Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-x5gtn Total loading time: 0 Render date: 2024-05-03T10:02:28.810Z Has data issue: false hasContentIssue false

Part II - Readings

Published online by Cambridge University Press:  17 August 2023

Maaheen Ahmed
Affiliation:
Universiteit Gent, Belgium
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Lewis, John, Aydin, Andrew, Fury, L., and Powell, Nate. Run: Book One. Abrams Comicarts, 2021.Google Scholar
McCay, Winsor. “Little Nemo in Slumberland” Los Angeles Times, 29 April 1906.Google Scholar
Richard, F. Outcault, “A Wild Political Fight in Hogan’s Alley – Silver Against Gold” New York World, 2 August 1896.Google Scholar

Secondary Sources

Blackbeard, Bill. “The Yellow Kid, the Yellow Decade.” R.F. Outcault’s The Yellow Kid: A Centennial Celebration of the Kid Who Started the Comics. Kitchen Sink Press, 1995, pp. 16136.Google Scholar
Bolter, Jay David and Grusin, Richard A.. Remediation: Understanding New Media. MIT Press, 2000.Google Scholar
Brunet, Peyton and Davis, Blair. Comic Book Women: Characters, Creators and Culture in the Golden Age. University of Texas Press, 2022.Google Scholar
Bukatman, Scott. The Poetics of Slumberland: Animated Spirits and the Animating Spirit. University of California Press, 2012.Google Scholar
Davis, Blair. The Battle for the Bs: 1950s Hollywood and the Rebirth of Low-Budget Cinema. Rutgers University Press, 2012.Google Scholar
Davis, Blair. Movie Comics: Page to Screen/Screen to Page. Rutgers University Press, 2017.Google Scholar
Hatfield, Charles. Hand of Fire: The Comics Art of Jack Kirby. University Press of Mississippi, 2011.Google Scholar
Harvey, Robert C. Children of the Yellow Kid: The Evolution of the American Comic Strip. Frye Art Museum, 1998.Google Scholar
Gordon, Ian. Comic Strips and Consumer Culture, 1890–1945. Smithsonian Institution Press, 1998.Google Scholar
Groensteen, Thierry. The System of Comics. Translated by Bart Beaty and Nick Nguyen. University Press of Mississippi, 2007.Google Scholar
McCloud, Scott. Understanding Comics: The Invisible Art. HarperCollins, 1993.Google Scholar
Mittell, Jason. Complex TV: The Poetics of Contemporary Television Storytelling. New York University Press, 2015.Google Scholar
Morton, Drew. “‘Watched Any Good Books Lately?’: The Formal Failure of the Watchmen Motion Comic.” Cinema Journal, vol. 56, no. 2, 2017, pp. 132137.Google Scholar
Pizzino, Christopher, “On Violation: Comic Books, Delinquency, Phenomenology.” Critical Directions in Comics Studies, edited by Giddens, Thomas. University of Mississippi Press, 2020, pp. 1334.Google Scholar
Postema, Barbara. Narrative Structure in Comics: Making Sense of Fragments. RIT Press, 2013.Google Scholar
Auster, Paul, Karasik, Paul, and Mazzucchelli, David. City of Glass: The Graphic Novel. Faber, 2005. Rev. ed. of Neon Lit: Paul Auster’s City of Glass. Avon, 1994.Google Scholar
Conard, Sébastien. fo(u)r watt. Het Balanseer, 2019.Google Scholar
Crumb, Robert. The Book of Genesis Illustrated. Norton, 2009.Google Scholar
Deprez, Olivier. Le Château, d’après Kafka. FRMK, 2019.Google Scholar
Grennan, Simon. Dispossession. Jonathan Cape, 2015.Google Scholar
Heuet, Stéphane. In Search of Lost Time: Swann’s Way. Translated by Arthur Goldhammer. Liveright Pub, 2015.Google Scholar
Kick, Russ. The Graphic Canon, 3 vol. Seven Stories Press, 2012–2013.Google Scholar
Molotiu, Andrei. Abstract Comics. The Anthology: 1967–2009. Fantagraphics, 2009.Google Scholar
Vaughn-James, Martin. The Cage, 2nd revised edition. The Coach House Press, 2013 [1975].Google Scholar
Ware, Chris. McSweeney’s Quarterly Concern, No. 13: An Assorted Sampler of North American Comic Drawings, Strips, and Illustrated Stories. McSweeneys, 2004.Google Scholar
Baetens, Jan. “Visual Rhetoric and Visual Thinking.” Eloquent Images, edited by Hocks, Mary E. and Kendrick, Michelle. MIT Press, 2003, pp. 179199.Google Scholar
Baetens, Jan. “Abstraction in Comics.” SubStance, vol. 40, no. 1, 2011, pp. 94113.CrossRefGoogle Scholar
Baetens, Jan. “Comics and Literature.” The Oxford Handbook for Comics Studies, edited by Aldama, Frederick. Oxford UP, 2019. Online. DOI : 10.1093/oxfordhb/9780190917944.013.35Google Scholar
Baetens, Jan. Rebuilding Story Worlds: The Obscure Cities by Schuiten and Peeters. Rutgers University Press, 2020.CrossRefGoogle Scholar
Baetens, Jan. Adaptation et bande dessinée: Éloge de la fidélité. Les Impressions Nouvelles, 2020.Google Scholar
Baetens, Jan and Frey, Hugo. The Graphic Novel: An Introduction. Cambridge University Press, 2014.Google Scholar
Baetens, Jan and Sánchez-Mesa, Domingo. “Literature in the Expanded Field: Intermediality at the Crossroads of Literary Theory and Comparative Literature.” Interfaces, vol. 36, 2015, pp. 289304.Google Scholar
Beckett, Samuel. Watt. Olympia Press, 1953.Google Scholar
Beronä, David. Wordless Books: The Original Graphic Novels. Abrams, 2008.Google Scholar
Boillat, Alain and Philippe, Gilles. L’Adaptation. Des livres aux scénarios. Les Impressions Nouvelles, 2018.Google Scholar
Charyn, Jerome. The Man Who Grew Younger. Harper and Row, 1963.Google Scholar
Cléder, Jean and Jullier, Laurent. Analyser une adaptation. Flammarion, 2017.CrossRefGoogle Scholar
Conard, Sébastien, ed. Post-Comics: Beyond Comics, Illustration and the Graphic Novel. Het Balanseer, 2020.Google Scholar
Coughan, David. “Paul Auster’s City of Glass: The Graphic Novel.” Modern Fiction Studies, vol. 52, no. 4, 2006, pp. 832854.Google Scholar
Dürrenmatt, Jacques. Littérature et bande dessinée. Garnier, 2013.Google Scholar
Gelder, Ken. Adapting Bestsellers: Fantasy, Franchise and the Afterlife of Storyworlds. Cambridge University Press, 2019.Google Scholar
Genette, Gérard. Paratexts: The Thresholds of Interpretation [1987]. Translated by Jane E. Lewin. Cambridge University Press, 1997 (1987).CrossRefGoogle Scholar
Goldsmith, Kenneth. Uncreative Writing. Columbia University Press, 2011.Google Scholar
Hatfield, Charles. Hand of Fire: The Comics Art of Jack Kirby. University Press of Mississippi, 2011.CrossRefGoogle Scholar
Hutcheon, Linda and O’Flynn, Siobhan. A Theory of Adaptation. Routledge, 2013.Google Scholar
Kunzle, David. Cham: The Best Comic Strips and Graphic Novelettes. University Press of Mississippi, 2019.Google Scholar
Manovich, Lev. The Language of New Media. MIT Press, 2001.Google Scholar
McFarlane, Brian. Novel to Film: An Introduction to the Theory of Adaptation. Clarendon Press, 1996.Google Scholar
Mitchell, W. J. T.There Are No Visual Media.” Journal of Visual Culture, vol. 4, no. 2, 2005, pp. 257266.CrossRefGoogle Scholar
Murray, Simone. The Adaptation Industry. Routledge, 2012.Google Scholar
Nikolajeva, Maria and Scott, Carole. How Picture Books Work. Routledge, 2001.Google Scholar
Nixon, Mark. “Comics and Graphic Novels.” The Book in Britain. Volume VII. The Twentieth Century and Beyond, edited by Ash, Andrew, Squires, Claire and Willison, I.R.. Cambridge University Press, 2019, pp. 555564.Google Scholar
Perloff, Marjorie. Unoriginal Genius. University of Chicago Press, 2010.Google Scholar
Pizzino, Christopher. Arresting Development: Comics at the Boundaries of Literature. Texas University Press, 2016.Google Scholar
Robbe-Grillet, Alain. For a New Novel [1963]. Translated by Richard Howard. Northwestern University Press, 1992.Google Scholar
Truffaut, François. “Une certaine tendance du cinéma français”. 1954. Online English version at New Wave Film.com: www.newwavefilm.com/about/a-certain-tendency-of-french-cinema-truffaut.shtmlGoogle Scholar
Burns, Charles. Black Hole. Pantheon, 2005 (collects Black Hole no. 1-12. Kitchen Sink/Fantagraphics, 1995–2004).Google Scholar
Lee, Stan (w.) and Jack, Kirby (i.) Fantastic Four no. 1-7. Marvel Comics, 1961–1962.Google Scholar
Mignola, Mike et al. Hellboy. Dark Horse, 1994 – present.Google Scholar
Millar, Mark (w.) and Byran, Hitch (i.), The Ultimates. no. 1-13. Marvel Comics, 2002–2004.Google Scholar
Tamaki, Mariko (w.) and Jillian, Tamaki (a). This One Summer. First Second Books, 2014.Google Scholar
Waid, Mark (w.) and Andy, Kubert (i.), Ka-Zar 3d series, no. 4. Marvel Comics, August 1997.Google Scholar
Altman, Rick. Film/Genre. British Film Institute, 1999.CrossRefGoogle Scholar
Anderst, Leah. “‘It Both Is and Isn’t My Life’: Autobiography, Adaptation and Emotion in Fun Home, the Musical.” The Comics of Alison Bechdel, edited by Utell, Janine. University Press of Mississippi, 2019, pp. 105118.CrossRefGoogle Scholar
Baetens, Jan. Rebuilding Story Worlds: The Obscure Cities by Schuiten and Peeters. Rutgers University Press, 2020.Google Scholar
Berthou, Benoît. “VI. La bande dessinée: Quelle culture de l’image?La bande dessinée : Quelle lecture, quelle culture?, edited by Berthou, Benoît. Éditions de la Bibliothèque publique d’information, 2015. https://doi.org/10.4000/books.bibpompidou.1682.Google Scholar
Brayshaw, Charles and Mike, Mignola. “Between Two Worlds: The Mike Mignola Interview.” The Comics Journal, no. 189, August 1996, pp. 64–90.Google Scholar
Chute, Hillary L. Graphic Women: Life Narrative and Contemporary Comics. Columbia University Press, 2010.Google Scholar
Coogan, Peter. Superhero: The Secret Origin of a Genre. MonkeyBrain, 2006.Google Scholar
Costello, Brannon. Neon Visions: The Comics of Howard Chaykin. Louisiana State University Press, 2017.Google Scholar
Cvetkovich, Ann. “Drawing the Archive in Alison Bechdel’s ‘Fun Home.’” Women’s Studies Quarterly, vol. 36, no. 1/2, The Feminist Press at the City University of New York, 2008, pp. 111128.Google Scholar
Duncan, Randy and Smith, Matthew J.. The Power of Comics: History, Form and Culture. 2nd ed. Bloomsbury, 2015.Google Scholar
Gardner, Jared. Projections: Comics and the History of Twenty-First-Century Storytelling. Stanford University Press, 2012.Google Scholar
Genette, Gérard. The Architext: An Introduction. University of California Press, 1992.Google Scholar
Goodrum, Michael D. and Smith, Philip. Printing Terror. American Horror Comics as Cold War Commentary and Critique. Manchester University Press, 2021.Google Scholar
Gordon, Ian. Superman: The Persistence of an American Icon. Rutgers University Press, 2017.Google Scholar
Hague, Ian. Comics and the Senses: A Multisensory Approach to Comics and Graphic Novels. Routledge, 2014.Google Scholar
Hatfield, Charles, et al., editors. The Superhero Reader. University Press of Mississippi, 2013.Google Scholar
Hatfield, Charles and Beaty, Bart, editors. Comics Studies: A Guidebook. Rutgers University Press, 2020.Google Scholar
Heer, Jeet and Worcester, Kent, editors. A Comics Studies Reader. University Press of Mississippi, 2009.Google Scholar
Hutcheon, Linda. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. University of Illinois Press, 2000.Google Scholar
Kidman, Shawna. Comic Books Incorporated: How the Business of Comics Became the Business of Hollywood. University of California Press, 2019.Google Scholar
Labarre, Nicolas. Heavy Metal, l’autre Métal Hurlant. Presses universitaires de Bordeaux, 2017.Google Scholar
Labarre, Nicolas. Understanding Genres in Comics. Palgrave Macmillan, 2020.CrossRefGoogle Scholar
Letourneux, Matthieu. Fictions à la chaîne: littératures sérielles et culture médiatique. Éditions du Seuil, 2017.Google Scholar
Licari-Guillaume, Isabelle. “‘What Is It with These Brits?’: British Culture and the ‘British Invasion’ Narrative Seen through Letter Columns.” Comicalités. Études de culture graphique. Université Paris XIII | Villetaneuse – Bobigny – Saint-Denis, April 2021. journals.openedition.org, http://journals.openedition.org/comicalites/5585.Google Scholar
Martinez, Nicolas. Reframing the Western in Bande Dessinée: Translation, Adaptation, Localization. Cardiff University, March 2020. orca-mwe.cf.ac.uk, http://orca-mwe.cf.ac.uk/131912/.Google Scholar
Pizzino, Christopher. Arresting Development: Comics at the Boundaries of Literature, 1st ed. University of Texas Press, 2016.Google Scholar
Price, Austin. “Comic Horror: The Work of Junji Ito.” The Comics Journal, November 2018. www.tcj.com/comic-horror-the-work-of-junji-ito/.Google Scholar
Pustz, Matthew. Comic Book Culture: Fanboys and True Believers. University Press of Mississippi, 1999.Google Scholar
Reynolds, Richard. Super Heroes: A Modern Mythology. University Press of Mississippi, 1994.Google Scholar
Round, Julia. “Horror Hosts in British Girls’ Comics.” The Palgrave Handbook of Contemporary Gothic, edited by Bloom, Clive. Palgrave Macmillan, 2020, pp. 623642.CrossRefGoogle Scholar
Singer, Marc. Breaking the Frames: Populism and Prestige in Comics Studies, 1st ed. University of Texas Press, 2018.Google Scholar
Stein, Daniel. “Superhero Comics and the Authorizing Functions of the Comic Book Paratext.” From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic Narrative, edited by Stein, Daniel and Thon, Jan-Noël. De Gruyter, 2013, pp. 155189.Google Scholar
Wandtke, Terrence R. The Comics Scare Returns: The Contemporary Resurgence of Horror Comics. RIT Press, 2018.Google Scholar
Porcellino, John. King-Cat Classix. Drawn & Quarterly, 2021.Google Scholar
Porcellino, John. Map of My Heart: The Best of King-Cat Comics & Stories 1996–2002. Drawn & Quarterly, 2009.Google Scholar
Porcellino, John. Perfect Example. Drawn & Quarterly, 2005.Google Scholar
Baggerman, Arianne, Rudolf, Dekker, and Mascuch, Michael. Controlling Time and Shaping the Self: Developments in Autobiographical Writing since the Sixteenth Century. Brill, 2011.Google Scholar
Blake, William. The Complete Poetry and Prose of William Blake. Edited by Erdman, David V.. University of California Press, 1982.Google Scholar
Currie, Mark. About Time: Narrative, Fiction and the Philosophy of Time. Edinburgh University Press, 2007.Google Scholar
de Certeau, Michel. The Practice of Everyday Life. University of California Press, 1984.Google Scholar
de Man, Paul. “Autobiography as De-Facement.” MLN, vol. 94, no. 5, 1979, pp. 919930.CrossRefGoogle Scholar
Groensteen, Thierry. Comics and Narration. Translated by Ann Miller. University of Mississippi Press, 2013.Google Scholar
Herbrechter, Stefan. “Narrating(−)Life – In Lieu of an Introduction.” Narrating Life – Experiments with Human and Animal Bodies in Literature, Science and Art, edited by Herbrechter, Stefan and Friis, Elisabeth. Brill, 2016, pp. 113.Google Scholar
Hescher, Achim. Reading Graphic Novels: Genre and Narration. De Gruyter, 2016.Google Scholar
Mikkonen, Kai. The Narratology of Comic Art. Routledge Advances in Comics Studies. Routledge, 2017.CrossRefGoogle Scholar
Kermode, Frank. The Sense of an Ending: Studies in the Theory of Fiction. Oxford University Press, 2000.Google Scholar
Kofman, Sarah. “Beyond Aporia?Post-Structuralist Classics, edited by Benjamin, Andrew. Routledge, 1988, pp. 744.Google Scholar
Kwa, Shiamin. Regarding Frames: Thinking with Comics in the Twenty-First Century. RIT Press, 2020.Google Scholar
Laurier, Eric. “The Graphic Transcript: Poaching Comic Book Grammar for Inscribing the Visual, Spatial and Temporal Aspects of Action.” Geography Compass, vol. 8, no. 4, 2014, pp. 235248.Google Scholar
McGuire, Richard. Here. Pantheon, 2014.Google Scholar
Miodrag, Hannah. Comics and Language: Reimagining Critical Discourse on the Form. University Press of Mississippi, 2013.Google Scholar
Nelson, Deborah. “Panel: Comics and Autobiography Phoebe Gloeckner, Justin Green, Aline Kominsky-Crumb, Carol Tyler.” Critical Inquiry, vol. 40, no. 3, 2014, pp. 86103.Google Scholar
Pier, John. “Metalepsis.” Handbook of Narratology, edited by Hùhn, Peter. De Gruyter, 2009, pp. 190203.Google Scholar
Schneider, Ralf and Hartner, Marcus, eds. Blending and the Study of Narrative: Approaches and Applications. De Gruyter, 2012.CrossRefGoogle Scholar
Rudolph, Dirks. “The Katzenjammer Kids Change Clothes with the Blackberry Brothers.” Chicago American Comic Supplement. 2 September, 1900.Google Scholar
Kemble, Edward W. Comical Coons. R.H. Russell, 1898.Google Scholar
Kemble, Edward W. Kemble’s Coons: A Collection of Southern Sketches. R.H. Russell, 1897.Google Scholar
McCay, Winsor. “Little Nemo in Slumberland”. New York Herald, August, 1908.Google Scholar
Outcault, R.F. Pore Lil Mose: His Letters to His Mammy. Grand Union Tea Company, 1902.Google Scholar
Outcault, R.F. “Poor Lil’ Mose on the 7 Ages.” New York Herald Comic Supplement. February 3, 1901.Google Scholar
Outcault, R.F. “A True Ghost Story.” New York Herald. April 28, 1901.Google Scholar
Ahmed, Maaheen. “Black Boys and Black Girls in Comics: An Affective and Historical Mapping of Intertwined Stereotypes.” The Routledge Companion to Gender and Sexuality in Comic Book Studies. Edited by Aldama, Frederick Luis. Routledge, 2021, pp. 2841.Google Scholar
Ahmed, Sara. The Cultural Politics of Emotion. 2004. Edinburgh University Press, 2014.Google Scholar
Aldama, Frederick Luis, ed. Multicultural Comics: From Zap to Blue Beetle. University of Texas Press, 2010.Google Scholar
Aldama, Frederick Luis Aldama, “Unmasking Whiteness: Re-Spacing the Speculative in Superhero Comics.” Unstable Masks: Whiteness and American Superhero Comics. Edited by Guynes, Sean and Lund, Martin. Ohio State University Press, 2020. xixvi.Google Scholar
Amiran, Eyal. “George Herriman’s Black Sentence: The Legibility of Race in ‘Krazy Kat.’Mosaic vol. 33, no. 3, 2000, pp. 5779.Google Scholar
Austin, Allan W., and Hamilton, Patrick L.. All New, All Different? A History of Race and the American Superhero. University of Texas Press, 2019.Google Scholar
Ayaka, Carolene, and Hague, Ian, ed. Representing Multiculturalism in Comics and Graphic Novels. Routledge, 2015.Google Scholar
Banta, Martha. Barbaric Intercourse: Caricature and the Culture of Conduct, 1841–1936. University of Chicago Press, 2003.Google Scholar
Barker, Martin. Comics: Ideology, Power, and the Critics. Manchester University Press, 1989.Google Scholar
Chute, Hillary L. Disaster Drawn: Visual Witness, Comics, and Documentary Form. Harvard University Press, 2016.Google Scholar
Cole, Jean Lee. How the Other Half Laughs: The Comic Sensibility in American Culture, 1895–1920. University Press of Mississippi, 2020.Google Scholar
Creekmur, Corey E.Multiculturalism Meets the Counterculture: Representing Racial Difference in Robert Crumb’s Underground Comics.” Representing Multiculturalism in Comics and Graphic Novels, edited by Ayaka, Carolene and Hague, Ian. Routledge, 2015, pp. 1933.Google Scholar
Cremins, Brian. “Bumbazine, Blackness, and the Myth of the Redemptive South in Walt Kelley’s Pogo.” Comics and the U.S. South, edited by Costello, Brannon and Whitted, Qiana J.. University Press of Mississippi, 2012, pp. 2961.Google Scholar
Du Bois, W.E.B.The Souls of Black Folk.” [1903]. The Oxford W.E.B. Du Bois Reader, edited by Sundquist, Eric J.. Oxford University Press, 1996. 97240.Google Scholar
Eisner, Will. Graphic Storytelling and Visual Narrative. [1996]. New York: Norton, 2008.Google Scholar
Gambone, Robert L. Life on the Press: The Popular Art and Illustrations of George Benjamin Luks. University Press of Mississippi, 2009.Google Scholar
Gardner, Jared. Projections: Comics and the History of Twenty-First-Century Storytelling. Stanford University Press, 2012.Google Scholar
Gardner, Jared. “Same Difference: Graphic Alterity in the Work of Gene Luen Yang, Adrian Tomine, and Derek Kirk Kim.” Multicultural Comics: From Zap to Blue Beetle, edited by , Frederick Luis Aldama. University of Texas Press, 2010, pp. 132147.Google Scholar
Gardner, Jared. “Storylines.” SubStance, vol 40, no. 1, 2011, pp. 5369.Google Scholar
Gateward, Frances, and Jennings, John. “Introduction: The Sweeter the Christmas.” The Blacker the Ink: Constructions of Black Identity in Comics & Sequential Art, edited by Gateward, Frances and Jennings, John. Rutgers University Press, 2015, pp. 115.Google Scholar
Gilman, Sander L. Difference and Pathology: Stereotypes of Sexuality, Race, and Madness. Cornell University Press, 1985.Google Scholar
Gordon, Ian. Comics Strips and Consumer Culture 1890–1945. Smithsonian Institution Press, 1998.Google Scholar
Hayes, David. “Rethinking Ebony White: Race and Representation in Will Eisner’s The Spirit.” Journal of Popular Culture vol. 48, no. 2, 2015, pp. 296312.Google Scholar
Havig, Alan. “Richard F. Outcault’s ‘Poor Lil’ Mose’: Variations on the Black Stereotype in American Comic Art.” Journal of American Culture vol. 11, no. 1, 1988, pp. 3341.Google Scholar
Heer, Jeet. “Racism as a Stylistic Choice and Other Notes.” The Comics Journal 14 March 2011. www.tcj.com/racism-as-a-stylistic-choice-and-other-notes/.Google Scholar
Howard, Sheena C.Brief History of the Black Comic Strip: Past and Present.” Black Comics: Politics of Race and Representation, edited by Howard, Sheena C. and Jackson II, Ronald L.. Bloomsbury, 2013, pp. 1122.Google Scholar
Kunka, Andrew J.Comics, Race, and Ethnicity.” The Routledge Companion to Comics, edited by Bramlett, Frank, Cook, Roy T., and Meskin, Aaron. Routledge, 2017, pp. 275284.Google Scholar
Lemons, J. Stanley. “Black Stereotypes as Reflected in Popular Culture, 1880–1920.” American Quarterly vol. 29, no. 1, 1977, pp. 102116.Google Scholar
McCloud, Scott. Understanding Comics: The Invisible Art. [1993]. HarperCollins, 1994.Google Scholar
Meyer, Christina. Producing Mass Entertainment: The Serial Life of the Yellow Kid. Ohio State University Press, 2019.Google Scholar
Mitchell, W.J.T. What Do Pictures Want? The Lives and Loves of Images. University of Chicago Press, 2005.Google Scholar
Molotiu, Andrei. “Cartooning.” Comics Studies: A Guidebook, edited by Hatfield, Charles and Beaty, Bart. Rutgers University Press, 2020, pp. 153171.Google Scholar
Nama, Adilifu. Super Black: American Pop Culture and Black Superheroes. University of Texas Press, 2011.Google Scholar
Rifas, Leonard. “Race and Comix.” Multicultural Comics: From Zap to Blue Beetle, edited by Frederick Luis Aldama. University of Texas Press, 2010, pp. 27–38.Google Scholar
Saguisag, Lara. Incorrigibles and Innocents: Constructing Childhood and Citizenship in Progressive Era Comics. New Brunswick: Rutgers University Press, 2018.Google Scholar
Spiegelman, Art. “Little Orphan Annie’s Eyeballs.” Comix, Essays, Graphics and Scraps: From MAUS to Now. Raw Books & Graphics, 1999, pp. 1718.Google Scholar
Stein, Daniel. “The Comic Modernism of George Herriman.” Crossing Boundaries in Graphic Narrative: Essays on Forms, Series and Genres. Edited by Jake Jakaitis and James F. Wurtz. Jefferson: McFarland, 2012. 4070.Google Scholar
Strömberg, Fredrik. Black Images in the Comics: A Visual History. Fantagraphics, 2003.Google Scholar
Tensuan, Theresa. “Difference.” Comics Studies: A Guidebook, edited by Hatfield, Charles and Beaty, Bart. Rutgers University Press, 2020, pp. 138150.Google Scholar
Wanzo, Rebecca. The Content of Our Caricature: African American Comic Art and Political Belonging. New York University Press, 2020.Google Scholar
Whaley, Deborah Elizabeth. Black Women in Sequence: Re-inking Comics, Graphic Novels, and Anime. University of Washington Press, 2016.Google Scholar
Barry, Lynda. Syllabus: Notes from an Accidental Professor. Drawn & Quarterly, 2014.Google Scholar
Barry, Lynda. One! Hundred! Demons! Drawn & Quarterly, 2019.Google Scholar
Barry, Lynda. What It Is. Drawn & Quarterly, 2019.Google Scholar
Barry, Lynda. Making Comics. Drawn & Quarterly, 2019.Google Scholar
Flowers, Ebony. Hot Comb. Drawn & Quarterly, 2019.Google Scholar
Pixin, Weng. Let’s Not Talk Anymore. Drawn & Quarterly, 2021.Google Scholar
Beineke, Colin. “On Comicity.” Inks, vol. 1, no. 2, 2017, pp. 226253.Google Scholar
Berlatsky, Noah. Wonder Woman: Bondage and Feminism in the Marston/Peter Comics, 1941–1948. Rutgers University Press, 2017.Google Scholar
Brunet, Peyton and Davis, Blair. Comic Book Women: Characters, Creators and Cultures in the Golden Age. University of Texas Press, 2022.Google Scholar
Chaney, Michael A., ed. Graphic Subjects: Critical Essays on Autobiography and Graphic Novels. University of Wisconsin Press, 2011.Google Scholar
Chute, Hillary L. Graphic Women: Life Narrative and Contemporary Comics. Columbia University Press, 2010.Google Scholar
Gardner, Jared. “StorylinesSubstance, vol. 124, 2010, pp. 5369.Google Scholar
Goldstein, Nancy. Jackie Ormes: The First African-American Woman Cartoonist. University of Michigan Press, 2019.Google Scholar
Grennan, Simon, Sabin, Roger, and Waite, Julian. Marie Duval: Maverick Victorian Cartoonist. Manchester University Press, 2020.Google Scholar
Kirtley, Susan. Lynda Barry: Girlhood through the Looking Glass. University Press of Mississippi, 2012.Google Scholar
Kirtley, Susan. Typical Girls: The Rhetoric of Womanhood in Comic Strips. Ohio State University Press, 2021.Google Scholar
Kunzle, David. “Marie Duval: A Caricaturist Rediscovered. Women’s Art Journal, vol. 7, no. 1, 1989, pp. 2631.Google Scholar
Lepore, Jill. The Secret History of Wonder Woman. Vintage Books, 2014.Google Scholar
McNamara, Nathan Scott and Flowers, Ebony. “A Place Where Past, Present, and Future Come Together: Ebony Flowers on Hot Comb.” Los Angeles Review of Books, 13 July 2019. https://blog.lareviewofbooks.org/interviews/space-past-present-future-come-together-ebony-flowers-hot-comb/ Accessed 3 August 2022.Google Scholar
Misemer, Leah and Barry, Lynda. “Teaching the Unthinkable Image: An Interview with Lynda Barry.” With Great Power Comes Great Pedagogy: Teaching, Learning and Comics. Edited by Kirtley, Susan, Garcia, Antero, and Carlson, Peter E.. University Press of Mississippi, 2020, pp. 168184.Google Scholar
Robbins, Trina. From Girls to Grrrlz: A History of Women’s Comics from Teens to Zines. Chronicle Books, 1999.Google Scholar
Robbins, Trina. Pretty in Ink: North American Women Artists, 1896–2013. Fantagraphics, 2013.Google Scholar
Robbins, Trina. Last Girl Standing. Fantagraphics, 2017.Google Scholar
Sabin, Roger. “Ally Sloper: The First Comics Superstar?Image [&] Narrative, vol. 4, no. 1, 2003, www.imageandnarrative.be/inarchive/graphicnovel/rogersabin.htm. Accessed 3 August 2022.Google Scholar
Sammond, Nicholas. Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation. Duke University Press, 2015.Google Scholar
Streeten, Nicola. UK Feminist Comics and Cartoons: A Critical Survey. Palgrave, 2020.Google Scholar
Streeten, Nicola and Cath, Tate. The Inking Woman: 250 Years of British Women Cartoon and Comic Artists. Myriad Editions, 2018.Google Scholar
Szép, Eszter. Comics and the Body: Reading, Drawing and Vulnerability. Ohio State University Press, 2020.Google Scholar
Whaley, Deborah E. Black Women in Sequence: Re-inking Comics, Graphic Novels, and Anime. University of Washington Press, 2015.Google Scholar
Appel, Rosaire. wordlesss (poems). Self-Published 2013.Google Scholar
Appel, Rosaire. Soundtrack/s. Press Rappel, 2018.Google Scholar
Appel, Rosaire. Perturbations. Adverse, 2019.Google Scholar
French, Renée. h day. Picture Box, 2010.Google Scholar
Gaze, Tim. 100 Scenes. A Graphic Novel. Asemic, 2010.Google Scholar
Mahato, Mita. It’s All Over and Other Poems on Animals. [Self-Published], 2020.Google Scholar
Molotiu, Andrei. Abstract Comics: The Anthology. Fantagraphics, 2009.Google Scholar
Stone, Bianca. Poetry Comics from the Book of Hours. Pleiades Press, 2016.Google Scholar
Tabulo, Kym. What Would Paul Klee Say? [Self-Published] 2016.Google Scholar
Altarriba, Alberto. “Propositions pour une analyse spécifique du récit en bande dessinée.” Bande Dessinée, récit et modernité. Colloque de Cerisy, 1–11 Août 1987, edited by Groensteen, Thierry. Futuropolis, 1988, pp. 2544.Google Scholar
Baetens, Jan. “Abstraction in Comics.” SubStance, vol. 40, no. 124, 2011, pp. 94113.Google Scholar
Baroni, Raphaël. “Tensions et résolutions: Musicalité de l’intrigue ou intrigue musicale?.” Cahiers de narratologie. Analyse et théorie narrative, no. 21, 2011. https://doi.org/https://doi.org/10.4000/narratologie.6390Google Scholar
Beineke, Colin. “On Comicity.” Inks: The Journal of the Comics Studies Society, vol. 1, no. 2, 2017, pp. 226253.Google Scholar
Dejasse, Erwin. “Art Brut and Alternative Comics: Reciprocal Sympathies.” Études Francophones, vol. 32, 2022, pp. 197220.Google Scholar
Dueben, Alex. “A Bianca Stone Interview.” The Comics Journal, 18 September 2021. www.tcj.com/a-bianca-stone-interview/Google Scholar
Fresnault-Deruelle, Pierre. “From Linear to Tabular (1976).” The French Comics Theory Reader, edited by Beaty, Bart and Miller, Ann. Leuven University Press, 2014, pp. 121138.Google Scholar
Goldberg, Myla. Renee French “H Day” Part 2. Interview by Myla Goldberg. Youtube, 2010 www.youtube.com/watch?v=bPghC2GqMTcGoogle Scholar
Groensteen, Thierry. Comics and Narration. University Press of Mississippi, 2018.Google Scholar
Groensteen, Thierry. “Fictions sans frontières.” La Transécriture: Pour une théorie de l’adaptation, edited by Gaudreault, André and Groensteen, Thierry. Nota Bene, 1998, pp. 929.Google Scholar
Groensteen, Thierry. The System of Comics. University Press of Mississippi, 2009.Google Scholar
Groupe µ. Traité visuel du signe. Seuil, 1992.Google Scholar
Hatfield, Charles. Hand of Fire: The Comics Art of Jack Kirby. University Press of Mississippi, 2012.Google Scholar
Isabelinho, Domingos. “Monthly Stumblings # 14: Tim Gaze.” The Hooded Utilitarian, 8 March 2012. www.hoodedutilitarian.com/2012/03/monthly-stumblings-14-tim-gazeGoogle Scholar
Jauss, Hans Robert. Toward an Aesthetic of Reception. University of Minnesota Press, 1982.Google Scholar
Marion, Philippe. Traces en cases: Travail graphique, figuration narrative et participation du lecteur. Academia, 1993.Google Scholar
Méchoulan, Éric. “Intermédialité, ou comment penser les transmissions.” Fabula / Les Colloques: Création, intermédialité, dispositif, 5 March 2017. www.fabula.org/colloques/document4278.phpGoogle Scholar
Menu, Jean-Christophe. La bande dessinée et son double: Langage et marges de la bande dessinée. L’Association, 2011.Google Scholar
Michaux, Henri. Passages (1937–1963). Gallimard, 1998.Google Scholar
Postema, Barbara. “Adding Up to What? Degrees of Narration and Abstraction in Wordless Comics.” Abstraction and Comics / Bande dessinée et abstraction, edited by Rommens, Aarnoud et al. Presses Universitaires de Liège / La 5e Couche, 2019, pp. 284298.Google Scholar
Rothman, Alexander. Alexander Rothman, https://versequential.com/.Google Scholar
Rothman, Alexander. “What Is Comics Poetry?” Solrad. The Online Literary Magazine for Comics, 4 March 2020. https://solrad.co/what-is-comics-poetry-an-essay-by-alexander-rothmanGoogle Scholar
Schmul, Elizabeth. “On ‘Poetry Comics from The Book of Hours’: An Interview with Bianca Stone.” Michigan Quarterly Review, May 2016. https://sites.lsa.umich.edu/mqr/2016/01/on-poetry-comics-from-the-book-of-hours-an-interview-with-bianca-stone/Google Scholar
Stone, Bianca. “Notes on Time and Poetry Comics.” Abstraction and Comics/ Bande dessinée et abstraction, edited by Rommens, Aarnoud et al. Presses Universitaires de Liège / La 5e Couche, 2019, pp. 210228.Google Scholar
Tabulo, Kym. The Art of Abstract Comics. Pecha Kucha, 5 September 2016. www.pechakucha.com/presentations/the-art-of-abstract-comicsGoogle Scholar
Tabulo, Kym. “Abstract Sequential Art: An Artists Insight.” Abstraction and Comics / Bande dessinée et abstraction, edited by Rommens, Aarnoud et al. Presses Universitaires de Liège / La 5e Couche, 2019, pp. 147165.Google Scholar
Yaniv, Etty. “Rosaire Appel – Cajoling Sound and Image [Interview].” Art Spiel. Reflections on the Work of Contemporary Artists, 29 June 2018. https://artspiel.org/rosaire-appel-cajoling-sound-and-image/Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Readings
  • Edited by Maaheen Ahmed, Universiteit Gent, Belgium
  • Book: The Cambridge Companion to Comics
  • Online publication: 17 August 2023
  • Chapter DOI: https://doi.org/10.1017/9781009255653.009
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Readings
  • Edited by Maaheen Ahmed, Universiteit Gent, Belgium
  • Book: The Cambridge Companion to Comics
  • Online publication: 17 August 2023
  • Chapter DOI: https://doi.org/10.1017/9781009255653.009
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Readings
  • Edited by Maaheen Ahmed, Universiteit Gent, Belgium
  • Book: The Cambridge Companion to Comics
  • Online publication: 17 August 2023
  • Chapter DOI: https://doi.org/10.1017/9781009255653.009
Available formats
×