1.
Butler, J., Dawson Books: Gender trouble: feminism and the subversion of identity. Routledge, New York, NY (2006).
2.
Dijkstra, B.: Evil sisters: the threat of female sexuality and the cult of manhood. Alfred A. Knopf, New York, N.Y. (1996).
3.
Ellmann, M.: Thinking about women. Virago, London (1979).
4.
Flax, J.: The Conflict between Nurturance and Autonomy in Mother-Daughter Relationships and within Feminism. Feminist Studies. 4, (1978). https://doi.org/10.2307/3177468.
5.
Jonathan Gottschall, Elizabeth Allison, Jay De Rosa and Kaia Klockeman: Can Literary Study Be Scientific?: Results of an Empirical Search for the Virgin/Whore Dichotomy. Interdisciplinary Literary Studies. 7, 1–17 (2006).
6.
Moi, T.: Sexual/textual politics: feminist literary theory. Routledge, London (2002).
7.
Neumann, E.: The great mother: an analysis of the archetype. Princeton University Press, Princeton, N.J. (1963).
8.
Rich, A.C.: Of woman born: motherhood as experience and institution. Virago, London (1977).
9.
Spacks, P.A.M.: The female imagination: a literary and psychological investigation of women’s writing. Allen and Unwin, London (1976).
10.
Tumanov, V.: Mary Versus Eve: Paternal Uncertainty and the Christian View of Women. Neophilologus. 95, 507–521 (2011). https://doi.org/10.1007/s11061-011-9253-5.
11.
Van Buren, J.S.: The modernist madonna: semiotics of the maternal metaphor. Indiana University Press, Bloomington (1989).
12.
Warner, M.: Alone of all her sex: the myth and cult of the Virgin Mary. Vintage, London (2000).
13.
Wolf, N.: Promiscuities: a secret history of female desire. Vintage, London (1998).
14.
Woolf, V.: A room of one’s own. Penguin Books, London (2004).
15.
Moi, T.: What is a woman?: and other essays. Oxford University Press, Oxford (1999).
16.
Broude, N., Garrard, M.D.: Feminism and art history: questioning the litany. Harper & Row, New York (1982).
17.
Broude, N., Garrard, M.D.: Reclaiming female agency: feminist art history after postmodernism. University of California Press, Berkeley, CA (2005).
18.
Ferris, J.L.V.: Maruja Mallo: la gran transgredora del 27. Temas de hoy, Madrid (2004).
19.
Mangini González, S., Mallo, M.: Maruja Mallo and the Spanish avant-garde. Ashgate, Farnham, Surrey (2010).
20.
Parsons, D.L.: A cultural history of Madrid: modernism and the urban spectacle. Berg, Oxford (2003).
21.
Zanetta, M.A.: La otra cara de la vanguardia: estudio comparativo de la obra artística de Maruja Mallo, Ángeles Santos y Remedios Varo. Edwin Mellen Press, Lewiston, N.Y. (2006).
22.
Fuentes, Y., Parker, M.R.: Leading ladies: mujeres en la literatura hispana y en las artes. Louisiana State University Press, Baton Rouge, La (2006).
23.
BADDELEY, O.: ‘Her Dress Hangs Here’: De-Frocking the Kahlo Cult. Oxford Art Journal. 14, 10–17 (1991). https://doi.org/10.1093/oxartj/14.1.10.
24.
Bakewell, L.: Frida Kahlo: A Contemporary Feminist Reading. Frontiers: A Journal of Women Studies. 13, (1993). https://doi.org/10.2307/3346753.
25.
Bartra, E.: Frida Kahlo: mujer, ideolog⩡, arte. Icaria, Barcelona (1994).
26.
Dexter, E., Barson, T., Ankori, G., Tate Modern (Gallery): Frida Kahlo. Tate Publishing, London (2005).
27.
Drucker, M., Kahlo, F.: Frida Kahlo. University of New Mexico Press, Albuquerque (1995).
28.
Broude, N., Garrard, M.D.: The Expanding discourse: feminism and art history. Westview Press, Boulder, CO (1992).
29.
Kahlo, F., Fuentes, C., Lowe, S.M., Freeman, P.: The diary of Frida Kahlo: an intimate self-portrait. Harry N. Abrams, New York (2005).
30.
Mayayo, P.: Frida Kahlo: contra el mito. C⡴edra, Madrid (2008).
31.
Tibol, R.: Frida Kahlo: an open life. University of New Mexico Press, Albuquerque (1993).
32.
Deffebach, N.: María Izquierdo & Frida Kahlo: challenging visions in modern Mexican art. University of Texas Press, Austin, Texas (2015).
33.
Miller, B.K.: Women in Hispanic literature: icons and fallen idols. University of California Press, Berkeley (1983).
34.
Cannon, C.: as Tragedy. Symposium: A Quarterly Journal in Modern Literatures. 16, 85–93 (1962). https://doi.org/10.1080/00397709.1962.10732717.
35.
Edwards, G.: Lorca: the theatre beneath the sand. Boyars, London (1980).
36.
Fernandez-Cifuentes, L.: Yerma: Anatomia de una transgresion. MLN. 99, (1984). https://doi.org/10.2307/2906189.
37.
Brenda Frazier: La mujer en el teatro de Federico García Lorca. Playor, Madrid (1973).
38.
McDermid, P.: Love, desire and identity in the theatre of Federico García Lorca. Tamesis, Woodbridge (2007).
39.
Pilar Nieva-de la Paz: Identidad femenina, maternidad y moral social: ‘Yerma’ (1935), de Federico García Lorca. Anales de la literatura española contemporánea. 33, 373–394 (2008).
40.
Smith, P.J.: The theatre of García Lorca: text, performance, psychoanalysis. Cambridge University Press, Cambridge (1998).
41.
Soufas, C.C.: Audience and authority in the modernist theater of Federico García Lorca. University of Alabama Press, Tuscaloosa (1996).
42.
Sullivan, Patricia.L.: The mythic tragedy of ‘Yerma’. Bulletin of Hispanic StudiesBulletin of Spanish Studies (1923-1948);Bulletin of Hispanic Studies. 49, (1972).
43.
Magnarelli, S.: Home is where the (he)art is: the family romance in late twentieth-century Mexican and Argentine theater. Bucknell University Press, Lewisburg (2008).
44.
Nora Glickman: De ‘La malasangre’ a ‘De profesión maternal’: Griselda Gambaro y el incómodo vaivén entre hija y madre. Revista Hispánica Moderna. 435–446 (2002).
45.
Gatto, T.: Griselda Gambaro, De Profesión Maternal o la subjetividad nómade. Telón de fondo. 7, (2008).
46.
Shaw, D.: 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, 55–62 (2000). https://doi.org/10.1080/13507490050020950.
47.
Allinson, M., Dawson Books: A Spanish labyrinth: the films of Pedro Almodóvar. I.B. Tauris, London (2001).
48.
Post-Franco: the films of  Pedro Almodovar, Vernon: postmodern. Greenwood Pr, Westport (1995).
49.
Brion, M., Fini, L.: Leonor Fini: et son oeuvre. Jean-Jacques Pauvert, [Paris] (1962).
50.
Chadwick, W.: Women artists and the Surrealist Movement. Thames and Hudson, [London] (1985).
51.
Caws, M.A., Kuenzli, R.E., Raaberg, G.: Surrealism and women. MIT Press, Cambridge, Mass (1991).
52.
Lauter, E.: Women as mythmakers: poetry and visual art by twentieth-century women. Indiana University Press, Bloomington (1984).
53.
Mahon, A.: La Feminité triomphante: Surrealism, Leonor Fini, and the Sphinx. Dada surrealism. 19, (2013).
54.
Webb, P., Fini, L.: Sphinx: the life and art of Leonor Fini. Vendome Press, New York (2009).
55.
Webb, P.: Leonor Fini: Métamorphoses d’un art. Actes sud, Arles (2007).
56.
Adams, M.I.: Three authors of alienation: Bombal, Onetti, Carpentier. University of Texas Press, Austin (1975).
57.
Baker, A.F.: El tiempo y el proceso de individuación en ‘La última niebla’. Revista Iberoamericana. 52, (1986). https://doi.org/10.5195/reviberoamer.1986.4175.
58.
Bastos, M.L.: Relectura de ‘La última niebla’ de María Luisa Bombal. Revista Iberoamericana. 51, (1985). https://doi.org/10.5195/reviberoamer.1985.4070.
59.
Domínguez Miranda, C.M.: La identidad femenina en La última niebla. La Colmena. 78, 37–44.
60.
Cynthia Duncan: Reading Power: Some Observations on the Construction of Meaning and Authority in María Luisa Bombal’s ‘La última niebla’. Revista Hispánica Moderna. 304–316 (1998).
61.
ESPINOSA H., P.: La última niebla de María Luisa Bombal: excentricidad, desacato y eroticidad en el devenir identitario femenino. Acta literaria. (2005). https://doi.org/10.4067/S0717-68482005000200002.
62.
Lucía Guerra Cunningham: La marginalidad subversiva del deseo en la ‘La última niebla’ de María Luisa Bombal. Hispamérica. 53–63 (1992).
63.
Dill, H.-O.: Apropiaciones de realidad en la novela hispanoamericana de los siglos XIX y XX. Vervuert, Frankfurt (1994).
64.
Kostopulos-Cooperman, C.: The lyrical vision of Maria Luisa Bombal. Tamesis Books, London (1988).
65.
Orozco Vera, Ma.J.: La narrativa femenina chilena, (1923-1980): escritura y enajenación. Anubar Ediciones, Zaragoza (1995).
66.
Joyce Tolliver: ‘Otro modo de ver:’ The Gaze in La última niebla. Revista Canadiense de Estudios Hispánicos. 17, 105–121 (1992).
67.
King, J., Whitaker, S., Bosch, R.: An Argentine passion: María Luisa Bemberg and her films. Verso, London (2000).
68.
Shaw, L., Dennison, S.: Latin American cinema: essays on modernity, gender and national identity. McFarland & Company, Jefferson, N.C. (2005).
69.
Stevens, D.F.: Based on a true story: Latin American history at the movies. SR Books, Lanham, Md (1997).
70.
Pick, Z.M.: The new Latin American cinema: a continental project. University of Texas Press, Austin, Tex (1993).
71.
Richard K. Curry: La estructuración del discurso fílmico en ‘Camila’ de María-Luisa Bemberg: ‘filtros’. Letras Femeninas. 18, 11–23 (1992).
72.
ESTELA ERAUSQUIN: María Luisa Bemberg’s Revolt. Revista Canadiense de Estudios Hispánicos. 27, 45–57 (2002).
73.
STEPHEN M. HART: Bemberg’s Winks and Camila’s Sighs: Melodramatic Encryption in Camila. Revista Canadiense de Estudios Hispánicos. 27, 75–85 (2002).
74.
Bruce Willaims: In the Realm of the Feminine: María Luisa Bemberg’s ‘Camila’ at the Edge of the Gaze. Chasqui. 25, 62–71 (1996).