Adams, Michael Ian. 1975. Three Authors of Alienation: Bombal, Onetti, Carpentier. Latin American monographs (University of Texas at Austin. Institute of Latin American Studies). University of Texas Press.
Allinson, Mark and Dawson Books. 2001. A Spanish Labyrinth: The Films of Pedro Almodóvar. I.B. Tauris. Electronic resource. 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. 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 GarciÌa Lorca. Playor.
Brion, Marcel, and Leonor Fini. 1962. Leonor Fini: Et Son Oeuvre. Jean-Jacques Pauvert.
Broude, Norma, and Mary D. Garrard. 1982. Feminism and Art History: Questioning the Litany. Icon editions. Harper & Row.
Broude, Norma, and Mary D. Garrard. 1992. The Expanding Discourse: Feminism and Art History. Westview Press.
Broude, Norma, and Mary D. Garrard. 2005. Reclaiming Female Agency: Feminist Art History after Postmodernism. 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. Routledge classics. Routledge. Electronic resource. 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. MIT Press.
Chadwick, Whitney. 1985. Women Artists and the Surrealist Movement. 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. Latin American and Caribbean Arts and Culture publication initiative (Andrew W. Mellon Foundation). University of Texas Press.
Dexter, Emma, Tanya Barson, Gannit Ankori, and Tate Modern (Gallery). 2005. Frida Kahlo. Tate Publishing.
Dijkstra, Bram. 1996. Evil Sisters: The Threat of Female Sexuality and the Cult of Manhood. Alfred A. Knopf.
Dill, Hans-Otto. 1994. Apropiaciones de Realidad En La Novela Hispanoamericana de Los Siglos XIX y XX. Editionen der Iberoamericana. 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. University of New Mexico Press.
Edwards, Gwynne. 1980. Lorca: The Theatre beneath the Sand. Critical appraisals series. Boyars.
Ellmann, Mary. 1979. Thinking about Women. 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. Biografías. 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. 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. Harry N. Abrams.
King, John, Sheila Whitaker, and Rosa Bosch. 2000. An Argentine Passion: María Luisa Bemberg and Her Films. Verso.
Kostopulos-Cooperman, Celeste. 1988. The Lyrical Vision of Maria Luisa Bombal. Colección Támesis. Tamesis Books.
Lauter, Estella. 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, 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. The Bucknell studies in Latin American literature and Theory. 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. Ashgate studies in surrealism. Ashgate.
Mayayo, Patricia. 2008. Frida Kahlo: Contra El Mito. Ensayos arte C⡴edra. C⡴edra.
McDermid, Paul. 2007. Love, Desire and Identity in the Theatre of Federico García Lorca. Colección Támesis. Tamesis.
Miller, Beth Kurti. 1983. Women in Hispanic Literature: Icons and Fallen Idols. University of California Press.
Moi, Toril. 1999. What Is a Woman?: And Other Essays. Oxford University Press.
Moi, Toril. 2002. Sexual/Textual Politics: Feminist Literary Theory. 2nd ed. New accents. Routledge.
Neumann, Erich. 1963. The Great Mother: An Analysis of the Archetype. 2nd ed. Bollingen series. 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. Textos de filología. Anubar Ediciones.
Parsons, Deborah L. 2003. A Cultural History of Madrid: Modernism and the Urban Spectacle. Berg.
Pick, Zuzana M. 1993. The New Latin American Cinema: A Continental Project. Texas film studies series. 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. Constributions to the Study of Popular Culture, Number 69. Greenwood Pr.
Rich, Adrienne Cecile. 1977. Of Woman Born: Motherhood as Experience and Institution. 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. McFarland & Company.
Smith, Paul Julian. 1998. The Theatre of García Lorca: Text, Performance, Psychoanalysis. Cambridge studies in Latin American and Iberian literature. Cambridge University Press.
Soufas, C. Christopher. 1996. Audience and Authority in the Modernist Theater of Federico García Lorca. University of Alabama Press.
Spacks, Patricia Ann Meyer. 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, Donald Fithian. 1997. Based on a True Story: Latin American History at the Movies. Latin American silhouettes: studies in history and Culture. 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. 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. Indiana University Press.
Warner, Marina. 2000. Alone of All Her Sex: The Myth and Cult of the Virgin Mary. Vintage.
Webb, Peter. 2007. Leonor Fini: Métamorphoses d’un Art. Actes sud.
Webb, Peter, and Leonor Fini. 2009. Sphinx: The Life and Art of Leonor Fini. Vendome Press.
Wolf, Naomi. 1998. Promiscuities: A Secret History of Female Desire. Vintage.
Woolf, Virginia. 2004. A Room of One’s Own. Great ideas. 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. Edwin Mellen Press.