Adams, Michael Ian. 1975. Three Authors of Alienation: Bombal, Onetti, Carpentier. Vol. Latin American monographs (University of Texas at Austin. Institute of Latin American Studies). Austin: University of Texas Press.
Allinson, Mark and Dawson Books. 2001. A Spanish Labyrinth: The Films of Pedro Almodóvar. Electronic resource. London: I.B. Tauris. http://www.dawsonera.com/guard/protected/dawson.jsp?name=University%20of%20Glasgow&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9786000006693.
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, Armand 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, Liza. 1993. ‘Frida Kahlo: A Contemporary Feminist Reading’. Frontiers: A Journal of Women Studies 13 (3). https://doi.org/10.2307/3346753.
Bartra, Eli. 1994. Frida Kahlo: Mujer, Ideolog⩡, Arte. 2. ed. ampliada y rev. Barcelona: Icaria.
Bastos, María Luisa. 1985. ‘Relectura de “La Última Niebla” de María Luisa Bombal’. Revista Iberoamericana 51 (132). https://doi.org/10.5195/reviberoamer.1985.4070.
Brenda Frazier. 1973. La Mujer En El Teatro de Federico García Lorca. Madrid: Playor.
Brion, Marcel, and Leonor Fini. 1962. Leonor Fini: Et Son Oeuvre. [Paris]: Jean-Jacques Pauvert.
Broude, Norma, and Mary D. Garrard. 1982. Feminism and Art History: Questioning the Litany. Vol. Icon editions. New York: Harper & Row.
———. 1992. The Expanding Discourse: Feminism and Art History. Boulder, CO: Westview Press.
———. 2005. Reclaiming Female Agency: Feminist Art History after Postmodernism. Berkeley, CA: University of California 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, Judith and Dawson Books. 2006. Gender Trouble: Feminism and the Subversion of Identity. Electronic resource. Vol. Routledge classics. New York, NY: 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.
Cannon, Calvin. 1962. ‘As Tragedy’. Symposium: A Quarterly Journal in Modern Literatures 16 (2): 85–93. https://doi.org/10.1080/00397709.1962.10732717.
Caws, Mary Ann, Rudolf E. Kuenzli, and Gwen Raaberg. 1991. Surrealism and Women. Cambridge, Mass: MIT Press.
Chadwick, Whitney. 1985. Women Artists and the Surrealist Movement. [London]: Thames and Hudson.
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, no. 2: 304–16. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/30203524.
Deffebach, Nancy. 2015. María Izquierdo & Frida Kahlo: Challenging Visions in Modern Mexican Art. First edition. Vol. Latin American and Caribbean Arts and Culture publication initiative (Andrew W. Mellon Foundation). Austin, Texas: University of Texas Press.
Dexter, Emma, Tanya Barson, Gannit Ankori, and Tate Modern (Gallery). 2005. Frida Kahlo. London: Tate Publishing.
Dijkstra, Bram. 1996. Evil Sisters: The Threat of Female Sexuality and the Cult of Manhood. New York, N.Y.: Alfred A. Knopf.
Dill, Hans-Otto. 1994. Apropiaciones de Realidad En La Novela Hispanoamericana de Los Siglos XIX y XX. Vol. Editionen der Iberoamericana. Frankfurt: Vervuert.
Domínguez Miranda, Claudia Maribel. 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, Malka, and Frida Kahlo. 1995. Frida Kahlo. University of New Mexico Press paperbound ed. Albuquerque: University of New Mexico Press.
Edwards, Gwynne. 1980. Lorca: The Theatre beneath the Sand. Vol. Critical appraisals series. London: Boyars.
Ellmann, Mary. 1979. Thinking about Women. London: Virago.
ESPINOSA H., PATRICIA. 2005. ‘La Última Niebla de María Luisa Bombal: Excentricidad, Desacato y Eroticidad En El Devenir Identitario Femenino’. Acta Literaria, no. 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.
Fernandez-Cifuentes, Luis. 1984. ‘Yerma: Anatomia de Una Transgresion’. MLN 99 (2). https://doi.org/10.2307/2906189.
Ferris, José Luis V. 2004. Maruja Mallo: La Gran Transgredora Del 27. Vol. Biografías. Madrid: Temas de hoy.
Flax, Jane. 1978. ‘The Conflict between Nurturance and Autonomy in Mother-Daughter Relationships and within Feminism’. Feminist Studies 4 (2). https://doi.org/10.2307/3177468.
Fuentes, Yvonne, and Margaret R. Parker. 2006. Leading Ladies: Mujeres En La Literatura Hispana y En Las Artes. Baton Rouge, La: Louisiana State University Press.
Gatto, Teresa. 2008. ‘Griselda Gambaro, De Profesión Maternal o La Subjetividad Nómade’. Telón de Fondo 7. http://www.telondefondo.org/numeros-anteriores/numero7/articulo/135/griselda-gambaro-de-profesion-maternal-o-la-subjetividad-nomade.html.
Jonathan Gottschall, Elizabeth Allison, Jay De Rosa and Kaia Klockeman. 2006. ‘Can Literary Study Be Scientific?: Results of an Empirical Search for the Virgin/Whore Dichotomy’. Interdisciplinary Literary Studies 7 (2): 1–17. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/41209939.
Joyce Tolliver. 1992. ‘“Otro Modo de Ver:” The Gaze in La Última Niebla’. Revista Canadiense de Estudios Hispánicos 17 (1): 105–21. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/27762979.
Kahlo, Frida, Carlos Fuentes, Sarah M. Lowe, and Phyllis Freeman. 2005. The Diary of Frida Kahlo: An Intimate Self-Portrait. 2005 ed. New York: Harry N. Abrams.
King, John, Sheila Whitaker, and Rosa Bosch. 2000. An Argentine Passion: María Luisa Bemberg and Her Films. London: Verso.
Kostopulos-Cooperman, Celeste. 1988. The Lyrical Vision of Maria Luisa Bombal. Vol. Colección Támesis. London: Tamesis Books.
Lauter, Estella. 1984. Women as Mythmakers: Poetry and Visual Art by Twentieth-Century Women. Bloomington: Indiana University Press.
Lucía Guerra Cunningham. 1992. ‘La Marginalidad Subversiva Del Deseo En La “La Última Niebla” de María Luisa Bombal’. Hispamérica, no. 62: 53–63. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/20539639.
Magnarelli, Sharon. 2008. Home Is Where the (He)Art Is: The Family Romance in Late Twentieth-Century Mexican and Argentine Theater. Vol. The Bucknell studies in Latin American literature and theory. Lewisburg: Bucknell University Press.
Mahon, Alyce. 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.
Mangini González, Shirley, and Maruja Mallo. 2010. Maruja Mallo and the Spanish Avant-Garde. Vol. Ashgate studies in surrealism. Farnham, Surrey: Ashgate.
Mayayo, Patricia. 2008. Frida Kahlo: Contra El Mito. Vol. Ensayos arte C⡴edra. Madrid: C⡴edra.
McDermid, Paul. 2007. Love, Desire and Identity in the Theatre of Federico García Lorca. Vol. Colección Támesis. Woodbridge: Tamesis.
Miller, Beth Kurti. 1983. Women in Hispanic Literature: Icons and Fallen Idols. Berkeley: University of California Press.
Moi, Toril. 1999. What Is a Woman?: And Other Essays. Oxford: Oxford University Press.
———. 2002. Sexual/Textual Politics: Feminist Literary Theory. 2nd ed. Vol. New accents. London: Routledge.
Neumann, Erich. 1963. The Great Mother: An Analysis of the Archetype. 2nd ed. Vol. Bollingen series. Princeton, N.J.: Princeton University Press.
Nora Glickman. 2002. ‘De “La Malasangre” a “De Profesión Maternal”: Griselda Gambaro y El Incómodo Vaivén Entre Hija y Madre’. Revista Hispánica Moderna, no. 2: 435–46. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/30203716.
Orozco Vera, Ma. Jesús. 1995. La Narrativa Femenina Chilena, (1923-1980): Escritura y Enajenación. Vol. Textos de filología. Zaragoza: Anubar Ediciones.
Parsons, Deborah L. 2003. A Cultural History of Madrid: Modernism and the Urban Spectacle. Oxford: Berg.
Pick, Zuzana M. 1993. The New Latin American Cinema: A Continental Project. Vol. Texas film studies series. Austin, Tex: University of Texas Press.
Pilar Nieva-de la Paz. 2008. ‘Identidad Femenina, Maternidad y Moral Social: “Yerma” (1935), de Federico García Lorca’. Anales de La Literatura Española Contemporánea 33 (2): 373–94. http://ezproxy.lib.gla.ac.uk/login?url=http://www.jstor.org/stable/27742558.
Post-Franco: The Films of  Pedro Almodovar, Vernon: Postmodern. 1995. Vol. Constributions to the Study of Popular Culture, Number 69. Westport: Greenwood Pr.
Rich, Adrienne Cecile. 1977. Of Woman Born: Motherhood as Experience and Institution. London: Virago.
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.
Shaw, Deborah. 2000. ‘Men in High Heels: The Feminine Man and Performances of Femininity in Tacones Lejanos by Pedro Almodóvar’. Journal of Iberian and Latin American Studies 6 (1): 55–62. https://doi.org/10.1080/13507490050020950.
Shaw, Lisa, and Stephanie Dennison. 2005. Latin American Cinema: Essays on Modernity, Gender and National Identity. Jefferson, N.C.: McFarland & Company.
Smith, Paul Julian. 1998. The Theatre of García Lorca: Text, Performance, Psychoanalysis. Vol. Cambridge studies in Latin American and Iberian literature. Cambridge: Cambridge University Press.
Soufas, C. Christopher. 1996. Audience and Authority in the Modernist Theater of Federico García Lorca. Tuscaloosa: University of Alabama Press.
Spacks, Patricia Ann Meyer. 1976. The Female Imagination: A Literary and Psychological Investigation of Women’s Writing. London: 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, Donald Fithian. 1997. Based on a True Story: Latin American History at the Movies. Vol. Latin American silhouettes: studies in history and culture. Lanham, Md: SR Books.
Sullivan, Patricia. L. 1972. ‘The Mythic Tragedy of “Yerma”’. Bulletin of Hispanic StudiesBulletin of Spanish Studies (1923-1948);Bulletin of Hispanic Studies 49 (3). http://ezproxy.lib.gla.ac.uk/login?url=http://search.proquest.com/docview/1310528670/55F10012FE104C4BPQ/6?accountid=14540.
Tibol, Raquel. 1993. Frida Kahlo: An Open Life. Albuquerque: University of New Mexico Press.
Tumanov, Vladimir. 2011. ‘Mary Versus Eve: Paternal Uncertainty and the Christian View of Women’. Neophilologus 95 (4): 507–21. https://doi.org/10.1007/s11061-011-9253-5.
Van Buren, Jane Silverman. 1989. The Modernist Madonna: Semiotics of the Maternal Metaphor. Bloomington: Indiana University Press.
Warner, Marina. 2000. Alone of All Her Sex: The Myth and Cult of the Virgin Mary. London: Vintage.
Webb, Peter. 2007. Leonor Fini: Métamorphoses d’un Art. Arles: Actes sud.
Webb, Peter, and Leonor Fini. 2009. Sphinx: The Life and Art of Leonor Fini. New York: Vendome Press.
Wolf, Naomi. 1998. Promiscuities: A Secret History of Female Desire. London: Vintage.
Woolf, Virginia. 2004. A Room of One’s Own. Vol. Great ideas. London: Penguin Books.
Zanetta, María Alejandra. 2006. La Otra Cara de La Vanguardia: Estudio Comparativo de La Obra Artística de Maruja Mallo, Ángeles Santos y Remedios Varo. Lewiston, N.Y.: Edwin Mellen Press.