9e Art 11 (Oct. 2004).Google Scholar

Barry, Lynda. Blabber Blabber Blabber: Everything. Vol. 1. Montreal: Drawn & Quarterly, 2011.Google Scholar

Barry, Lynda. The Freddie Stories. Montreal: Drawn & Quarterly, 2013.Google Scholar

Barry, Lynda. Picture This. Montreal: Drawn & Quarterly, 2010.Google Scholar

Barry, Lynda. Syllabus. Montreal: Drawn & Quarterly, 2014.Google Scholar

Barry, Lynda. What It Is. Montreal: Drawn & Quarterly, 2008.Google Scholar

Beaty, Bart. Comics Versus Art. University of Toronto Press, 2012.Google Scholar

Beaty, Bart. Twelve-Cent Archie. New Brunswick, nj: Rutgers University Press, 2015.Google Scholar

Barry, Lynda. Unpopular Culture: Transforming the European Comic Book in the 1990s. University of Toronto Press, 2007.Google Scholar

B.[eauchard], David. Epileptic. Trans. Thompson, Kim. New York: Pantheon Books, 2005.Google Scholar

Bordwell, David. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, ma: Harvard University Press, 1989.Google Scholar

Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Cambridge, ma: Harvard University Press, 1984Google Scholar

Bourdieu, Pierre. The Field of Cultural Production. New York: Columbia University Press, 1984.Google Scholar

Chaney, Michael. Graphic Subjects: Critical Essays on Autobiography and Graphic Novels. Madison, wi: University of Wisconsin Press, 2011.Google Scholar

Chute, Hillary L. Graphic Women: Life Narrative and Contemporary Comics. New York: Columbia University Press, 2010.Google Scholar

Chute, Hillary L., and DeKoven, Marianne, eds. Special issue on “Graphic Narrative.” Modern Fiction Studies 52, no. 4 (2006).CrossRefGoogle Scholar

Dadey, Bruce. “Breaking Quarantine: Image, Text, and Disease in Black Hole, Epileptic, and Our Cancer Year.” ImageText 7, no. 2 (2011). Web.Google Scholar

De Jesus, Melinda. “Liminality and Mestiza Consciousness in Lynda Barry's ‘One Hundred Demons’.” MELUS 29, no. 1 (2004): 219–52.CrossRefGoogle Scholar

Donovan, Courtney. “Epileptic.” Publishers Weekly (2005). www.publishersweekly.com/978-0-375-42318-5.Google Scholar

Donovan, Courtney. “Graphic Pathogeographies.” Journal of Medical Humanities 35, no. 3 (2014): 273–99.Google Scholar

El Refaie, Elisabeth. Autobiographical Comics: Life Writing in Pictures. Jackson, ms: University Press of Mississippi, 2012.Google Scholar

El Refaie, Elisabeth. “Subjective Time in David B.'s Graphic Memoir Epileptic.” Studies in Comics 1, no. 2 (2010): 281–99.Google Scholar

Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham, nc: Duke University Press, 1991.Google Scholar

Kirtley, Susan. Lynda Barry: Girlhood Through the Looking Glass. Jackson, ms: University Press of Mississippi, 2012.Google Scholar

Labio, Catherine. “What's in a Name?: The Academic Study of Comics and the ‘Graphic Novel’.” Cinema Journal 50, no. 3 (2011): 123–26.Google Scholar

Langer, Lawrence. “A Fable of the Holocaust.” The New York Times Book Review, Nov. 3, 1991, 1.Google Scholar

Michael, Olga. “Pastiche and Family Strife in Contemporary American Women's Graphic Memoirs: Phoebe Gloeckner, Lynda Barry, and Alison Bechdel.” Unpublished dissertation, University of Manchester, 2013.Google Scholar

Mitchell, Adrielle. “Distributed Identity: Networking Image Fragments in Graphic Memoirs.” Studies in Comics 1, no. 2 (2010): 257–79.Google Scholar

Naghibi, Nima, and O'Malley, Andrew. “Estranging the Familiar: ‘East’ and ‘West’ in Satrapi's Persepolis.” ESC: English Studies in Canada 31, nos. 2–3 (2005): 223–47.CrossRefGoogle Scholar

Ngai, Sianne. “Our Aesthetic Categories.” PMLA 125, no. 4 (2010): 948–58.Google Scholar

Pratt, Murray. “Dramatizing the Self and the Brother: Auto/biography in David B's L'Ascension du Haut Mal.” Australian Journal of French Studies 44, no. 2 (2007): 132–52.CrossRefGoogle Scholar

Ricoeur, Paul. “Existence and Hermeneutics,” in Bleicher, Josef, ed., Contemporary Hermeneutics: Hermeneutics as Method, Philosophy and Critique. London: Routledge and Kegan Paul, 1980.Google Scholar

Samanci, Özge. “Lynda Barry's Humor: At the Juncture of Private and Public, Invitation and Dissemination, Childish and Professional.” International Journal of Comic Art 8, no. 2 (2006): 181–99.Google Scholar

Schlick, Yaël. “What is an Experience? Selves and Texts in the Comic Autobiographies of Alison Bechdel and Lynda Barry,” in Tolmie, Jane, ed., Drawing From Life: Memory and Subjectivity in Comic Art. Jackson, ms: University Press of Mississippi, 2013.Google Scholar

Squier, Susan. “Literature and Medicine, Future Tense: Making it Graphic.” Literature and Medicine 27, no. 2 (2008): 124–52.Google Scholar

Squier, Susan. “So Long as They Grow Out of It: Comics, the Discourse of Developmental Normalcy, and Disability.” Journal of Medical Humanities 29 (2008): 71–88.CrossRefGoogle Scholar

Tabachnick, Stephen E. “Autobiography as Discovery in Epileptic,” in Chaney, Michael, ed., Graphic Subjects: Critical Essays on Autobiography and Graphic Novels. Madison, wi: University of Wisconsin Press, 2011, 101–16.Google Scholar

Taniguchi, Jiro. The Walking Man (L'Homme qui Marche/Aruku Hito) (1990–92). Trans. Shimoyama, Shizuka and Tierman, Elizabeth. Wisbech, Suffolk, UK: Fanfare/Ponent Mon, 2004.Google Scholar

Tensuan, Theresa. “Comic Visions and Revisions in the Work of Lynda Barry and Marjane Satrapi.” Modern Fiction Studies 52, no. 4 (2006): 947–64.CrossRefGoogle Scholar

Whitlock, Gillian. “Autographics: The Seeing ‘I’ of the Comics.” Modern Fiction Studies 52, no. 4 (2006): 965–79.Google Scholar

Witek, Joseph. “Imagetext, or, Why Art Spiegelman Doesn't Draw Comics.” ImageText: Interdisciplinary Comics Studies 1, no. 1 (2002). www.english.ufl.edu/imagetext/archives/v1_1/witek/Google Scholar