1.
Keun, I. The Artificial Silk Girl. (Other Press, 2002).
2.
Keun, I. Das Kunstseidene Mädchen: Roman. (Ullstein Buchverlag, 2015).
3.
Woolf, V. Introduction. in Orlando: A Biography (Oxford University Press, 2014).
4.
Waters, S. Tipping the Velvet. (Virago, 2012).
5.
Sagan, L. Madchen in Uniform. (2000).
6.
Potter, S. & Woolf, V. Orlando: Based on the Novel by Virginia Woolf. (2004).
7.
Barthes, R. The Fashion System. (University of California Press, 1990).
8.
Bruzzi, S. Fashion Cultures: Theories, Explorations and Analysis. (Routledge, 2000).
9.
Butler, J. Gender Trouble: Feminism and the Subversion of Identity. vol. Routledge classics (Routledge, 2006).
10.
Butler, J. Gender Trouble: Feminism and the Subversion of Identity. (Routledge, 1999).
11.
Butler, J. Undoing Gender. (Routledge, 2004).
12.
Cavallaro, D. & Warwick, A. Fashioning the Frame: Boundaries, Dress and Body. vol. Dress, body, culture (Berg, 1998).
13.
Connell, R. W. Gender. (Polity, 2002).
14.
Entwistle, J. & Wilson, E. Body Dressing. vol. Dress, body, culture (Berg, 2001).
15.
Fuss, D. Essentially Speaking: Feminism, Nature & Difference. (Routledge, 1989).
16.
Entwistle, J. & Wilson, E. The Dressed Body. in Body Dressing vol. Dress, body, culture 33–58 (Berg, 2001).
17.
Dyer, R. Less and More than Women and Men: Lesbian and Gay Cinema in Weimar Germany. New German Critique (1990) doi:10.2307/488171.
18.
Fest, K. Yesterday And/or Today: Time, History and Desire in Christa Winsloe’s Mädchen in Uniform. German Life and Letters 65, 457–471 (2012).
19.
Hughes, J. ‘Zivil ist Allemal Schädlich’ Clothing in German-language Culture of the 1920s. Neophilologus 88, 429–445 (2004).
20.
Rich, R. Maedchen in Uniform. Jump Cut 24/25, 44–50 (1981).
21.
Zimnik, N. 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, 161–183 (2000).
22.
von Ankum, K. 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 162–184 (University of California Prress, 1997).
23.
Berghaus, G. Girlkultur Feminism, Americanism, and Popular Entertainment in Weimar Germany. Journal of Design History 1, 193–219 (1988).
24.
Boa, E. 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, 343–358 (2009).
25.
Lensing, L. A. Cinema, Society, and Literature in Irmgard Keun’s Das kunstseidene Mädchen. The Germanic Review: Literature, Culture, Theory 60, 129–134 (1985).
26.
Smith, J. S. Working Girls: White-Collar Workers and Prostitutes in Late Weimar Fiction. The German Quarterly 81, 449–470 (2008).
27.
Addressing the Century: 100 Years of Art & Fashion. (Hayward Gallery, 1998).
28.
Bancroft, A. Fashion and Psychoanalysis: Styling the Self. vol. International library of cultural studies (I.B. Tauris, 2012).
29.
Bancroft, A. Fashion and Psychoanalysis: Styling the Self. vol. International library of cultural studies (I.B.Tauris & Co Ltd, 2012).
30.
Berger, J. Chapter 3. in Ways of Seeing 39–58 (Penguin, 2008).
31.
Breward, C. The Culture of Fashion: A New History of Fashionable Dress. vol. Studies in design and material culture (Manchester University Press, 1995).
32.
Buckley, C. Fashioning the Feminine: Representation and Women’s Fashion From the Fin De Siecle to the Present. (I. B. Tauris, 2002).
33.
Buckley, C. Fashioning the Feminine: Representation and Women’s Fashion From the Fin De Siecle to the Present. (I. B. Tauris, 2002).
34.
Craik, J. The Face of Fashion: Cultural Studies in Fashion. (Routledge, 1994).
35.
Craik, J. The Face of Fashion: Cultural Studies in Fashion. (Routledge, 1994).
36.
Felshin, N. Clothing as Subject. Art Journal 54, 20–29 (1995).
37.
Berger, J. Chapter 3. in Ways of Seeing 39–58 (Penguin, 2008).
38.
Lavin, M. Androgyny and Spectatorship. in Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Hoch 185–204 (Yale University Press, 1993).
39.
Hemus, R. Hannah Hoch: The Good Girl and the Dada Club. in Dada’s Women 91–127 (Yale University Press, 2009).
40.
Somerville, K. Remaking the Modern Woman: The Dadaist Montages of Hannah Höch. The Missouri Review 37, 25–35 (2014).
41.
Lavin, M. 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, 2005).
42.
Makholm, K. Strange Beauty: Hannah Höch and the Photomontage. MoMA (1997).
43.
Respini, E. Cindy Sherman. (Museum of Modern Art, 2012).
44.
Morris, C. & Sherman, C. The Essential Cindy Sherman. (Harry N. Abrams, 1999).
45.
Cindy Sherman: Retrospective. (Thames & Hudson, 1997).
46.
Rice, S. Inverted Odysseys: Claude Cahun, Maya Deren, and Cindy Sherman. (MIT Press, 1999).
47.
Chadwick, W. & Ades, D. Mirror Images: Women, Surrealism, and Self-Representation. (MIT Press, 1998).
48.
Celant, G. Louise Bourgeois: The Fabric Works. (Skira, 2010).
49.
Coxon, A. & Bourgeois, L. Louise Bourgeois. vol. Modern artists (Tate, 2010).
50.
Kellein, T. & Bourgeois, L. Louise Bourgeois: la Famille. (Verlag der Buchhandlung Walter König, 2006).
51.
Morris, F. Louise Bourgeois: Stitches in Time. (AugustProjects, 2003).
52.
Nicoletta, J. Louise Bourgeois’s Femmes-Maisons: Confronting Lacan. in Reclaiming Female Agency: Feminist Art History After Postmodernism (University of California Press, 2005).
53.
Perry, G. The Department of Masculinity. in The Descent of Man (Penguin Books, 2017).
54.
Klein, J. & Perry, G. Grayson Perry. (Thames & Hudson, 2013).
55.
Perry, G. The Vanity of Small Differences. (Hayward Publishing, 2013).
56.
Woolf, V. Introduction. in Orlando: A Biography vol. Oxford World’s Classics (Oxford University Press, 2014).
57.
Boxwell, D. A. (Dis)orienting Spectacle: The Politics of Orlando’s Sapphic Camp. Twentieth Century Literature 44, (1998).
58.
Burns, C. L. Re-Dressing Feminist Identities: Tensions between Essential and Constructed Selves in Virginia Woolf’s Orlando. Twentieth Century Literature 40, (1994).
59.
Cervetti, N. In the Breeches, Petticoats, and Pleasures of Orlando. Journal of Modern Literature 20, 165–75 (1996).
60.
Roe, S. & Sellers, S. The Cambridge Companion to Virginia Woolf. vol. Cambridge companions to literature (Cambridge University Press, 2000).
61.
Roe, S. & Sellers, S. The Cambridge Companion to Virginia Woolf. (Cambridge University Press, 2010).
62.
Jeremiah, E. ‘The "I” Inside "Her”’: Queer Narration in Sarah Waters’s Tipping the Velvet and Wesley Stace’s Misfortune. Women: A Cultural Review 18, 131–144 (2007).
63.
Koolen, M. Historical Fiction and the Revaluing of Historical Continuity in Sarah Waters’s Tipping the Velvet. Contemporary Literature 51, 371–397 (2010).
64.
Hall, R. The Well of Loneliness. vol. Virago modern classics (Virago, 2008).
65.
Pouchard, L. Queer Desire in The Well of Loneliness. in The Feminist Reader: Essays in Gender and the Politics of Literary Criticism (Macmillan, 1997).
66.
Rolley, K. Cutting a Dash: The Dress of Radclyffe Hall and Una Troubridge. Feminist Review (1990) doi:10.2307/1395400.
67.
Craft-Fairchild, C. ‘Same Person… Just a Different Sex’: Sally Potter’s Construction of Gender in Orlando. Woolf Studies Annual 7, 23–48 (2001).
68.
Ferriss, S. Unclothing Gender: The Postmodern Sensibility in Sally Potter’s ‘Orlando’. Literature-Film Quarterly 27, (1999).
69.
Humm, M. Feminism and Film. (Edinburgh University Press, 1997).
70.
Pidduck, J. Travels With Sally Potter’s Orlando: Gender, Narrative, Movement. Screen 38, 172–189 (1997).
71.
Watkins, S. Sex Change and Media Change: From Woolf’s to Potter’s Orlando. Mosaic: A Journal for the Interdisciplinary Study of Literature 31, 41–59 (1998).