1. "Pavese's Intellectual Rhythm."  Italian Quarterly 15-16 (1972): 5-26.

2. "'Le Renégat ou un esprit confus' comme nouveau récit."  In Albert Camus, VI  (Revue des lettres modernes).  Paris: Minard, 1973, 67-87.

3. "Beautiful Losers: All the Polarities."  Canadian Literature 59 (1974): 42-56.

4. "The Outer Limits of the Novel: Italy and France." Contemporary Literature 18.2 (1977): 198-216.

5. "Modes et formes du narcissisme littéraire." Poétique (Paris) 29  (1977): 90-106.

6. "The 'Real World(s)' of Fiction: John Fowles's The French Lieutenant's  Woman."  English Studies in Canada 4 (1978): 81-94.

7. "Ironie et parodie: structure et stratégie." Poétique (Paris) 36 (1978): 367-77.

8. "Atwood and Laurence: Poet and Novelist." Studies in Canadian Literature 3  (1978): 255-63.

9. "Parody Without Ridicule: Observations on Modern Literary Parody." Canadian Review of Comparative Literature 5 (1978): 201-11.

10. "'Sublime Noise for Three Friends: The Role of Music in the Critical Writings of E.M. Forster, Roger Fry, and Charles Mauron." Modernist Studies: Literature and Culture 1920-40 (Special Issue on Roger Fry) 3.3     (1979): 141-50.

11. "'Snow Storm of Paper': The Act of Reading Self-Reflexive Canadian Verse."   Dalhousie Review 59 (1979): 114-28.

12. "'Out of the Pulver and the Polished Lens': A.M. Klein as Wordsmith."   Canadian Poetry 4 (1979): 52-8. (with Alain Goldschlager)

13. "Revolt and the Ideal in Bloomsbury." English Studies in Canada 5 (1979):    78-93.

14. "The Poet as Novelist: A Matter of Trust." Canadian Literature 86 (1980):    6-14.

15. "Ironie, parodie, satire." Poétique (Paris) 46 (1981): 140-55.

16."Reading Atwood's Life Before Man: Structural Form Through Psychic  Verisimilitude." Comparison (Special Issue on Canadian Literature) 12  (1981): 41-58.

17."The Literary Semiotics of Verbal Irony: The Example of Joyce's 'The Boarding House'." Recherches sémiotiques/Semiotic Inquiry 1.3 (1981): 244 -60. (with Sharon Butler)

18. "Pride and the Puritan Passion." Etudes Canadiennes (Paris) (Special  Issue on Margaret Laurence's The Stone Angel) (1982): 55-62.

19. "Romanciers ontariens des années soixante-dix." Protée 10.2 (1982): 15-19.

20. "Introduction." First issue of Texte (1982): 7-13.

21. "Readers and Reading: A Pedagogical Review." Journal of Literary Theory 4 (1983): 27-34.

22. "A Postmodernist Poetics?" Diacritics 13.4 (1983): 33-42.

23. "The Carnivalesque and Contemporary Narrative: Pop Culture and the Erotic." University of Ottawa Quarterly (Special Issue on Bakhtin) 53.1 (1983): 83-94.

24. "A Hatasrol es a szovegkozisegrol." ("Intertextuality and Influence")    Helikon (Budapest) 1 (1983): 57-64.

25. "The 'Postmodernist' Scribe: The Dynamic Stasis of Contemporary Canadian  Writing." University of Toronto Quarterly 53.3 (1984): 283-95.

26. "Literary Theory." Transactions of the Royal Society of Canada Series 4,   22 (1984): 239-44.

27. "Canadian Historiographic Metafiction." Essays on Canadian Writing     (Special Anniversary Issue) 30 (1984-85): 228-38.

28. "Feminism, Postmodernism, Poststructuralism." Canadian Women Studies/Cahiers de la femme 6.3 (1985): 36-9.

29. "Voices of Displacement." Canadian Forum June-July (1985): 33-8.

30. "Subject in/of/to History and His Story." Diacritics 16.1 (1986): 78-91.

31. "Italian Canadian Writing and the Canon." Italian Canadiana 2.1 (1986): 31-7.

32. "Literary Borrowing . . . and Stealing: Plagiarism, Sources, Influences,  and Intertexts." English Studies in Canada 12.1 (1986): 229-39.

33. "Challenging the Conventions of Realism." Canadian Forum April (1986): 34-8.

34. "The Politics of Postmodernism:  Parody and History." Cultural Critique 5  (1986-87): 179-208.

35. "Postmodern Paratextuality and History." Texte 5-6 (1986-87): 301-12.

36. "Shape-Shifters." Canadian Forum January  (1987): 26-32; reprinted in   World Literature (China), 1994.

37. "Beginning to Theorize Postmodernism." Textual Practice 1.1 (1987): 10-31.

38. "Medical Mythologies." Queen's Quarterly 94.4 (1987): 904-16. (with Michael Hutcheon)

39. "Sa Incepem sa Teoretizam Postmodernismul." Revista de istorie si teorie literara (Bucharest) 35.1-2 (1987): 37-43.

40. "The Pastime of Past Time." Genre (Special Issue on Postmodern Genres) 20.3-4 (1987): 285-305.

41. "Fringe Interference: Postmodern Border Tensions." Style 22.2 (1988): 299 -323.

42. "The Postmodern Problematizing of History." English Studies in Canada, 14.4 (1988): 365-82.

43. "Telling Accounts: Daphne Marlatt, Ana Historic." Brick 34 (1988): 17-19.

44. "The Politics of Representation." Signature: A Journal of Theory  and  Canadian Literature 1.1 (1989): 23-44.

45. "Incredulity toward Metanarrative: Negotiating Feminisms and Postmodernism,"  Tessera 7 (Fall 1989): 39-44.

46. "Circling the Downspout of Empire: Postmodernism and Postcolonialism,"  Ariel 20.4 (1989): 149-75; reprinted in Chung-Wai Literary Monthly  (Taiwan).

47. "Editorial Interactions," Semiotic Review of Books 1.2 (1990): 1.

48. "Postmodern Ironies of Ethnicity," Italian Canadiana 6 (1990): 7-17.

49. "Postmodern Parody: History, Subjectivity, and Ideology." Quarterly Review of Film and Video 12 (1990): 115-23; reprinted in Contemporary World Literature, 1993.

50. "'A Lightness of Thoughtfulness': The Power of Postmodern Irony. " OpenLetter 8th series, no. 1 (1991): 68-82.

51. "Christa Wolf as Cassandra." Brick 41 (1991): 28-32.

52. "Truth-Telling," Profession 92, MLA, 18-20.

53. "Eco's Echoes: Ironizing the (Post)Modern." Diacritics (Spring 1992).

54. "The Complex Functions of Irony." Revista Canadiense de Estudios Hispanicos 16.2 (1992): 219-34.

55. "Introduction: Situating Knowledge", University of Toronto Quarterly  61.4 (Summer 1992): 415-21.

56. "Peer Review and its Discontents," Works and Days: Essays in the Socio-Historical Dimensions of Literature and the Arts 21 (1993): 41-5.

57. "Pumping Irony: Strength Through Sampling." In Culture Lab. Ed. Brian Boygon. New York: Princeton Architectural Review, 1993.  127-36.

58. "The Perils of Irony...Even in the Global Village", Zeitschrift fur Kanada-Studien, 13.1.23 (1993): 51-62.

59. "Loading the Canons." University of Toronto Quarterly, 63.2 (1993-4):  369-74.

60. "Eruptions of Postmodernity: the Post-Colonial and the Ecological,"  Essays in Canadian Writing, 20th Anniversary Issue, 51-2 (Winter 1993 -Spring 1994): 146-63.

61. "Femminismo e postmodernismo,"  Mondo 3: Rivista di teoria delle scienze umane e sociali 1.1 (1994): 132-41.

62. "The Post Always Rings Twice: The Postmodern and the Postcolonial",   Textual Practice, 8 (1994): 205-38; reprinted in Material History 41 (Spring 1995): 4-23.

63. "Otherhood Issues: Post-national Operatic Imperatives", Narrative, 3.1    (January 1995): 1-17. (with Michael Hutcheon)

64. "Introduction: Colonialism and the Postcolonial Condition: Complexities  Abounding", PMLA 110.1 (January 1995): 7-16; reprinted in  Contemporary World Literature (Korea) (1995): 15-25.

65. "'All Concord's Born of Contraries': Marital Methodologies," Tulsa Studies  in Women's Literature 14.1 (May 1995): 59-64. (with Michael Hutcheon)

66. "'Life-and-Death Passions': 'Operatic' AIDS and the Stage", Essays in Theatre 13.2 (May 1995): 111-33 (with Michael Hutcheon).

67. "Melodies and Maladies," Opera in Canada (Winter 1995): 14-15. (with  Michael Hutcheon)

68. "Sexuality, Sin and the Social Order: Richard Wagner's Parsifal."    Cambridge Opera Journal 7.3 (1995): 261-75. (with Michael Hutcheon)

69. "Introduction", University of Toronto Quarterly, special issue on   "Cultural Studies in Canada", 64.4 (1995): 481-4.

70. "Comparative Literature's 'Anxiogenic' State," Canadian Review of Comparative Literature, 23.1 (1996): 35-41.

71. "Famous Last Breaths: The Consumptive Heroine in Opera," Parallax (U.K.),  2 (1996): 1-22 (with Michael Hutcheon)

72. ‘Introduction”, University of Toronto Quarterly, special issue on “Cultural Studies: Disciplinarity and Di­vergence”, 65.2 (1996): 351-4.    (With Faye Pickrem)

73. “Malcolm Rains, ‘Samothrace’ (1991)”, University of Toronto Quarterly 66.2 (1997): 400-2. Special Is­sue on U of Toronto art collections.

74. “Fotografisk diskurs” (“Photographic Discourse”) UKS Forum for Samtidskunst (Norway) 1/2 (1997): 15-17.

75. “Arias, Anxieties and Epidemics,” Canadian Medical Association Journal 157.12 (December 1997): 1734-5. (with Michael Hutcheon)

76.  “Crypto-ethnicity”, PMLA (January 1998): 28-33.

77. “Postmodern Provocation: History and ‘Graphic’ Literature.”  La Torre (Puerto Rico) 2.4-5 (1997): 299-308.

78. “The Strings of Lust: Angela Carter and the French Connection,” Etudes Britanniques Contemporaines (France) 14 (1998): 1-7.

79. “‘Alles was ist, endet’: Living with the Knowledge of Death in Richard Wagner’s Der Ring des Nibelungen.” University of Toronto Quarterly 67.4(1998): 789-811. (With Michael Hutcheon)

80. “‘Here’s Lookin’ at You, Kid’: The Empowering Gaze in Salome,” Profession 98 (MLA), 11-22.  (With Michael Hutcheon)

81. “Opera and National Identity: New Canadian Opera,” Canadian Theatre Review 96 (1998): 5-8. (with Michael Hutcheon)

82. “Interventionist Literary Histories: Nostalgic, Utopian, or Pragmatic?” Modern Language Quarterly 59.4 (1998): 401-17.

83. “Academic Free Trade? One Canadian’s View of the MLA.” PMLA 114 (May 1999): 311-17.

84. “Literature Meets History: Counter-discursive ‘Comix’”, ANGLIA (Germany) 117.1 (1999)”: 4-14.

85. “‘Beve, beve con me’: An Operatic Brindisi.” Forum Italicum 33.1 (1999): 73-93.  (With Michael Hutcheon)

86. “Museum Art vs. Living Art: Staging Der fliegende Holländer for our Times,” Program Notes, Canadian Opera Company run of Wagner’s Der fliegende Holländer, January 2000. (With Michael Hutcheon)

87. “Overcoming Operatic Repression,” Descant 107 (Winter 1999): 267-70

88. “Death Drive: Eros and Thanatos in Wagner’s Tristan und Isolde,” Cambridge Opera Journal 11.3 (1999): 267-94. (With Michael Hutcheon)

89. “Kosovo, Ulster, and How Research Goes Awry,” Textual Practice 14.1 (2000): 1-4.

90. “‘Death, where is thy sting?’:  The Emperor of Atlantis,” Opera Quarterly 16.2 (2000): 224-39. (With Michael Hutcheon)

91. “Staging Der fliegende Holländer for Our Times,” Wagner (U.K.) 21.2 (2000): 63-74. (With Michael Hutcheon)

92. Editor’s Introduction, “Plus ça change . . ., “ PMLA special millennial issue, 115.7 (2000): 1719-27.

93. “A Convenience of Marriage: Collaboration and Interdisciplinarity.” PMLA 116.5 (2001): 1364-76. (With Michael Hutcheon)

94. “Creative Collaboration.”  Introduction to the MLA Presidential Forum, Profession 2001 4-6.

95. “Irony, Nostalgia, and the Postmodern: A Dialogue” (with Mario Valdés). Poligrafias 3 (2000): 29-54.

96. “Postmodernism ja feminismid.” Ariadne Long (Tallin) 1.2 (2001): 182-99.

97.”Presidential Address 2000: ‘She Do the President in Different Voices’” PMLA 116.3 (2001): 518-30.

98. “Parlare Canadese: Le ironie dell’arte e della letteratura Canadese.” Nuovi Argomenti 14 (2001): 59-62.

99. “Irony, Nostalgia, and the Postmodern.” Methods for the Study of Literature as Cultural Memory, Stud­ies in Comparative Literature 30 (2000): 189-207.

100. “Criptoetnicità.” Tutte storie 8 (May 2001): 28-30.

101. “Richard Strauss and Atom Egoyan: Taking Salome from One Fin-de-Siecle to the Next.” Canadian Opera Company Program for Salome (January 2002): 11-17. (With Michael Hutcheon)

102. “Academic Fear and Loathing,” Arcadia 36.2 (2001): 230-34. (With Michael Hutcheon)

103. “Rhetoric and Competition: Academic Agonistics,” Common Knowledge 9.2 (2003): 42-29.

104. “Postmodern Afterthoughts,” Wescana Review 37.1 (2002): 5-12.

105. “Postmodernism and Feminism” Labrys <http://www.labrys.rg3.net/>

106. “Introduction: A Plague on . . . Your (Opera) Houses,” University of Toronto Quarterly, Special Issue on Expanding Interdisciplinarity Through Opera, 72.4 (2003): 770-76. (with Michael Hutcheon)

107. “O corpo perigoso,” Estudos Feministas 11.1 (2003): 20-59. (with Michael Hutcheon)

108. “Postcolonial Witnessing and Beyond,” Neohelicon 30.1 (2003): 13-30.

109. “Staging Die Walküre,” Canadian Opera Company program notes, April 2003. (with Michael Hutcheon)

110. “History, Empire, Opera”, Arcadia 38.2 (2003): 266-70.

111. “Taking Professionalization Seriously,” Reader 48 (2003): 10-19.

112. The ‘Phenomenal Image’ in Opera,” South Atlantic Quarterly, special issue on Image, Music, Gesture, 104.1 (2005): 63-78.  (with Michael Hutcheon)

113. ““On the Art of Adaptation,” Daedalus (Spring 2004): 108-11.

114. “In Memory of Edward Said,” University of Toronto Quarterly 74.1 (2004).

115. “Why Adapt?” Post Script 23.3 (2004): 5-18.

116. “Back by Request: Editors’ Introduction,” University of Toronto Quarterly, 74.2 (2005): 633-35.

117. “Metamorphing: Intertextuality, Adaptation, and Cultural Types,” Symbolism 5 (2005): 61-75.

118. “The Tones of Venice,” Descant  36.2 (2005): 126-32 (with Michael Hutcheon)

119. “Afterword: Compl(ic)it”, Comparative Critical Studies 3.1 (2006): 159-62.

120. “Introduction: ‘There will always be parody and irony,’” Texte, special issue on irony, 35/36 (2004): 7-11.

121. “The End of the Beginning. ” Canadian Opera Company programme notes for Richard Wagner’s Götterdämmerung, January-February, 2006.

122.  “Adapting a Canonical Canadian Novel for the Operatic Stage: A Dystopia for Our Times,” University of Toronto Quarterly 75.3 (2006): 815-20. (with Caryl Clark)

123. “State of the Art: Interdisciplinary Opera Studies”, The Changing Profession series, PMLA  (2006): 802-10

124. “Saving Collegiality”, Profession 2006 (MLA), 60-64.

125. “Afterword: Compl(ic)it,” Comparative Critical Studies 3 (2006): 159-162.

126. “In Defence of Literary Adaptation as Cultural Production,” M/C (Australia) http://journal.media-culture.au/0705/01-hutcheon.php

127. “On the Origin of Adaptations: Rethinking Fidelity Discourse and ‘Success’—Biologically.” New Literary History 38 (2007): 443-58. (with Gary Bortolotti)

128. “Faith in the Faithless: An Inter-review with Linda Hutcheon” with Brad Bucknell. English Studies in Canada 32.2-3 (2006): 157-71

129. “Medicine in/as Culture: The Teachings of Opera,” Canadian Creative Arts in Health, Training and Education Journal http://www.emclean.com (with Michael Hutcheon)

130. “Pompous Pedants, Medical Monsters, Humane Healers: Operatic Physicians.” Canadian Medical Association Journal, 177.7 (25 Sept. 2007): 755-6. (with Michael Hutcheon)

131. “Harry Potter and the Novice’s Confession”, The Lion and the Unicorn: A Critical Journal of Children’s Literature 32.3 (2008): 169-179.

132. “Heaven, Hell and the Wagnerians: Wagner in Victorian London,” Essays in Theatre 21/1 (2002—came out in 2008), 49-72. (with Michael Hutcheon and Helmut Reichenbächer)

“Interdisciplinary Opera,” Journal of the British Music Society,, forthcoming, 9000 words. (with Michael Hutcheon)

"Postmodernism Goes to the Opera" translated into Romanian for  Cahiers Roumains d'Etudes Littéraires,  forthcoming; and into Italian for  Percorsi e Contesti della Modernità, ed. F. Binni,  forthcoming.

“La política de la paraodia postmoderna.” Criterios on launch of website of journal.