1.
Girls, G.: Introduction and Conclusion to The Guerilla Girls’ Bedside Companion to the History of Western Art. In: The Feminism and Visual Culture Reader. pp. 411–415. Routledge, London (2010).
2.
Nochlin, L.: Why Have There Been No Great Women Artists? In: The Feminism and Visual Culture Reader. pp. 263–267. Routledge, London (2010).
3.
Berger, J.: Chapter 3. In: Ways of Seeing. pp. 45–64. Penguin, London (2008).
4.
Hemus, R.: Introduction to Dada’s Women. In: Dada’s Women (2009).
5.
Rochefort, C.: Rochefort in New French Feminisms. In: New French Feminisms: An Anthology. pp. 183–186. Harvester, Brighton (1981).
6.
Gauthier, X.: Gauthier in New French Feminisms. In: New French Feminisms: An Anthology. pp. 161–164. Harvester, Brighton (1981).
7.
Barry, P.: Feminist Criticism. In: Beginning Theory: An Introduction to Literary and Cultural Theory. Manchester University Press, Manchester (2017).
8.
Sawelson-Gorse, N.: Preface. In: Women in Dada: Essays on Sex, Gender, and Identity. p. X–XVIII. MIT Press, Cambridge, Mass (1998).
9.
Hopkins, D.: Introduction. In: Dada’s Boys: Masculinity After Duchamp. Yale University Press, New Haven (2007).
10.
Chadwick, W.: Introduction. In: Women Artists and the Surrealist Movement. Thames and Hudson, London (1985).
11.
Caws, M.A.: Seeing the Surreal Woman: We are a Problem. In: Surrealism and Women. MIT Press, Cambridge, Mass (1991).
12.
Suleiman, S.R.: A Double Margin: Women Writers and the Avant-Garde in France. In: Subversive intent: gender, politics, and the avant-garde. pp. 11–32. Harvard University Press, Cambridge, Mass (1990).
13.
Allmer, P.: Introduction to Angels of Anarchy: Women Artists and Surrealism. Presented at the (2009).
14.
Schor, M.: Patrilineage. In: The Feminism and Visual Culture Reader. pp. 282–289. Routledge, London (2010).
15.
Jones, A.: Any Theory of the ‘Subject’ Has Always Been Appropriated by the ‘Masculine’. In: The feminism and visual culture reader. pp. 119–128. Routledge, London (2010).
16.
Hemus, R.: Dada’s Women. Yale University Press, New Haven, Conn (2009).
17.
Kamenish, P.K.: Mamas of Dada: Women of the European Avant-Garde. University of South Carolina Press, Columbia, SC (2015).
18.
Sawelson-Gorse, N.: Women in Dada: Essays on Sex, Gender, and Identity. MIT Press, Cambridge, Mass (1998).
19.
Allmer, P.: Angels of Anarchy: Women Artists and Surrealism. Prestel, New York, NY (2009).
20.
Allmer, P.: Intersections: Women Artists / Surrealism / Modernism. Manchester University Press, Manchester (2016).
21.
Caws, M.A., Kuenzli, R.E., Raaberg, G.G.: Surrealism and Women. MIT Press, Cambridge, Mass (1991).
22.
Caws, M.A.: The Surrealist Look: An Erotics of Encounter. MIT, Cambridge, Mass (1997).
23.
Chadwick, W.: Women Artists and the Surrealist Movement. Thames and Hudson, London (1985).
24.
Chadwick, W., Ades, D.: Mirror Images: Women, Surrealism, and Self-Representation. MIT Press, Cambridge, Mass (1998).
25.
Chadwick, W.: The Militant Muse: Love, War and the Women of Surrealism. Thames & Hudson, London (2017).
26.
Colvile, G.: Scandaleusement D’Elles: Trente-Quatre Femmes Surrealistes. Jean-Michel Place, Paris (1999).
27.
Colvile, G.M.M., Richard, A.: Autoreprésentation Féminine. Âge d’homme, Lausanne (2013).
28.
Conley, K.: Automatic Woman: The Representation of Woman in Surrealism. University of Nebraska Press, Lincoln, [Neb.] (1996).
29.
Holm, M.J.: Women of the Avant-Garde 1920-1940. Louisiana Museum of Modern Art, [Humlebæk] (2012).
30.
Hubert, R.R.: Magnifying Mirrors: Women, Surrealism, & Partnership. University of Nebraska Press, Lincoln (1994).
31.
Mundy, J., Ades, D., Gille, V.: Surrealism: Desire Unbound. Tate Publishing, London (2001).
32.
Rosemont, P.: Surrealist Women: An International Anthology. University of Texas Press, Austin (1998).
33.
Rosemont, P.: Surrealist Women: An International Anthology. Athlone Press, London (1998).
34.
Vergine, L., Zanuttini, M.: L’Autre Moitié De L’Avant-Garde: 1910-1940 : Femmes Peintres Et Femmes Sculpteurs Dans Les Mouvements D’Avant-Garde Historiques. Des Femmes, Paris (1982).
35.
Barnet, M.-C.: La Femme Cent Sexes Ou Les Genres Communicants: Deharme, Mansour, Prassinos. Peter Lang, Bern (1998).
36.
Barry, P.: Feminist Criticism. In: Beginning Theory: An Introduction to Literary and Cultural Theory. pp. 121–138. Manchester University Press, Manchester (2009).
37.
Berger, J.: Ways of Seeing. British Broadcasting Corporation, London (1972).
38.
Cameron, D.: The Feminist Critique of Language: A Reader. Routledge, London (1998).
39.
Chadwick, W.: Women, Art, and Society. Thames & Hudson, London (1996).
40.
Eagleton, M.: A Concise Companion to Feminist Theory. Blackwell, Oxford (2003).
41.
Eagleton, M.: A Concise Companion to Feminist Theory. Wiley, Hoboken (2003).
42.
Eagleton, M.: Feminist Literary Criticism. Longman, Harlow (1991).
43.
Eagleton, M.: Feminist Literary Criticism. Longman, London (1991).
44.
Jones, A.: The Feminism and Visual Culture Reader. Routledge, London (2010).
45.
Krauss, R.E.: Bachelors. MIT Press, Cambridge, Mass (1999).
46.
Marks, E., De Courtivron, I.: New French Feminisms: An Anthology. Harvester, Brighton (1981).
47.
Pollock, G.: Vision and Difference: Femininity, Feminism and Histories of Art. Routledge, London (1988).
48.
Pollock, G.: Vision and Difference: Feminism, Femininity and the Histories of Art. Routledge, London (2003).
49.
Suleiman, S.R.: Subversive Intent: Gender, Politics, and the Avant-Garde. Harvard University Press, Cambridge, Mass (1990).
50.
Ades, D.: The Dada Reader: A Critical Anthology. Tate, London (2006).
51.
Bate, D.: Photography and Surrealism: Sexuality, Colonialism and Social Dissent. I. B. Tauris, London (2004).
52.
Caws, M.A.: Surrealist Painters and Poets: An Anthology. MIT Press, Cambridge, Mass (2001).
53.
Hopkins, D.: Dada and Surrealism: A Very Short Introduction. Oxford University Press, Oxford (2004).
54.
Hopkins, D.: Dada and Surrealism: A Very Short Introduction. Oxford University Press, Oxford (2004).
55.
Hopkins, D.: Dada’s Boys: Masculinity After Duchamp. Yale University Press, New Haven (2007).
56.
Hopkins, D. ed: A Companion to Dada and Surrealism. Wiley Blackwell, Chichester, West Sussex (2016).
57.
Melzer, A.: Dada and Surrealist Performance. Johns Hopkins University Press, Baltimore (1994).
58.
Motherwell, R., Arp, J.: The Dada Painters and Poets: An Anthology. Belknap Press of Harvard University Press, Cambridge, Mass (1989).
59.
Sanouillet, M.: Dada a Paris. Flammarion, Paris, France (1993).
60.
Sanouillet, M., Sanouillet, A.: Dada in Paris. MIT Press, Cambridge, MA (2009).
61.
Waldberg, P.: Surrealism. Thames & Hudson, New York, N.Y. (1997).
62.
Camfield, W.A.: Suzanne Duchamp and Dada in Paris. In: Women in Dada: Essays on Sex, Gender, and Identity. pp. 82–103. MIT Press, Cambridge, Mass (1998).
63.
Hemus, R.: Dada’s Women. Yale University Press, New Haven, Conn (2009).
64.
Vergine, L., Zanuttini, M.: L’Autre Moitié De L’Avant-Garde: 1910-1940 : Femmes Peintres Et Femmes Sculpteurs Dans Les Mouvements D’Avant-Garde Historiques. Des Femmes, Paris (1982).
65.
Hemus, R.: Dada’s Women. Yale University Press, New Haven, Conn (2009).
66.
Kamenish, P.K.: Celine Arnauld: Parisian Dada’s Best Kept Secret. In: Mamas of Dada: Women of the European Avant-Garde. University of South Carolina Press, Columbia, SC (2015).
67.
Hemus, R.: Manifesto of Céline Arnauld. In: Dada and Beyond: Volume 1: Dada Discourses. pp. 121–131. Rodopi, Amsterdam (2011).
68.
Hemus, R.: Dada’s Film Poet: Céline Arnauld. In: Townsend, C., Trott, A., and Davies, R. (eds.) Across the Great Divide: Modernism’s Intermedialities, From Futurism to Fluxus. pp. 66–80. Cambridge Scholars Publishing, Newcastle upon Tyne (2014).
69.
Arnauld, C., Dermée, P., Martin-Schmets, V.: Oeuvres Complètes: Céline Arnauld Et Paul Dermée. Classiques Garnier, Paris (2013).
70.
Forcer, S.: Dada as Text, Thought and Theory. Leeds, Modern Humanties Research Association and Maney Publishing (2015).
71.
Cahun, C., Malherbe, S., MacOrlan, P., Leperlier, F.: Aveux Non Avenus. Mille et une nuits, Paris (2011).
72.
Caws, M.A.: These Photographing Women: the Scandal of Genius. In: Angels of Anarchy: Women Artists and Surrealism. pp. 28–35. Prestel, New York, NY (2009).
73.
Caws, M.A.: Doubling: Claude Cahun’s Split Self. In: The Surrealist Look: An Erotics of Encounter. MIT, Cambridge, Mass (1997).
74.
Chadwick, W.: Soldiers Without Names. In: The Militant Muse: Love, War and the Women of Surrealism. Thames & Hudson, London (2017).
75.
Cole, J.: Claude Cahun, Marcel Moore, and the Collaborative Construction of a Lesbian Subjectivity. In: Reclaiming Female Agency: Feminist Art History After Postmodernism. University of California Press, Berkeley (2005).
76.
Colvile, G.: Scandaleusement D’Elles: Trente-Quatre Femmes Surrealistes. Jean-Michel Place, Paris (1999).
77.
Doy, G.: Claude Cahun: A Sensual Politics of Photography. I. B. Tauris, London (2007).
78.
Doy, G.: Claude Cahun: A Sensual Politics of Photography. I. B. Tauris, London (2007).
79.
Holm, M.J.: Women of the Avant-Garde 1920-1940. Louisiana Museum of Modern Art, [Humlebæk] (2012).
80.
Kline, K.: In or Out of the Picture: Claude Cahun and Cindy Sherman. In: Mirror Images: Women, Surrealism, and Self-Representation. pp. 66–81. MIT Press, Cambridge, Mass (1998).
81.
Rice, S.: Inverted Odysseys: Claude Cahun, Maya Deren, and Cindy Sherman. MIT Press, Cambridge, Mass (1999).
82.
Rosemont, P.: Surrealist Women: An International Anthology. Athlone Press, London (1998).
83.
Aberth, S.L., Carrington, L.: Leonora Carrington: Surrealism, Alchemy and Art. Lund Humphries, Farnham (2010).
84.
Allmer, P.: Angels of Anarchy: Women Artists and Surrealism. Prestel, New York, NY (2009).
85.
Carrington, L.: The Hearing Trumpet. Penguin, London (2005).
86.
Chadwick, W.: Thw Two Leonors. In: The Militant Muse: Love, War and the Women of Surrealism. Thames & Hudson, London (2017).
87.
Chadwick, W.: Leonora Carrington: Evolution of a Feminist Consciousness. Woman’s Art Journal. 7, 37–42 (1986). https://doi.org/10.2307/1358235.
88.
Cottenot-Hage, M.: The Body Subversive: Corporeal Imagery in Carrington, Prassinos and Mansour. In: Surrealism and Women. pp. 76–95. MIT Press, Cambridge, Mass (1991).
89.
Christensen, P.J.: The Flight from Passion in Leonora Carrington’s Literary Work. In: Surrealism and Women. pp. 148–158. MIT Press, Cambridge, Mass (1991).
90.
Colville, G.M.: Beauty and/Is the Beast: Animal Symbology in the Work of Leonora Carrington, Remedios Varo and Leonor Fini. In: Surrealism and Women. pp. 159–181. MIT Press, Cambridge, Mass (1991).
91.
Eburne, J.P., McAra, C. eds: Leonora Carrington and the International Avant-Garde. Manchester University Press, Manchester (2017).
92.
Hubert, R.R.: Beyond Initiation: Leonora Carrington and Max Ernst. In: Magnifying Mirrors: Women, Surrealism, & Partnership. pp. 113–139. University of Nebraska Press, Lincoln (1994).
93.
Rosemont, P.: Surrealist Women: An International Anthology. Athlone Press, London (1998).
94.
Allmer, P.: Angels of Anarchy: Women Artists and Surrealism. Prestel, New York, NY (2009).
95.
Chadwick, W.: Women Artists and the Surrealist Movement. Thames and Hudson, London (1985).
96.
Chadwick, W.: The Two Leonors. In: The Militant Muse: Love, War and the Women of Surrealism. Thames & Hudson, London (2017).
97.
Colville, G.M.: Beauty and/Is the Beast: Animal Symbology in the Work of Leonora Carrington, Remedios Varo and Leonor Fini. In: Surrealism and Women. pp. 159–181. MIT Press, Cambridge, Mass (1991).
98.
Cauvin, J.-Pierre.: Valentine, André, Paul Et Les Autres, Or, the Surrealization of Valentine Hugo. In: Surrealism and Women. pp. 182–203. MIT Press, Cambridge, Mass (1991).
99.
Chadwick, W.: Women Artists and the Surrealist Movement. Thames and Hudson, London (1985).
100.
Colvile, G.: Scandaleusement D’Elles: Trente-Quatre Femmes Surrealistes. Jean-Michel Place, Paris (1999).
101.
Caws, M.A.: These Photographing Women: the Scandal of Genius. In: Angels of Anarchy: Women Artists and Surrealism. pp. 28–35. Prestel, New York, NY (2009).
102.
Holm, M.J.: Women of the Avant-Garde 1920-1940. Louisiana Museum of Modern Art, [Humlebæk] (2012).
103.
L’Enfant, J.: Dora Maar and the Art of Mystery. Woman’s Art Journal. 17, (1996). https://doi.org/10.2307/1358462.
104.
Mansour, J., Gavronsky, S.: Essential Poems and Writings of Joyce Mansour. Black Widow Press, Boston, Mass (2008).
105.
Barnet, M.-C.: La Femme Cent Sexes Ou Les Genres Communicants: Deharme, Mansour, Prassinos. Peter Lang, Bern (1998).
106.
Cottenot-Hage, M.: The Body Subversive: Corporeal Imagery in Carrington, Prassinos and Mansour. In: Surrealism and Women. pp. 76–95. MIT Press, Cambridge, Mass (1991).
107.
de Julio, M.: Joyce Mansour and Egyptian Mythology. In: Surrealism and Women. pp. 114–122. MIT Press, Cambridge, Mass (1991).
108.
Preckshot, J.: Identity Crises: Joyce Mansour’s Narratives. In: Surrealism and Women. pp. 96–113. MIT Press, Cambridge, Mass (1991).
109.
Rosemont, P.: Surrealist Women: An International Anthology. Athlone Press, London (1998).
110.
Hubert, R.R.: From Déjeuner en fourrure to Caroline: Meret Oppenheim’s Chronicle of Surrealism. In: Surrealism and Women. pp. 37–49. MIT Press, Cambridge, Mass (1991).
111.
Belton, R.J.: Androgyny: Interview with Meret Oppenheim. In: Surrealism and Women. pp. 63–75. MIT Press, Cambridge, Mass (1991).
112.
Hubert, R.R.: The Reluctant Partner. In: Magnifying Mirrors: Women, Surrealism, & Partnership. pp. 63–86. University of Nebraska Press, Lincoln (1994).
113.
Levy, T.: Meret Oppenheim: From Breakfast in Fur and Back Again: The Conflation of Images, Language and Objects in Meret Oppenheim’s Applied Poetry. Kerber, Bielefeld (2003).
114.
Barnet, M.-C.: La Femme Cent Sexes Ou Les Genres Communicants: Deharme, Mansour, Prassinos. Peter Lang, Bern (1998).
115.
Hedges, I.: What do Little Girls Dream of: The Insurgent Writing of Gisèle Prassinos. In: Surrealism and Women. pp. 27–31. MIT Press, Cambridge, Mass (1991).
116.
Prassinos, G.: Trouver Sans Chercher (1934-1944). Flammarion, [Paris] (1976).
117.
Rosemont, P.: Surrealist Women: An International Anthology. Athlone Press, London (1998).