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Barthes, R. (1990). The Fashion System. University of California Press.
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Burns, C. L. (1994). Re-Dressing Feminist Identities: Tensions between Essential and Constructed Selves in Virginia Woolf’s Orlando. Twentieth Century Literature, 40(3). https://doi.org/10.2307/441560
Butler, J. (1999). Gender Trouble: Feminism and the Subversion of Identity. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=180211
Butler, J. (2004). Undoing Gender. Routledge.
Butler, J. (2006). Gender Trouble: Feminism and the Subversion of Identity: Vol. Routledge classics. Routledge.
Cavallaro, D., & Warwick, A. (1998). Fashioning the Frame: Boundaries, Dress and Body: Vol. Dress, body, culture. Berg.
Celant, G. (2010). Louise Bourgeois: The Fabric Works (1st ed). Skira.
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Craik, J. (1994a). The Face of Fashion: Cultural Studies in Fashion. Routledge.
Craik, J. (1994b). The Face of Fashion: Cultural Studies in Fashion. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179181
Dyer, R. (1990). Less and More than Women and Men: Lesbian and Gay Cinema in Weimar Germany. New German Critique, 51. https://doi.org/10.2307/488171
Entwistle, J., & Wilson, E. (2001a). Body Dressing: Vol. Dress, body, culture. Berg.
Entwistle, J., & Wilson, E. (2001b). The Dressed Body. In Body Dressing: Vol. Dress, body, culture (pp. 33–58). Berg.
Felshin, N. (1995). Clothing as Subject. Art Journal, 54(1), 20–29. https://doi.org/10.1080/00043249.1995.10791672
Ferriss, S. (1999). Unclothing Gender: The Postmodern Sensibility in Sally Potter’s ‘Orlando’. Literature-Film Quarterly, 27(2). http://www.jstor.org/stable/43798722
Fest, K. (2012). Yesterday And/or Today: Time, History and Desire in Christa Winsloe’s Mädchen in Uniform. German Life and Letters, 65(4), 457–471. https://doi.org/10.1111/j.1468-0483.2012.01582.x
Fuss, D. (1989). Essentially Speaking: Feminism, Nature & Difference. Routledge.
Hall, R. (2008). The Well of Loneliness: Vol. Virago modern classics. Virago.
Hemus, R. (2009). Hannah Hoch: The Good Girl and the Dada Club. In Dada’s Women (pp. 91–127). Yale University Press.
Hughes, J. (2004). ‘Zivil ist Allemal Schädlich’ Clothing in German-language Culture of the 1920s. Neophilologus, 88(3), 429–445. https://doi.org/10.1023/B:NEOP.0000027472.79197.5a
Humm, M. (1997). Feminism and Film. Edinburgh University Press.
Jeremiah, E. (2007). ‘The "I” Inside "Her”’: Queer Narration in Sarah Waters’s Tipping the Velvet and Wesley Stace’s Misfortune. Women: A Cultural Review, 18(2), 131–144. https://doi.org/10.1080/09574040701400171
Kellein, T., & Bourgeois, L. (2006). Louise Bourgeois: la Famille. Verlag der Buchhandlung Walter König.
Keun, I. (2002). The Artificial Silk Girl. Other Press.
Keun, I. (2015). Das Kunstseidene Mädchen: Roman (14. Auflage). Ullstein Buchverlag.
Klein, J., & Perry, G. (2013). Grayson Perry (Updated and expanded edition). Thames & Hudson.
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Lavin, M. (1993). Androgyny and Spectatorship. In Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Hoch (pp. 185–204). Yale University Press.
Lavin, M. (2005). The New Woman in Hannah Höch’s Photomontages: Issues of Androgyny, Bisexuality, and Oscillation. In Reclaiming Female Agency: Feminist Art History After Postmodernism. University of California Press.
Lensing, L. A. (1985). Cinema, Society, and Literature in Irmgard Keun’s Das kunstseidene Mädchen. The Germanic Review: Literature, Culture, Theory, 60(4), 129–134. https://doi.org/10.1080/00168890.1985.9934167
Makholm, K. (1997). Strange Beauty: Hannah Höch and the Photomontage. MoMA, 24. https://www.jstor.org/stable/4381346
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Morris, F. (2003). Louise Bourgeois: Stitches in Time. AugustProjects.
Nicoletta, J. (2005). Louise Bourgeois’s Femmes-Maisons: Confronting Lacan. In Reclaiming Female Agency: Feminist Art History After Postmodernism. University of California Press.
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Perry, G. (2017). The Department of Masculinity. In The Descent of Man. Penguin Books. https://www-vlebooks-com.ezproxy01.rhul.ac.uk/Product/Index/1249296?page=0
Pidduck, J. (1997). Travels With Sally Potter’s Orlando: Gender, Narrative, Movement. Screen, 38(2), 172–189. https://doi.org/10.1093/screen/38.2.172
Potter, S., & Woolf, V. (2004). Orlando: Based on the Novel by Virginia Woolf (Widescreen). Umbrella Entertainment.
Pouchard, L. (1997). Queer Desire in The Well of Loneliness. In The Feminist Reader: Essays in Gender and the Politics of Literary Criticism (2nd ed). Macmillan.
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Roe, S., & Sellers, S. (2010). The Cambridge Companion to Virginia Woolf. Cambridge University Press. https://ezproxy01.rhul.ac.uk/login?url=https://dx.doi.org/10.1017/CCOL9780521896948
Rolley, K. (1990). Cutting a Dash: The Dress of Radclyffe Hall and Una Troubridge. Feminist Review, 35. https://doi.org/10.2307/1395400
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von Ankum, K. (1997). Gendered Urban Spaces in Irmgard Keun’s ‘Das Kunstesidene Madchen’. In Women in the Metropolis: Gender and Modernity in Weimar Culture: Vol. Weimar and now (pp. 162–184). University of California Prress.
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Woolf, V. (2014b). Introduction. In Orlando: A Biography: Vol. Oxford World’s Classics. Oxford University Press.
Zimnik, N. (2000). No Man, No Cry? The Film Girls in Uniform and Its Discourses of Political Regime. Women in German Yearbook: Feminist Studies in German Literature & Culture, 15(1), 161–183. https://doi.org/10.1353/wgy.2000.0020