Addressing the Century: 100 Years of Art & Fashion (London: Hayward Gallery, 1998)
von Ankum, Katharina, ‘Gendered Urban Spaces in Irmgard Keun’s “Das Kunstesidene Madchen”’, in Women in the Metropolis: Gender and Modernity in Weimar Culture (Berkeley: University of California Prress, 1997), Weimar and now, 162–84
Bancroft, Alison, Fashion and Psychoanalysis: Styling the Self (London: I.B. Tauris, 2012), International library of cultural studies
———, Fashion and Psychoanalysis: Styling the Self (London: I.B.Tauris & Co Ltd, 2012), International library of cultural studies <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=945517>
Barthes, Roland, The Fashion System (Berkeley: University of California Press, 1990)
Berger, John, ‘Chapter 3’, in Ways of Seeing (London: Penguin, 2008), pp. 39–58
———, ‘Chapter 3’, in Ways of Seeing (London: Penguin, 2008), pp. 39–58
Berghaus, G., ‘Girlkultur Feminism, Americanism, and Popular Entertainment in Weimar Germany’, Journal of Design History, 1.3–4 (1988), 193–219 <https://doi.org/10.1093/jdh/1.3-4.193>
Boa, Elizabeth, ‘Warring Pleasures and Their Price: Sex in the City in Irmgard Keun’s Das Kunstseidene Mädchen and Andrea Maria Schenkel’s Kalteis’, German Life and Letters, 62.3 (2009), 343–58 <https://doi.org/10.1111/j.1468-0483.2009.01468.x>
Boxwell, D. A., ‘(Dis)Orienting Spectacle: The Politics of Orlando’s Sapphic Camp’, Twentieth Century Literature, 44.3 (1998) <https://doi.org/10.2307/441812>
Breward, Christopher, The Culture of Fashion: A New History of Fashionable Dress (Manchester: Manchester University Press, 1995), Studies in design and material culture
Bruzzi, Stella, Fashion Cultures: Theories, Explorations and Analysis (London: Routledge, 2000)
Buckley, Cheryl, Fashioning the Feminine: Representation and Women’s Fashion From the Fin De Siecle to the Present (London: I. B. Tauris, 2002)
———, Fashioning the Feminine: Representation and Women’s Fashion From the Fin De Siecle to the Present (London: I. B. Tauris, 2002) <https://royalholloway.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9786000006792&uid=^u>
Burns, Christy L., ‘Re-Dressing Feminist Identities: Tensions between Essential and Constructed Selves in Virginia Woolf’s Orlando’, Twentieth Century Literature, 40.3 (1994) <https://doi.org/10.2307/441560>
Butler, Judith, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 2006), Routledge classics
———, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1999) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=180211>
———, Undoing Gender (New York: Routledge, 2004)
Cavallaro, Dani, and Alexandra Warwick, Fashioning the Frame: Boundaries, Dress and Body (Oxford: Berg, 1998), Dress, body, culture
Celant, Germano, Louise Bourgeois: The Fabric Works, 1st ed (Milan: Skira, 2010)
Cervetti, Nancy, ‘In the Breeches, Petticoats, and Pleasures of Orlando’, Journal of Modern Literature, 20.2 (1996), 165–75 <http://www.jstor.org/stable/3831473>
Chadwick, Whitney, and Dawn Ades, Mirror Images: Women, Surrealism, and Self-Representation (Cambridge, Mass: MIT Press, 1998)
Cindy Sherman: Retrospective (London: Thames & Hudson, 1997)
Connell, R. W., Gender (Cambridge: Polity, 2002)
Coxon, Ann, and Louise Bourgeois, Louise Bourgeois (London: Tate, 2010), Modern artists
Craft-Fairchild, Catherine, ‘“Same Person… Just a Different Sex”: Sally Potter’s Construction of Gender in Orlando’, Woolf Studies Annual, 7 (2001), 23–48
Craik, Jennifer, The Face of Fashion: Cultural Studies in Fashion (London: Routledge, 1994)
———, The Face of Fashion: Cultural Studies in Fashion (London: Routledge, 1994) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179181>
Dyer, Richard, ‘Less and More than Women and Men: Lesbian and Gay Cinema in Weimar Germany’, New German Critique, 51, 1990 <https://doi.org/10.2307/488171>
Entwistle, Joanne, and Elizabeth Wilson, Body Dressing (Oxford: Berg, 2001), Dress, body, culture
———, ‘The Dressed Body’, in Body Dressing (Oxford: Berg, 2001), Dress, body, culture, 33–58
Felshin, Nina, ‘Clothing as Subject’, Art Journal, 54.1 (1995), 20–29 <https://doi.org/10.1080/00043249.1995.10791672>
Ferriss, Suzanne, ‘Unclothing Gender: The Postmodern Sensibility in Sally Potter’s “Orlando”’, Literature-Film Quarterly, 27.2 (1999) <http://www.jstor.org/stable/43798722>
Fest, Kerstin, ‘Yesterday And/or Today: Time, History and Desire in Christa Winsloe’s Mädchen in Uniform’, German Life and Letters, 65.4 (2012), 457–71 <https://doi.org/10.1111/j.1468-0483.2012.01582.x>
Fuss, Diana, Essentially Speaking: Feminism, Nature & Difference (New York: Routledge, 1989)
Hall, Radclyffe, The Well of Loneliness (London: Virago, 2008), Virago modern classics
Hemus, Ruth, ‘Hannah Hoch: The Good Girl and the Dada Club’, in Dada’s Women (New Haven, Conn: Yale University Press, 2009), pp. 91–127
Hughes, Jon, ‘“Zivil Ist Allemal Schädlich” Clothing in German-Language Culture of the 1920s’, Neophilologus, 88.3 (2004), 429–45 <https://doi.org/10.1023/B:NEOP.0000027472.79197.5a>
Humm, Maggie, Feminism and Film (Edinburgh: Edinburgh University Press, 1997)
Jeremiah, Emily, ‘‘The "I” Inside "Her”’: Queer Narration in Sarah Waters’s Tipping the Velvet and Wesley Stace’s Misfortune’, Women: A Cultural Review, 18.2 (2007), 131–44 <https://doi.org/10.1080/09574040701400171>
Kellein, Thomas, and Louise Bourgeois, Louise Bourgeois: La Famille (Köln: Verlag der Buchhandlung Walter König, 2006)
Keun, Irmgard, Das Kunstseidene Mädchen: Roman, 14. Auflage (Berlin: Ullstein Buchverlag, 2015)
———, The Artificial Silk Girl (New York: Other Press, 2002)
Klein, Jacky, and Grayson Perry, Grayson Perry, Updated and expanded edition (London: Thames & Hudson, 2013)
Koolen, Mandy, ‘Historical Fiction and the Revaluing of Historical Continuity in Sarah Waters’s Tipping the Velvet’, Contemporary Literature, 51.2 (2010), 371–97 <https://doi.org/10.1353/cli.2010.0006>
Lavin, Maud, ‘Androgyny and Spectatorship’, in Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Hoch (New Haven, [Conn.]: Yale University Press, 1993), pp. 185–204
———, ‘The New Woman in Hannah Höch’s Photomontages: Issues of Androgyny, Bisexuality, and Oscillation’, in Reclaiming Female Agency: Feminist Art History After Postmodernism (Berkeley: University of California Press, 2005)
Lensing, Leo A., ‘Cinema, Society, and Literature in Irmgard Keun’s Das Kunstseidene Mädchen’, The Germanic Review: Literature, Culture, Theory, 60.4 (1985), 129–34 <https://doi.org/10.1080/00168890.1985.9934167>
Makholm, Kristin, ‘Strange Beauty: Hannah Höch and the Photomontage’, MoMA, 24, 1997 <https://www.jstor.org/stable/4381346>
Morris, Catherine, and Cindy Sherman, The Essential Cindy Sherman (New York: Harry N. Abrams, 1999)
Morris, Frances, Louise Bourgeois: Stitches in Time (London: AugustProjects, 2003)
Nicoletta, Jule, ‘Louise Bourgeois’s Femmes-Maisons: Confronting Lacan’, in Reclaiming Female Agency: Feminist Art History After Postmodernism (Berkeley: University of California Press, 2005)
Perry, Grayson, ‘The Department of Masculinity’, in The Descent of Man (UK: Penguin Books, 2017) <https://www-vlebooks-com.ezproxy01.rhul.ac.uk/Product/Index/1249296?page=0>
———, The Vanity of Small Differences (London: Hayward Publishing, 2013)
Pidduck, J., ‘Travels With Sally Potter’s Orlando: Gender, Narrative, Movement’, Screen, 38.2 (1997), 172–89 <https://doi.org/10.1093/screen/38.2.172>
Potter, Sally, and Virginia Woolf, ‘Orlando: Based on the Novel by Virginia Woolf’ ([S.l]: Umbrella Entertainment, 2004)
Pouchard, Line, ‘Queer Desire in The Well of Loneliness’, in The Feminist Reader: Essays in Gender and the Politics of Literary Criticism, 2nd ed (Basingstoke: Macmillan, 1997)
Respini, Eva, Cindy Sherman (New York: Museum of Modern Art, 2012)
Rice, Shelley, Inverted Odysseys: Claude Cahun, Maya Deren, and Cindy Sherman (Cambridge, Mass: MIT Press, 1999)
Rich, Ruby, ‘Maedchen in Uniform’, Jump Cut, 24/25.March (1981), 44–50 <https://www.ejumpcut.org/archive/onlinessays/JC24-25folder/MaedchenUniform.html>
Roe, Sue, and Susan Sellers, The Cambridge Companion to Virginia Woolf (Cambridge: Cambridge University Press, 2000), Cambridge companions to literature
———, The Cambridge Companion to Virginia Woolf (Cambridge: Cambridge University Press, 2010) <https://ezproxy01.rhul.ac.uk/login?url=https://dx.doi.org/10.1017/CCOL9780521896948>
Rolley, Katrina, ‘Cutting a Dash: The Dress of Radclyffe Hall and Una Troubridge’, Feminist Review, 35, 1990 <https://doi.org/10.2307/1395400>
Sagan, Leontine, ‘Madchen in Uniform’ (S.l.: BFI, 2000)
Smith, Jill Suzanne, ‘Working Girls: White-Collar Workers and Prostitutes in Late Weimar Fiction’, The German Quarterly, 81.4 (2008), 449–70 <https://doi.org/10.1111/j.1756-1183.2008.00031.x>
Somerville, Kristine, ‘Remaking the Modern Woman: The Dadaist Montages of Hannah Höch’, The Missouri Review, 37.3 (2014), 25–35 <https://doi.org/10.1353/mis.2014.0047>
Waters, Sarah, Tipping the Velvet (London: Virago, 2012)
Watkins, Susan, ‘Sex Change and Media Change: From Woolf’s to Potter’s Orlando’, Mosaic: A Journal for the Interdisciplinary Study of Literature, 31.3 (1998), 41–59 <http://www.jstor.org/stable/44029810>
Woolf, Virginia, ‘Introduction’, in Orlando: A Biography (Oxford: Oxford University Press, 2014)
———, ‘Introduction’, in Orlando: A Biography (Oxford: Oxford University Press, 2014), Oxford World’s Classics
Zimnik, Nina, ‘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 (2000), 161–83 <https://doi.org/10.1353/wgy.2000.0020>
