| The American Graphic Memoir: An Introduction M Precup University of Bucharest Press, 2013 | 10 | 2013 |
| Infantilizing the Refugee: On the Mobilization of Empathy in Kate Evans’ Threads from the Refugee Crisis D Manea, M Precup a/b: Auto/Biography Studies 35 (2), 481-487, 2020 | 8 | 2020 |
| The Graphic Lives of Fathers: Memory, Representation, and Fatherhood in North American Autobiographical Comics M Precup | 8 | 2020 |
| Sexual violence in comics M Precup, R Scherr Journal of Graphic Novels and Comics 8 (3), 225-226, 2017 | 7 | 2017 |
| To ‘all the monster girls’: violence and non-normativity in Noelle Stevenson’s Nimona M Precup Journal of Graphic Novels and Comics 8 (6), 550-559, 2017 | 6 | 2017 |
| Mourning Women: Post-mortem Dialogues in Contemporary American Autobiography M Precup Editura Universităţii din Bucureşti, 2015 | 6 | 2015 |
| ‘Who were you crying for?’: Empathy, fantasy and the framing of the perpetrator in Nina Bunjevac’s Bezimena D Manea, M Precup Studies in Comics 11 (2), 373-386, 2020 | 5 | 2020 |
| The Image of the Foreigner in Historical Romanian Comics under Ceauşescu’s Dictatorship M Precup Representing Multiculturalism in Comics and Graphic Novels, 96-111, 2014 | 5 | 2014 |
| Mapping Generations of Traumatic Memory in American Narratives D Mihăilescu, R Oltean, M Precup Cambridge Scholars Publishing, 2014 | 5 | 2014 |
| "To Dream of Birds": Autobiography, Photography, and Memory in Nina Bunjevac's "August, 1977" and Fatherland M PRECUP The Canadian Alternative: Cartoonists, Comics, and Graphic Novels, 2017 | 4 | 2017 |
| ‘That Medieval Eastern-European Shtetl Family of Yours’: Negotiating Jewishness in Aline Kominsky Crumb’s Need More Love (2007) M Precup Studies in Comics 6 (2), 313-327, 2015 | 4 | 2015 |
| Felines and Females on the Fringe: Femininity and Dislocation in Nina Bunjevac’s Heartless M Precup Between History and Personal Narrative: East European Women’s Stories of …, 2013 | 4 | 2013 |
| ‘Life Was a Precarious Dance’: Graphic Narration and the Construction of a Transcultural Memory Space in the PositiveNegatives Project M Precup, D Manea Agency in Transnational Memory Politics 4, 261, 2020 | 3 | 2020 |
| Introduction: Comics, Fatherhood, and Autobiographical Representation M Precup, M Precup The Graphic Lives of Fathers: Memory, Representation, and Fatherhood in …, 2020 | 3 | 2020 |
| The Wound Which Speaks of Unremembered Time: Nan Goldin’s Cookie Portfolio and the Autobiographics of Mourning M Precup American Visual Memoirs after the 1970s., 54-70, 2009 | 3* | 2009 |
| The Autobiographical Mode in Post-Communist Romanian Comics: Everyday Life in Brynjar Åbel Bandlien’s Strîmb Living and Andreea Chirică’s The Year of the Pioneer M Precup Comics of the New Europe, 2020 | 2 | 2020 |
| ‘I think we’re maybe more or less safe here’: Violence and Solidarity during the Lebanese Civil War in Zeina Abirached’s A Game for Swallows M Precup Contexts of Violence in Comics, 64-78, 2019 | 2 | 2019 |
| Bad Girls in Outer Space: Brian K. Vaughan and Fiona Staples’ Saga and the Graphic Representation of Subversive Femininity M Precup, D Manea Bad Girls and Transgressive Women in Popular Television, Fiction, and Film …, 2017 | 2 | 2017 |
| American visual memoirs after the 1970s: studies on gender, sexuality and visibility in the post-civil rights age M Precup Editura Universitãții din București, 2010 | 2 | 2010 |
| The perpetrator as punch-line: Hipster Hitler and the ambiguity of controversial humor M Precup, D Manea Journal of perpetrator research 4 (2), 2022 | 1 | 2022 |
Dragos ManeaLecturer, University of BucharestAdresă de e-mail confirmată pe lls.unibuc.ro
