Adams, M. I. (1975). Three authors of alienation: Bombal, Onetti, Carpentier: Vol. Latin American monographs (University of Texas at Austin. Institute of Latin American Studies). University of Texas Press.
BADDELEY, O. (1991). ‘Her Dress Hangs Here’: De-Frocking the Kahlo Cult. Oxford Art Journal, 14(1), 10–17. https://doi.org/10.1093/oxartj/14.1.10
Baker, A. F. (1986). El tiempo y el proceso de individuación en ‘La última niebla’. Revista Iberoamericana, 52(135). https://doi.org/10.5195/reviberoamer.1986.4175
Bakewell, L. (1993). Frida Kahlo: A Contemporary Feminist Reading. Frontiers: A Journal of Women Studies, 13(3). https://doi.org/10.2307/3346753
Bartra, E. (1994). Frida Kahlo: mujer, ideolog⩡, arte (2. ed. ampliada y rev). Icaria.
Bastos, M. L. (1985). Relectura de ‘La última niebla’ de María Luisa Bombal. Revista Iberoamericana, 51(132). https://doi.org/10.5195/reviberoamer.1985.4070
Brion, M., & Fini, L. (1962). Leonor Fini: et son oeuvre. Jean-Jacques Pauvert.
Broude, N., & Garrard, M. D. (1992). The Expanding discourse: feminism and art history. Westview Press.
Bruce Willaims. (1996). In the Realm of the Feminine: María Luisa Bemberg’s ‘Camila’ at the Edge of the Gaze. Chasqui, 25(1), 62–71. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/29741255
Butler, J. & Dawson Books. (2006). Gender trouble: feminism and the subversion of identity: Vol. Routledge classics. Routledge. https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.gla.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203902752
Caws, M. A., Kuenzli, R. E., & Raaberg, G. (1991). Surrealism and women. MIT Press.
Chadwick, W. (1985). Women artists and the Surrealist Movement. Thames and Hudson.
Cronología de Norah Borges 1914–1940. (2009). Romance Studies, 27(1), 1–6. https://doi.org/10.1179/174581509X398046
Cynthia Duncan. (1998). Reading Power: Some Observations on the Construction of Meaning and Authority in María Luisa Bombal’s ‘La última niebla’. Revista Hispánica Moderna, 2, 304–316. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/30203524
Deffebach, N. (2015). María Izquierdo & Frida Kahlo: challenging visions in modern Mexican art: Vol. Latin American and Caribbean Arts and Culture publication initiative (Andrew W. Mellon Foundation) (First edition). University of Texas Press.
Dexter, E., Barson, T., Ankori, G., & Tate Modern (Gallery). (2005). Frida Kahlo. Tate Publishing.
Dijkstra, B. (1996). Evil sisters: the threat of female sexuality and the cult of manhood. Alfred A. Knopf.
Dill, H.-O. (1994). Apropiaciones de realidad en la novela hispanoamericana de los siglos XIX y XX: Vol. Editionen der Iberoamericana. Vervuert.
Domínguez Miranda, C. M. (n.d.). La identidad femenina en La última niebla. La Colmena, 78, 37–44. http://lacolmena.uaemex.mx/index.php/lacolmena/article/view/507
Drucker, M., & Kahlo, F. (1995). Frida Kahlo (University of New Mexico Press paperbound ed). University of New Mexico Press.
Ellmann, M. (1979). Thinking about women. Virago.
ESPINOSA H., P. (2005). La última niebla de María Luisa Bombal: excentricidad, desacato y eroticidad en el devenir identitario femenino. Acta Literaria, 31. https://doi.org/10.4067/S0717-68482005000200002
ESTELA ERAUSQUIN. (2002). María Luisa Bemberg’s Revolt. Revista Canadiense de Estudios Hispánicos, 27(1), 45–57. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/27763813
Joyce Tolliver. (1992). ‘Otro modo de ver:’ The Gaze in La última niebla. Revista Canadiense de Estudios Hispánicos, 17(1), 105–121. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/27762979
Kahlo, F., Fuentes, C., Lowe, S. M., & Freeman, P. (2005). The diary of Frida Kahlo: an intimate self-portrait (2005 ed). Harry N. Abrams.
King, J., Whitaker, S., & Bosch, R. (2000). An Argentine passion: María Luisa Bemberg and her films. Verso.
Kostopulos-Cooperman, C. (1988). The lyrical vision of Maria Luisa Bombal: Vol. Colección Támesis. Tamesis Books.
Lauter, E. (1984). Women as mythmakers: poetry and visual art by twentieth-century women. Indiana University Press.
Lucía Guerra Cunningham. (1992). La marginalidad subversiva del deseo en la ‘La última niebla’ de María Luisa Bombal. Hispamérica, 62, 53–63. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/20539639
Mahon, A. (2013). La Feminité triomphante: Surrealism, Leonor Fini, and the Sphinx. Dada Surrealism, 19(1). http://ir.uiowa.edu/cgi/viewcontent.cgi?article=1274&context=dadasur
Mayayo, P. (2008). Frida Kahlo: contra el mito: Vol. Ensayos arte C⡴edra. C⡴edra.
Moi, T. (1999). What is a woman?: and other essays. Oxford University Press.
Moi, T. (2002). Sexual/textual politics: feminist literary theory: Vol. New accents (2nd ed). Routledge.
Montgomery, H. (2017). The Mobility of Modernism: Art and Criticism in 1920s Latin America. University of Texas Press.
Nelson, D. E. (2009). Norah Borges: (Self-)Criticism, (Self-)Censorship, (Self-)Effacement. Romance Studies, 27(1), 45–58. https://doi.org/10.1179/174581509X398019
Orozco Vera, Ma. J. (1995). La narrativa femenina chilena, (1923-1980): escritura y enajenación: Vol. Textos de filología. Anubar Ediciones.
Pick, Z. M. (1993). The new Latin American cinema: a continental project: Vol. Texas film studies series. University of Texas Press.
Quance, R. (2009). Norah Borges en la vanguardia: entre vírgenes y sirenas. Romance Studies, 27(1), 1–10. https://doi.org/10.1179/174581509X397984
Richard K. Curry. (1992). La estructuración del discurso fílmico en ‘Camila’ de María-Luisa Bemberg: ‘filtros’. Letras Femeninas, 18(1), 11–23. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/23022569
Ros, X. de, & Hazbun, G. (Eds.). (2014). A companion to Spanish women’s studies: Vol. Colección Támesis. Serie A, Monografías (Paperback edition). Tamesis.
Shaw, L., & Dennison, S. (2005). Latin American cinema: essays on modernity, gender and national identity. McFarland & Company.
Spacks, P. A. M. (1976). The female imagination: a literary and psychological investigation of women’s writing. Allen and Unwin.
STEPHEN M. HART. (2002). Bemberg’s Winks and Camila’s Sighs: Melodramatic Encryption in Camila. Revista Canadiense de Estudios Hispánicos, 27(1), 75–85. http://www.jstor.org/stable/27763815?seq=1#page_scan_tab_contents
Stevens, D. F. (1997). Based on a true story: Latin American history at the movies: Vol. Latin American silhouettes: studies in history and culture. SR Books.
Tibol, R. (1993). Frida Kahlo: an open life. University of New Mexico Press.
Tumanov, V. (2011). Mary Versus Eve: Paternal Uncertainty and the Christian View of Women. Neophilologus, 95(4), 507–521. https://doi.org/10.1007/s11061-011-9253-5
Webb, P. (2007). Leonor Fini: Métamorphoses d’un art. Actes sud.
Webb, P., & Fini, L. (2009). Sphinx: the life and art of Leonor Fini. Vendome Press.
Wolf, N. (1998). Promiscuities: a secret history of female desire. Vintage.
Woolf, V. (2004). A room of one’s own: Vol. Great ideas. Penguin Books.