variety of ways, either in the grotesque and dualism oflanguage and character, or the dialogue and polyphony of textual structure. Nevertheless,taken as a whole, Bakhtin's carnival theory is based on the fact that on the one hand, he takesfolk culture as a corporeal drama in which birth, growing, eating, drinking, evacuation,excretion and death are on show successively and on the other hand, he formulates a myth ofambivalence that denies the end by sublimating death through laughter. Materialism andambivalence thus can be taken as two starting point of Bakhtin's carnival theory. By ridiculingspiritualism, death, definiteness and finiteness, folk culture seeks to suspend the dualism ofmind and matter, extend the hegemony of authoritarian institutions and materialize hisUtopian dream. In the Utopian world, the boundary of hierarchy is transgressed and people ofdifferent social status are allowed to make a dialogue. Bakhtin's carnival theory, in thatconcern, gi
