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  1. Catharine Abell (2012). Comics and Genre. In Aaron Meskin & Roy T. Cook (eds.), The Art of Comics: A Philosophical Approach. Blackwell. 68--84.
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  2. Roy T. Cook (2012). Drawings of Photographs in Comics. Journal of Aesthetics and Art Criticism 70 (1):129-138.
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  3. Roy T. Cook (2011). Do Comics Require Pictures? Or Why Batman #663 Is a Comic. Journal of Aesthetics and Art Criticism 69 (3):285-296.
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  4. Christy Mag Uidhir (2012). Comics & Collective Authorship. In Aaron Meskin & Roy T. Cook (eds.), Art of Comics: A Philosophical Approach. Wiley-Blackwell.
    Most mass-art comics (e.g., “superhero” comics) are collectively produced, that is, different people are responsible for different production elements. As such, the more disparate comic production roles we begin to regard as significantly or uniquely contributory, the more difficult questions of comic authorship become, and the more we view various distinct production roles as potentially constitutive is the more we must view comic authorship as potentially collective authorship. Given the general unreliability of intuitions with respect to collective authorship (coupled with (...)
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  5. Patrick Maynard (2012). What's So Funny? Comic Content in Depiction. In Cook Meskin (ed.), The Art of Comics: A Philosophical Approach. Wiley-Blackwell.
    This paper addresses standard questions regarding comics and the arts (comics and fine arts, image and word combinations), then poses and addresses the neglected, but deeper and wider--thus philosophical--question, of how depictions, not just words, can have mental contents at all, including light, funny, scathing, comic ones.
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  6. Patrick Maynard (2001). The Time It Takes. In Jan Baetens (ed.), The Graphic Novel. Leuven University Press.
    Concerns photography and time as duration, sequence, equability, past and present (illus.).
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