Numerous studies have pointed to the historiographic and metafictional aspects of Ian McEwan’s and Graham Swift’s fiction, although few have examined the connections between McEwan and Swift. This study develops from that work by proposing that McEwan’s and Swift’s fictions explore similar themes, beyond those of just history and metafiction. By situating McEwan and Swift as postmodern writers who are strikingly intertextual, in the sense initially coined by Julia Kristeva, this study will show that both authors are deeply concerned with the violence of the twentieth and early twenty-first centuries, and the role that violence has played in the failure of metanarratives, as well as the resulting terror subjects face as they seek replacements for the personal authenticity, legitimacy, and meaning once provided by totalizing metanarratives. This study also illustrates that McEwan and Swift recognize the persistence of the metanarrative of science, as well as the psychic violence inherent in trying to replace metanarratives with received literary traditions. By developing on these ideas, this thesis argues that McEwan and Swift are actively engaged not only in exploring the anxiety subjects face as they realize there is nothing left upon which they can base their personal legitimacy, but also that the authors are suggesting there is no easy replacement for the lost, albeit fictitious, authenticity once situated in metanarratives and received genres. Finally, this paper will demonstrate that while these two contemporary novelists significantly problematize narrative and narrative frameworks, McEwan and Swift ultimately convey only one sure method to cope with the mourning and terror of the postmodern condition: continue writing.

Diss.--English--University of Freiburg, 2001. / Bibliogr. p. 178-194.

Diss.--Berlin--Freie Univ., 1997. / Bibliogr. p. 189-204.

Thesis (Ph. D.)--New York University, 1940. / Includes bibliographical references (p. 153-156).

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Numerous studies have pointed to the historiographic and metafictional aspects of Ian McEwan’s and Graham Swift’s fiction, although few have examined the connections between McEwan and Swift. This study develops from that work by proposing that McEwan’s and Swift’s fictions explore similar themes, beyond those of just history and metafiction. By situating McEwan and Swift as postmodern writers who are strikingly intertextual, in the sense initially coined by Julia Kristeva, this study will show that both authors are deeply concerned with the violence of the twentieth and early twenty-first centuries, and the role that violence has played in the failure of metanarratives, as well as the resulting terror subjects face as they seek replacements for the personal authenticity, legitimacy, and meaning once provided by totalizing metanarratives. This study also illustrates that McEwan and Swift recognize the persistence of the metanarrative of science, as well as the psychic violence inherent in trying to replace metanarratives with received literary traditions. By developing on these ideas, this thesis argues that McEwan and Swift are actively engaged not only in exploring the anxiety subjects face as they realize there is nothing left upon which they can base their personal legitimacy, but also that the authors are suggesting there is no easy replacement for the lost, albeit fictitious, authenticity once situated in metanarratives and received genres. Finally, this paper will demonstrate that while these two contemporary novelists significantly problematize narrative and narrative frameworks, McEwan and Swift ultimately convey only one sure method to cope with the mourning and terror of the postmodern condition: continue writing.

The project had two primary goals. The first was to study the photographs of William Arthur Swift, a commercial photographer who lived and worked in Muncie during the 1920s and early 1930s. An exhibition of his work was held at the Ball State University Art Gallery in 1984 and raised two issues which this project addressed.One question concerned the photographic equipment used by Swift. By examining his negatives, studying literature, and interviewing people who knew Swift, the models used by the photographer. This was then compared to equipment used by photographers today.Another issue concerned the current status of the subjects Swift photographed. Upon examining his work it was discovered that some of the subjects still exist. Many others do not, yet they have modern day counterparts. The second goal of the project was to conduct an historical update to compare a selection of Swift's subjects historical information about Munciechanges that have occurred.It was concluded that historical photographs serve as it showed the to the present. The modern photographs were then displayed alongside Swift's photographs. A comparison revealedas useful educational tools. They may also be considered entertaining. The recommendation was made that photographic work of this nature be continued since it will provide an informative view of this time period to future viewers.

Thesis (Ph. D.)--Columbia University, 1921. / Vita: p. 227 (mounted on back cover). Bibliography: p. 219-225.

Thesis (Ph. D.)--Columbia University, 1921. / Vita: p. 227 (mounted on back cover). Bibliography: p. 219-225.

Thesis (Ph. D.)--New York University, 1940. / Includes bibliographical references (p. 153-156).