1Catherine Bernard,“An Interview with Graham Swift,”Contemporary Literature 38(1997),P.223,P.220.P.221.
2George Landow,“History,His Story,and Stories in Graham Swift’s Waterland.”Studies in the Literary Imagination,23(1990),P.197—211.
3Richard Bemard, "Graham Swift and the Fans: a study in Intertextuality" Etudes Britanniques Contemporaines n^。0.Montpellier: Presses universitaires de Montpellier,1992<http://ebc, chez. tiscali, fr/elx01, html>.
4Jemmy Hawthom, A Concise of Contemporary Literary Theory,London: Edward Arnold,1992,p.77.
5Roland Barthes, Image - Music - Text, ed. Stephen Heath, Glasgow: Fontana, 1977, p. 147.
6Julia Kristeva,. Desire in Language, trans. T. Gora,et al., Oxford: Basil Blackwell, 1984, p. 36.
7Linda Hutcheon, A Poetics of Postmodernism: History Theory, Fiction, New York: Routledge, 1988,p. 5, p. 133, p. 105.
8Malcolm Bradbury, Passibilities: Essays on the State of the Novel, London: Oxford University Press, 1973, p.15.
9Graham Swift, Waterland, New York: Vintage International, 1992, p. 144.
10Damon Marcel DeCoste, "Question and Apocalypse:The Endlesdnesds of Histona in Graham Swift' s Waterland ," Contemporary Literature 43 (2002), p. 386, p. 336.
