| ACKNOWLEDGEMENTS | 第6-7页 |
| ABSTRACT | 第7页 |
| 摘要 | 第8-11页 |
| CHAPTER Ⅰ INTRODUCTION | 第11-16页 |
| 1.1 Salman Rushdie and His Literary Creation | 第11-13页 |
| 1.2 Midnight’s Children and Structure of the Thesis | 第13-16页 |
| CHAPTER Ⅱ LITERATURE REVIEW | 第16-23页 |
| 2.1 Studies Abroad | 第16-18页 |
| 2.2 Studies at Home | 第18-23页 |
| CHAPTER Ⅲ THEORETICAL FRAMEWORK | 第23-30页 |
| 3.1 The Discourses of Postmodern Representations | 第23-25页 |
| 3.1.1 Challenge towards Modernism | 第23-24页 |
| 3.1.2 Tendency towards Popularization | 第24-25页 |
| 3.2 The Aesthetic Dimensions of Postmodern Fiction | 第25-26页 |
| 3.2.1 Metafiction | 第25页 |
| 3.2.2 The Problematized Referents of History and Fiction | 第25-26页 |
| 3.3 Historiographic Metafiction:“The Pastime of Past Time” | 第26-30页 |
| 3.3.1 The Textuality of Historical Traces | 第27-28页 |
| 3.3.2 The Interpretations of Historical Traces | 第28-30页 |
| CHAPTER Ⅳ SALEEM’S MEANING-IMPOSED PROCESS OF HISTORICAL TRACES | 第30-45页 |
| 4.1 Saleem’s Interpretations of His Baby-snap | 第31-35页 |
| 4.2 Saleem’s Interpretations of Millais’s Painting The Boyhood of Raleigh | 第35-40页 |
| 4.3 Saleem’s Collage of Newspapers | 第40-45页 |
| CHAPTER Ⅴ THE POLYSEMY OF HISTORICAL TRACES | 第45-59页 |
| 5.1 Editors’ Imposed Meanings to Saleem’s Baby-snap | 第45-47页 |
| 5.2 William Methwold’s Imposed Meanings to The Boyhood of Raleigh | 第47-49页 |
| 5.3 The Fictionality of Newspapers | 第49-50页 |
| 5.4 The Mnemonic Failures of Historical Traces | 第50-55页 |
| 5.5 Pluralism: The Rhetoric of Postmodernism | 第55-59页 |
| CHAPTER VI CONCLUSION | 第59-61页 |
| WORKS CITED | 第61-64页 |
