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‘Barcelona: Urban Identity 1992-2002’. 2002. Arizona Journal of Hispanic Cultural Studies 6 (1): 245–61. https://doi.org/10.1353/hcs.2011.0277.
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Bennett, Annie. 2002. Barcelona. 2nd ed. Blue guide. A & C Black.
Burton, Julianne. 1973. ‘A Drop of Rain in the Desert: Something and Nothingness in Juan Rulfo’s “Nos Han Dado La Tierra” (“They’ve Given Us the Land”)’. Latin American Literary Review 2 (3): 55–62. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/20118895.
Bustamante Ramírez, Enrique. 2013. Historia de La Radio y Televisión En España: Una Asignatura Pendiente de La Democracia. Primera edición. Comunicación. Gedisa Editorial.
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EDMOND CROS. 1998. ‘Desde La Epopeya Villista al Sinarquismo: Análisis Sociocrítico de “El Llano En Llamas”’. Revista Canadiense de Estudios Hispánicos 22 (2): 215–24. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/27763459.
Edwards, Gwynne. 1980. Lorca: The Theatre beneath the Sand. Critical appraisals series. Boyars.
Ellwood, Sheelagh M. 1994. Franco. Profiles in power (London, England). Longman.
Feierstein, Liliana Ruth. 2015. ‘Graphic and Political Humour in Argentina: From Quino to Página 12’. European Journal of Humour Research 3 (2/3): 119–28. https://doi.org/10.7592/EJHR2015.3.2.3.feierstein.
Foster, David William. 1980. ‘MAFALDA: An Argentina Comic Strip’. The Journal of Popular Culture 14 (3): 497–508. https://doi.org/10.1111/j.0022-3840.1980.1403_497.x.
Foster, David William. 1989. From Mafalda to Los Supermachos: Latin American Graphic Humor as Popular Culture. Lynn Reinner.
Fraser, Howard M. 1988. ‘“Inframundo”: Juan Rulfo’s Photographic Companion to “El Llano En Llamas”’. Chasqui 17 (2). https://doi.org/10.2307/29740086.
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García Lorca, Federico, and H. Ramsden. 1980. Bodas de Sangre. Hispanic texts. Manchester University Press.
García Lorca, Federico, and Tanya Ronder. 2005. Blood Wedding. Nick Hern Books.
GASTÓN LILLO and JOSÉ LEANDRO URBINA
ANTONIO ALATORRE
FELIPE GARRIDO
JULIO ESTRADA
JAIME CONCHA
EDMOND CROS
MARIO J. VALDÉS
ANTONIO GÓMEZ-MORIANA
AMARYLL CHANADY
NEIL LARSEN
JEAN FRANCO
FERNANDO DE DIEGO
CARMEN BOULLOSA
DANIEL CASTILLO DURANTE
JORGE ETCHEVERRY
FRANÇOISE PÉRUS
JOSÉ ANTONIO GIMÉNEZ MICÓ
KEITH ELLIS
RODNEY WILLIAMSON
MONIQUE SARFATI-ARNAUD
ROMÁN DE LA CAMPA. 1998. Vol. 22, No. 2, Invierno 1998 of Revista Canadiense de Estudios Hispánicos on JSTOR. http://ezproxy.lib.gla.ac.uk/login?url=https://www.jstor.org/stable/i27763451.
Harbison, Robert. 1992. ‘GAUDI’. C (Archive : 1987-1992), 1987–92. http://ezproxy.lib.gla.ac.uk/login?url=http://search.proquest.com/docview/1459655033?pq-origsite=summon.
Hedges, Jill. 2011. Argentina: A Modern History. I.B. Tauris.
Henige, David, and Margarita Zamora. 1989. ‘Text, Context, Intertext: Columbus’ Diario de a Bordo as Palimpsest’. The Americas 46 (01): 17–40. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/1007392.
Hughes, Robert. 1992. Barcelona. Harvill.
Julian Palley. 1967. ‘Archetypal Symbols in “Bodas de Sangre”’. Hispania 50 (1): 74–79. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/336250?origin=JSTOR-pdf.
Kamen, Henry. 2008. Imagining Spain: Historical Myth & National Identity. Yale University Press.
Klein, Sheri. 1993. ‘Breaking the Mold with Humor: Images of Women in the Visual Media’. Art Education 46 (5). https://doi.org/10.2307/3193387.
Lahuerta, Juan José, and Antoni Gaudí. 2003. Antoni Gaudi, 1852-1926: Architecture, Ideology, and Politics. Electa Architecture.
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Lyon, Thomas C. 1992. ‘Juan Rulfo, o No Hay Salvación Ni En La Vida Ni En La Muerte’. Revista Chilena de Literatura, no. 39: 97–118. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/40356643.
Martignone, Hernán, and Mariano Prunes. 2008. Historietas a Diario: Las Tiras Cómicas Argentinas de Mafalda a Nuestros Días. Libraria.
‘Masters of Building: SAGRADA FAMILIA’. 2005. The Architects’ Journal (Archive : 1919-2005) 195 (13): 1919–2005. http://ezproxy.lib.gla.ac.uk/login?url=http://search.proquest.com/docview/1427113651?pq-origsite=summon.
McDonagh, Kelly. 2007. ‘Estrategias Discursivas de La Reconquista y La Conquista: La Construcción Del “Otro” En Los Romances y En Las Escrituras de Cristóbal Colón’. Confluencia 23 (1): 10–28. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/27923250.
McMullan, Terence. 1993. ‘Federico Garcia Lorca’s Critique of Marriage inBodas de Sangre’. Neophilologus 77 (1): 61–73. http://ezproxy.lib.gla.ac.uk/login?url=http://search.proquest.com/docview/1301907832?pq-origsite=summon.
Mendíbil, Álex. 2013. España En Serie: Cada Serie Cuenta Una Historia, Todas Juntas Cuentan Nuestra Historia. Primera edición. Aguilar.
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Mower, David. 1977. Gaudí. Oresko Books.
Navitski, R. 2012. ‘The Last Heist Revisited: Reimagining Hollywood Genre in Contemporary Argentine Crime Film’. Screen 53 (4): 359–80. https://doi.org/10.1093/screen/hjs033.
Preston, Paul. 1995. Franco: A Biography. Fontana Press.
Quino. 2005. 10 Años Con Mafalda. Tusquetes Editores.
Quino. 2009. 10 Años Con Mafalda. 2a ed. Tusquets Editor.
Reed Anderson. 1975. ‘The Idea of Tragedy in García Lorca’s “Bodas de Sangre”’. Revista Hispánica Moderna, no. 4: 174–88. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/30203167.
Rêgo, Cacilda, and Carolina Rocha. 2011. New Trends in Argentine and Brazilian Cinema. Intellect.
Robinson, William H., Jordi Falgàs, Carmen Belen Lord, Josefina Alix Trueba, Cleveland Museum of Art, and Metropolitan Museum of Art (New York, N.Y.). 2006. Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí. Cleveland Museum of Art in association with Yale University Press, New Haven and London.
Romero Salvadó Francisco J. 2005. The Spanish Civil War: Origins, Course, and Outcomes. Twentieth century wars. Palgrave Macmillan.
Rosa Franquet. 2014. ‘Transmedia Critical| Cross-Media Production in Spain’s Public Broadcast RTVE: Innovation, Promotion and Audience Loyalty Strategies’. International Journal of Communication 8. http://ijoc.org/index.php/ijoc/article/view/2621/1203.
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Shaw, Deborah. 2007. ‘Playing Hollywood at Its Own Game? Bielenski’s Nueve Reinas’. In Contemporary Latin American Cinema: Breaking into the Global Market, edited by Deborah Shaw. Rowman & Littlefield. https://www.vlebooks.com/vleweb/product/openreader?id=GlasgowUni&isbn=9780742575097.
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Smith, Paul Julian. 1998. The Theatre of García Lorca: Text, Performance, Psychoanalysis. Cambridge studies in Latin American and Iberian literature. Cambridge University Press.
Smith, Paul Julian. 2009. Spanish Screen Fiction: Between Cinema and Television. Contemporary Hispanic and Lusophone cultures. Liverpool University Press. Electronic resource. http://ezproxy.lib.gla.ac.uk/login?url=http://dx.doi.org/10.5949/UPO9781846315732.
Smith, Paul Julian. 2012. Spanish Practices: Literature, Cinema, Television. Moving image (Legenda). Legenda.
Ted Lyon. 1973. ‘Ontological Motifs in the Short Stories of Juan Rulfo’. Journal of Spanish Studies: Twentieth Century 1 (3): 161–68. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/27740626.
Timm, John T H. n.d. ‘Some Critical Observations on García Lorca’s “Bodas de Sangre”’. Revista de Estudios HispánicosRevista de Estudios Hispánicos 7 (2). http://ezproxy.lib.gla.ac.uk/login?url=http://search.proquest.com/docview/1300113504/32BD9AA38D764E00PQ/8?accountid=14540.
Todorov, Tzvetan. 1992. The Conquest of America: The Question of the Other. HarperPerennial.
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