CfP: “The Philosophies of Stan Lee”

Call for Papers
This is an invitation for scholars to submit an essay proposal to be included in “The Philosophies of Stan Lee” for the University Press of Mississippi as part of their internationally respected publications in the field.This work is to celebrate the significant contributions made by Stan Lee as one of the most influential individuals in 20th century popular culture. Thus, I am seeking academics who possess a strong familiarity with his work and most importantly, can provide well-reasoned argumentation that is supportive of the book’s aim. Since this project is an appreciation of the man and his creativity it is the aim for it to be available for what would have been Lee’s 100th birthday in 2022.

Audience: Undergraduate university students in 1st/2nd year philosophy and / or comics studies.Writing style: accessible, serious and philosophically rigorous.

The collection seeks to offer philosophical analyses of a broad range of Lee’s endeavours based upon such things as:
•            Specific superhero characters
•            Non-superhero characters
•            Specific storylines and arcs
•            Historical eras in Comics (e.g., Gold, Silver, Bronze)
•            Various genres (e.g., Western, Horror, Humour)
•            Stan’s Soapbox
•            POW! Projects
•            Outside projects & collaborations (including educational talks)
•            Non-comics writing (e.g., captions magazines, newspaper strips, script treatments, etc.)
•            Other media forms (e.g., film and television productions)
•            as a professional in the comics industry (e.g., as editor, publisher, co-creator etc.)
•            as an industry spokesperson

Throughout the book I will be including brief reflections by well known comic book artists and writers who gained a “Lesson from Lee”. Already 25 individuals are signed up to participate.

Please send a note of interest and intent to:<

A more formal abstract and brief CV will be required early in the new year. Please also forward this CFP to other interested parties and professional discussion lists. I would be happy to respond to any rough ideas you’d like to toss my way. I look forward to hearing from you soon!

/Best Wishes, Jeff

////Dr. Jeff McLaughlin Ph.D.//Full Professor (Philosophy) and Chair//Department of Philosophy, History, and Politics//Thompson Rivers University//805 University Drive//Kamloops BC Canada//V2C 0C8/

Visible Evidence XXVII Frankfurt am Main, December 15-18 2021

Visible Evidence XXVII will take place in a hybrid format. Around half of the conference presentation slots will be allocated to online presentations for those who cannot make it to Frankfurt in person. In addition, the conference keynote lectures will be live streamed to those attending virtually. The organizing committee is currently examining additional means to make virtual participants and attendants further engaged with the in-person panels and interactions. We ask applicants to state in advance whether they’ll participate virtually or in person. We are aware that applicants’ conditions might change. We will therefore also ask you to confirm your form of participation (in person or virtually) upon receiving notification of acceptance and in mid-October, two months before the conference.

With the new conference layout the VE XXVII steering committee is particularly interested in formats that draw on previous dialogue, such as pre-constituted panels, workshops and conversations (see below) that bring together scholars and practitioners. Along with the usual open call for paper presentations we offer adjusted formats for the hybrid model and ask applicants to read carefully through the format descriptions.

VE XXVII, 2021: Documentary and Democracy in Crisis

What we call ‘documentary’ emerged in the 1920s and 1930s in response to a perceived crisis of liberal democracy, as a mode of factual representation which empowers citizens to participate in the political process. As the last months have shown, the willingness or unwillingness of citizens to comply with policy makers have crucial effects. How does documentary respond to what has been widely diagnosed as the current crisis of democracy? What could be an adequate reaction in forms, themes and modes of production, to the return to nationalism and other forms of political tribalism in the face of global migration? In what ways does documentary shape our perceptions of the consequences of globalization, from climate change, health crisis, to the transformation of the economy? And how can documentary in theory and practice contribute to defend the spaces and modes of deliberation necessary for the life of democracy?

Visible Evidence, the international conference on documentary film and media, now in its 27th installment, will convene in Frankfurt, Germany, on December 15-18, 2021. Hosted by the Institute for Theatre, Film and Media Studies (TFM) at Goethe University, Frankfurt, Visible Evidence XXVII will address these and other current issues related to the history, theory, practice and pedagogy of documentary and non-fiction cinema, television, video, audio recording, digital media, photography, VR, games and performance in a wide range of panels, workshops, plenary sessions, screenings and special events. We welcome panel, workshop, conversation, screening and paper proposals that address documentary and non-fiction media from a diverse range of disciplines that can open the field to new lines of investigation through innovative and original perspectives.

Designed as a public event in collaboration with the city’s leading cultural institutions, the conference makes a conscious nod towards documentary history as an instrument of public opinion. The notion of crisis, a thread weaved through the history of documentary, and in light of current affairs seems ever more pertinent, calls for new political, formal and social possibilities that consolidate and expand documentary’s role as a space for representation and democratic deliberation. These new possibilities should be explored in a dialogue between theory and practice. We invite scholars, filmmakers, archivists and activists to propose panels and presentations that address any aspect of documentary and non-fiction media. Special threads and themes may include (but are in no way limited to):

Documentary and Conflict: How should we perceive conflict not just as a historically-specific geopolitical crisis, but as an interaction of aesthetic forces that reorders documentary temporalities, geographies and speech-acts? What role is taken by documentary in an age of rising fascism, post- and neo-colonialism, transnational military interventions and global humanitarianism?

Documentary Infrastructures: How does documentary depict and expose industrial infrastructures? In what ways does documentary itself comprise, or challenge, larger social and material infrastructures, including funding structures, distribution platforms and new visual technologies?

Documentary Publics: The advent of new media platforms and technologies bares, on the one hand, potential for a radical reorganization of social bodies. On the other hand, creates fraught contexts through which the social is organized by corporate logic and pseudo-democratic regimes. Framed within these social and medial settings, what forms of deliberation documentary brings to contemporary public and counter-public spheres?

Race, Gender and Sexuality: How can documentary serve as a means of transgression, a tool for community building, or a platform for organization/organizing in a political climate marked by exclusionary tribalisms? How can documentary resurrect non-hegemonic pasts and presents and open up spaces outside of a white, heteronormative and patriarchal matrix?

Documentary and the Non-Human: In the epoch of the Anthropocene and in the wake of environmental crisis, how can documentary exceed its “discourses of sobriety” that centers the human? How can it give form to the material world, traversing the representational hierarchies between the human and non-human? How do documentaries of nonhuman subjects interact with, reinforce or diverge from human political regimes?

Documentary and Operational Media: Considering the proliferation of tools for data analysis, image-based computational techniques and forensic media, how can we re-think documentary’s evidentiary claims at its intersections with fields such as science, medicine, design and law?

Documentary Pedagogy: How can we think of documentary pedagogy through a vernacular prism? How have documentary studies responded to the shifting labor conditions of teaching at individual, departmental, and disciplinary levels?  How have they been reshaped by videographic practices of criticism and scholarship? How do the evolving methodologies of teaching and writing about documentary speak to the labor it asks of us?

Documentary and the Politics of Information: The current crisis evolving from the Coronavirus pandemic brought to the surface many questions related to information, its representation, circulation and utilities as a means of governance, surveillance or trust. These questions go back to core assumptions of documentary. How does (and whether) the gesture of informing the public contribute to the forming of responsible and responsive citizenry? How do forms of visualization cater to different relations to authority, or different modes of address?

Guidelines for Submission:

Homepage: Visible Evidence XXVII:

Panel proposal:
Panels will consist of three presentations of no more than 15 minutes  for each presentation (online presenters might consider even shorter presentations) with ten-minutes response by the panelists’ chosen respondent. Panel proposals require a title; 300-word description of the panel itself; five keywords that identify the panel’s focus; 250-word abstract for each paper, or for filmmakers 200 words abstract and 20 minutes materials (via link); 100-word biography for each participant and 5 bibliographic entries for the entire panel.
Submit panel proposals here.

Workshop proposal:
The emphasis of the workshop is on an open and unstructured exchange of ideas and techniques between all workshop participants. Workshops will consist of five or six opening statements that sum up to 40 minutes in total (5-7 minutes for each statement), with the remaining time dedicated to discussion. Workshop proposals require a title; 300-word description of the workshop; five keywords that identify the workshop’s focus; 50-word description of each contribution; filmmakers are welcome to add 20 minutes materials (via link); 100-word biography for each participant and 5 bibliographic entries for the entire workshop.
Submit workshop proposals here.

Conversation proposal:
A new format introduced for VEXXVII that consists of a 45-minute conversation between three participants that relies on cross-disciplinary exchange between artists and scholars around shared investigations of concepts, sites, sensibilities and histories. The conversation will be based on work (screeners or papers) that were circulated in advance. Presenters will be asked to send a paper of 1,500 words MAX, or for artists either excerpts or a complete work, a couple of weeks before the conference. The conversation itself will be based on the pre-circulated essays and visual materials. Conversation proposals require a title, 200-word description of the general theme; five keywords that identify the conversation focus; 200-word abstract for each paper or film; and for filmmakers 20 minutes materials (via link); 100-word biography for each participant.
Submit conversation proposals here.

Presentation proposal (open call):
Individual presentation proposals can be submitted through the open call. Individual presentations will be allotted 15 minutes for each presenter. Accepted presentations will be programmed into panels with other individual presentation submissions. Individual presentation proposals require a title; five keywords that identify the presentation’s focus, 300-word abstract for papers and 200 words abstract and 20 minutes worth of screening materials (via link) for practitioners; 100-word biography and five bibliographic entries.
Submit individual paper proposals here.

A note to filmmakers and practitioners:
To stress the interconnectedness of theory and praxis, filmmakers and practitioners’ talks will be integrated into all formats side by side with paper presentations. Filmmakers are welcome to send their materials according to the above instructions for each one of the formats where they can present excerpts of their work and contextualize it. In addition VE XXVII will open a Vimeo channel where selected works will be screened. Practitioners presenters could also add a link to their work to the online program.

Conversations will be allotted forty-five minutes, panels and workshops will be allotted one hour and forty-five minutes.

All proposals are due by March 20, 2021.

Multiple submissions will not be accepted, except for panel respondents. Panels, workshops and conversations will be either held completely in person or completely virtually. If your panel/workshop/conversation takes place virtually you are still welcome to attend in person.

Applicants will be notified of acceptance by June 15th, 2021.
For questions please email

Looking forward to seeing you, in person or virtually,

Visible Evidence XXVII organizers,

Laliv Melamed and Vinzenz Hediger.

Homepage: Visible Evidence XXVII:

CfP: Graphic Mothers: From Underground Comix to Autographics

This volume seeks to analyze the emergence of new graphic maternal narratives that challenge the invisibility of mothers in the field in comics and graphic novels. Autographics, i.e. autobiographical accounts, have privileged the positions of sons and daughters, and since the mid-seventies women-authored underground comic magazines have featured transgressive portrayals of mothers. Still, it is only in recent years that conception, gestation, birth and mothering have acquired greater visibility in the ninth art, not only in North America but also in the rest of the world, in particular in countries such as France, Spain, Italy, Chile, and Argentina. This collection of essays aims to provide an in-depth analysis of the plurality of maternal experiences as they emerge in graphic narratives around the world in print and online media, paying particular attention to the verbal-visual styles employed to express the ambivalence, the desires, and the misadventures that accompany those who experience the various stages of reproduction, including in-vitro fertilization, gestation, post-partum depression, loss, birthing, lactation, mothering, etc.

Articles may examine (but are not limited to) the following topics:

  • Comics and graphic novels about gestation, infertility, migration, non-traditional mothering, lesbian mothering, trans-gender mothering, maternal desire, mothering and loss, miscarriage, post-partum depression, mothering and disability, maternal ambivalence, adoption, work-life balance, mothering and disability, mothering and aging, among others.

Submission Guidelines:

Send a 250-word abstract and bibliography as well as a 100-word bio to: Marina Bettaglio,

Deadline for submission: April 15th, 2021

Comics and Their Audiences / Audiences and Their Comics

The 2021 Joint Conference of the International Graphic Novel & Comics and the International Bande Dessinée Society

21-25 June 2021
Faculty of Education, University of Cambridge


Comics enthusiasts have long considered comics a uniquely participatory medium. As readers breathe life into static images, convert page space into narrative time, and transform splatters of ink into emotion, they engage with comics in languages that audiences and artists have developed in tandem, negotiating over generations.

Comics 21 | Themes

The theme of this conference explores the idea of audiences in all its meanings. We consider, for example, comics audiences as physical people, individuals, and groups who engage with comics in different situations. Thus, the relationship of readers accessing comics in different languages allows inquiry into questions of translation and adaptation. Readers inhabiting different periods or surviving traumatic public and private moments allow historical and biographical readings. Attention to how audiences identify themselves—according to different or multiple racial, sexual, religious, ethnic, gender, or national identities, physical ability, or migration status—offers to validate marginalised perspectives and fracture traditional understandings. Thinking about comics as texts for or forbidden to children, ideal or inappropriate for adults connects to fields across the curriculum.

The theme also provides space for more abstract senses of comics audiences.

  • As audiences have transformed, how have comics adapted to meet them?
  • How must readings of touchstone texts shift—and how do those readings resolutely resist change?
  • As the definitions of producer and consumer of comics have stiffened and relaxed, how has piracy changed the way that comics are read, perceived, discussed, revised, collected, and distributed?
  • How have fans pushed or subverted the industry, and how has the industry marshalled its fan base?
  • How have readership and audiences been affected by the context of comics within transmedia universes?

These questions conceive of audiences as both larger and more nuanced, as communities divide and duplicate, working with and against comics publishing.

Call for papers

We invite papers on all aspects of comics and audiences, including:

  • Readership of comics in different media, including digital and online
  • Libraries and audience access to comics
  • Designing comics-specific theories of reader response and transmediation
  • Social justice (for example, anti-racism, climate activism, anti-sexism, and disability rights) in, with, and through comics
  • Reading and creating comics in the classroom
  • Comics and the formation of identity and community
  • Cognitive inquiries into how audiences understand comics
  • Experiences of comics according to identity and/or embodiment
  • Intersection of academic audiences, popular audiences, and the canon
  • Comics as vehicles for informing, as in graphic medicine and teaching
  • Fan cultures
  • Revisionary definitions of audiences, readers, and community

We will also have room within our programme, as always, for papers that do not fit this specific theme.

Deadline for 200-word proposals to : 31 December 2020

Further information

Should the conference not be able to take place due to a resurgence of Covid-19, the conference will likely be postponed rather than delivered online. In such an event, every attempt will be made to give at least two months’ advance notice.

Questions? Reach out to us at .

OPEN CALL: IJOCA – International Journal of Comic Art

The International Journal of Comic Art is published two times yearly.
International and multidisciplinary in scope, IJOCA aims to publish scholarly and readable research on any aspect of comic art, defined as animation, comic books, newspaper and magazine strips, caricature, gag and political cartoons, humorous art, and humor or cartoon magazines.

A typical issue includes about 500-700 pages, averaging 30 articles and more than 200 illustrations. More than 50 countries of every continent have been subjects of articles. Additionally, International Journal of Comic Art features editorials, book and exhibition reviews, bibliographic essays, resource columns, a portfolio of cartoons worldwide, and interviews.

Manuscripts should be sent electronically to John A. Lent, email: and The manuscript should include, title (not very long), author, text, endnotes, references, short bio data of author, in that order.

Deadlines: For Fall/Winter number: May 30.
For Spring/Summer number: Dec. 31.

Online-Lecture by Walter Scott, 10 Nov 2020

Kunsthochschule Mainz is hosting an online lecture by Walter Scott, Toronto,

on Tuesday, 10. November 2020, at 18.30

In this presentation, Walter Scott will give an overview of the past ten years of his art practice, focusing on the relationship between the fiction and reality of the author and the work. He will speak about his fictional comic book character, Wendy, as well as his more gallery-focused installations, drawings, and sculptures. He will discuss how sculptural, material processes can stand as metaphors for experiences, and how that is then re-integrated into narrative fiction.

Walter Scott b. 1985, is an interdisciplinary artist working across comics, drawing, video, performance and sculpture. His comic series, Wendy, chronicles the continuing misadventures of a young artist in a satirical version of the contemporary art world.  Wendyhas been featured in Canadian Art, Art in America, and published online on the New Yorker. Recent exhibitions include The Scrawled Heel of the Real, Ashley (Berlin), and The Pathos Of Mandy, at the ISCP, New York. Walter Scott was recently an artist-in-residence, at the ISCP, in Brooklyn, New York. His new graphic novel, Wendy, Master of Art, is now available from Drawn & Quarterly.

How to register for the lecture:

Please register at the following mail-address: .
You will receive a link to the zoom-session then. The session will be opened 10 minutes before the lecture starts, so that you can connect and settle in in good time before the lecture starts.

Virtual Roundtable Series of the International Comic Arts Forum’s 2020 Virtual Conference

This week marks the kick-off for the Virtual Roundtable Series of the International Comic Arts Forum’s 2020 Virtual Conference <>.
Please join us on Thursday, November 5th at 7pm ET(4pm PT) for a roundtable discussion on
*“From Gender and Violence to Cyborgs and Selfhood:Feminist Discourses in Female-led Superhero Comics” * <>
featuring<>Susan Kirtley, Carolyn Cocca, and Sam Langsdale
Please follow the above link to find the pre-recorded talks from our roundtable participants as well as links to presentation transcripts.
This virtual roundtable event will be moderated by ICAF’s Emily Decker-Bessand streamed live via Zoom Webinar.
Please register here to participate:
For more information on #ICAFVIRTUAL <>programming, please check out the ICAF 2020 Virtual Conference Program <>.

The ICAF 2020 Virtual Conference and Virtual Roundtable Series <>:

Due to COVID-19, the International Comics Arts Forum (ICAF 2020) to be held concurrently with the Small Press Expo in Bethesda, MD, was canceled. However, we have reimagined a way for accepted ICAF panelists to make their contribution to ICAF and are organizing a series of online events to achieve the ICAF mission of celebrating comics through scholarship.

Over the next several months, ICAF will host a sequence of virtual panels featuring accepted ICAF presentations. All panelists who were accepted for ICAF 2020 have been welcomed to participate in our online programming with the intention of curating monthly virtual events around specific themes.
Each presenter on our virtual roundtable series has made a pre-recording of their presentation (roughly 10 or 15 minutes) to be posted online prior to the roundtable session, which will then be streaming live on the first Thursday of every month. We encouraged presenters to produce PowerPoint presentations with images and voiceovers (and an accompanying transcript), both for reasons of accessibility and for consistency. Then each presenter will participate in a live roundtable-style discussion of their research along with two or three other presenters for approximately one hour. In this live session, each presenter will give a 5 minute summary of their presentation, before the panelists, along with an ICAF moderator, explore those themes together. These live sessions will be recorded and subsequently posted by ICAF.
While there is no true substitution for the face-to-face version of ICAF, we hope that our 2020 virtual programming will generate the kind of participation and discussion ICAF is known for, while supporting the work of current members of the ICAF community and connecting comics scholars around the world.

For questions or comments, please reach out to Biz Nijdam at <> or Frank Bramlett at <>.

Call for Papers for a Special Issue of the Journal of Literary and Cultural Disability Studies

Title of Special Issue: Cripping Graphic Medicine: Approaching Comics from a Disability Studies Perspective

Guest Editors: Gesine Wegner (Leipzig University) and Dorothee Marx (Kiel University)

At first glance, a wider public may find the connection between comics and disability rather counterintuitive, as Rosemarie Garland-Thomson remarks: “Most of us assume that comics and disability exist in two completely different worlds. […] Comics are light; disability is heavy. Comics are inviting; disability is forbidding. Comics are cheerful; disability is dismal” (Garland-Thomson 2016: x). Yet, as a growing amount of scholarship in recent years has shown (Squier and Krüger-Fürhoff 2020; Foss et al. 2016), explorations of the connection between comics and disability can spark productive analyses that enrich both comic and disability studies. In a broader sense, graphic disability narratives hold the potential to simultaneously challenge popular misconceptions of comics and of experiences of disability. As a scoping review by Matthew N. Noe and Leonard L. Levin reveals, questions of healthcare have, indeed, pertained to the study of comics for many decades, with first explorations on the topic dating back to 1958 (Noe and Levin 2020: 11). While these early studies looked at disability and illness from a purely medical gaze, the 21st-century emergence of the interdisciplinary field of “graphic medicine” (Williams) has shifted scholars, artists and medical practitioners’ attention towards comics’ potential to narrate experiences of disability and illness from “the inside out” – following in the footsteps of disabled activists and writers of the 1990s (Fries 1997).

While disability studies has been an essential part of the various disciplines that come together in graphic medicine, the field’s complex yet fruitful relation to the medical humanities, in general, has yet to be addressed more openly in the study of comics and disability. This special issue wants to foreground the effects that a disability studies-centered approach to comics can have on the larger field of graphic medicine and comic studies in general. Inspired by Zach Whalen, Chris Foss, and Jonathan W. Gray’s groundbreaking collective volume Disability in Comic Books and Graphic Narratives (2016), the issue aims to take into account and analyze a broad range of comics out of which a distinct disability studies perspective on comics ought to (further) emerge. Disability studies’ roots in the disability rights movement and its predominant resistance to medical understandings of disability make the interdisciplinary field a critical and

valuable interlocutor within graphic medicine. Appreciating disability not (primarily) as a physical state but as a form of cultural difference, disability studies is uniquely situated to both challenge and enrich some of the work done in graphic medicine and the medical humanities more generally. Simultaneously, the interdisciplinary network of scholars, artists, and medical practitioners that constitutes graphic medicine promises to offer new insights and creative forms of collaboration for research pursued within disability studies. For this issue, we welcome proposals for papers that explore these various potentials and address any of the following (or related) questions:

  • How do approaches from disability studies complicate and enrich work done at the intersection of comics and healthcare? What insights can, in turn, be gained in disability studies from research pursued at this intersection?
  • What can more recent theorizations within disability studies add to our understanding of the comics medium in general and its negotiation of disability and illness in particular?
  • How do comics about disability and illness relate to practices of normalization? For instance, how is the omnipresence of the body in comics used to enforce, challenge, and comment on notions of “the normal” (McRuer 2014)?
  • How do the different, often hierarchical positions in healthcare settings complicate renderings of illness and/or disability in comics? Which distinct, contrasting perspectives emerge in narratives told by healthcare providers, caregivers, or relatives, compared to the graphic stories told by patients themselves? And where do these perspectives overlap and enrich each other?
  • How do questions of disability in sequential art intersect with other identity categories, such as gender, race, class or sexuality (see for example the recent publication Graphic Reproduction (Johnson 2018))?
  • Which affective strategies do comics about disability or illness employ? How do comics evoke different affects and/or emotions, perhaps even such that were previously debated in disability studies (cf. Donaldson and Prendergast 2011; Kafer 2016), e.g. the “feelings and reactions— […] the mental and emotional distress—that do not yet fit within disability studies?” (Kafer 2016: 5).
  • Which comic-specific strategies do graphic narratives employ to visualize ‘invisible’ disabilities, such as mental disabilities or the effects of trauma? To what extent can comics provide a context that fosters explorations of the interconnectedness of disability and trauma?
  • How can comics’ potential to engage conversations about disability and chronic illness be applied in (higher) education beyond graphic medicine’s application in the education of future medical staff? Can comics help engage new audiences with disability studies?
  • What effect do different genre conventions have on narrating disability and/or illness in comics? How can, for instance, previous work on disabled superheroes (Alaniz 2015; Smith and Alaniz 2019) be further expanded?
  • How can comics be made accessible to different audiences (e.g. through tactile comics or image descriptions? (cf. Foss et al. 2016: 8-9).
  • How can comics foreground marginalized voices in healthcare, such as those of indigenous, BiPOC, trans*, intersex, and/or otherwise impacted patients and healthcare professionals?
  • In what ways do comics as well as comics studies address questions of the body and take into account the different embodiments of their characters and readers? How do new approaches to the body in disability studies (Mitchell et al. 2019) relate to the study of graphic narratives of disability and/or illness?
  • How do comics respond to other aspects of lived disabled experience and the distinct knowledge it creates, as theorized in crip theory (e.g. crip time, critical rethinkings of concepts like pleasure and pain)?

We explicitly welcome contributions that are based in experiential knowledge and/or use an autoethnographic approach to disability.

Please email a 500-word proposal to and marx@anglistik.uni- by February 1, 2021.

Contributors can expect to be selected and notified by March 1, 2021. Full drafts of the selected articles will be due on August 15, 2021. Please do not hesitate to contact the guest editors if you have any questions regarding this special issue.


Alaniz, José. Death, Disability, and the Superhero: The Silver Age and Beyond. University Press of Mississippi, 2014.

Alaniz, José and Scott T. Smith, editors. Uncanny Bodies. Superhero Comics and Disability. University Park: Pennsylvania State University Press, 2019.

Donaldson, Elizabeth J., and Catherine Prendergast. “Introduction: Disability and Emotion: ‘There’s No Crying in Disability Studies.’” Journal of Literary & Cultural Disability Studies vol. 5 no. 2, 2011, pp. 129–36.

Foss, Chris, Jonathan W. Gray, and Zach Whalen, editors. Disability in Comic Books and Graphic Narratives. Palgrave, 2016.

Fries, Kenny, editor. Staring Back: The Disability Experience from the Inside Out. Plume, 1997. Garland-Thomson, Rosemarie. “Foreword.” In: Disability in Comic Books and Graphic Narratives, edited by Chris Foss, Jonathan W. Gray, and Zach Whalen. Palgrave, 2016, pp. x-xiii.

Jenell Johnson, editor. 2018. Graphic reproduction. A comics anthology. Vol. 11 of Graphic medicine. University Park: Pennsylvania State University Press.

Kafer, Alison. “Un/Safe Disclosures: Scenes of Disability and Trauma.” Journal of Literary & Cultural Disability Studies vol. 10, no. 1, 2016, pp. 1–20.

McRuer, Robert. “Normal” Keywords for American Cultural Studies, edited by Bruce Burgett and Glenn Hendler. NY UP, 2014, pp. 184-187.

Mitchell, David T., Susan Antebi, and Sharon L. Snyder, editors. The Matter of Disability. Materiality, Biopolitics, Crip Affect. U Michigan P, 2019.

Noe, Matthew N. and Leonard L. Levin. “Mapping the use of comics in health education: A scoping review of the graphic medicine literature.” Graphic Medicine.

Squier, Susan and Irmela Marei Krüger-Fürhoff, editors. PathoGraphics: Narrative, Aesthetics, Contention, Community. University Park: Pennsylvania State University Press, 2020.

Williams, Ian. “Graphic Medicine: Comics as Medical Narrative.” Medical Humanities, vol. 38, no. 1, 2012, pp. 21-27.