Eisenstein, Hester. (2009) Feminism Seduced: How Global Elites Use Women’s Labour and Boulder: Paradigm Publishers. Ideas to Exploit the World, Foster, Hal. (2004) Archival Impulse’, 110 (Fall): 3-22. October ‘An Godfrey, Mark. (2007) Artist as Historian’, 120 (Spring): 140-172. ‘The October Grant, Catherine. (2011) of Feminism: Re-Writing Histories of Second-Wave ‘Fans Feminism in Contemporary Art’, Vol. 34. No. 2: 265-286. Oxford Art Journal, Gunnarsson, Lena. (2013) naturalistic turn in feminist theory: A Marxist-realist ‘The contribution’, Vol.14, No.1 (April): 3-19. Feminist Theory, Hemmings, Clare. (2011) Why Stories Matter: The Political Grammar of Feminist Theory, Duke University Press. Hutcheon, Linda. (1988) Politics of Postmodernism: Parody and History’, ‘The Cultural No.5 (Winter 1986-87): 179-207. Critique King, Shelley. (2004) Opie’s Maid of Corinth” and the Origins of Art’, ‘Amelia “The Vol.37, No.4 (Summer): 629-651. Eighteenth-Century Studies, Amelia. (2011) Artist is Present”: Artistic Re-enactments and the Impossibility of ‘”The Presence’, Vol.55, No.1 (Spring): 16-45. TDR: The Drama Review, Jones, Amelia. (1997) in Absentia: Experiencing Performance and Documentation’, ‘Presence Vol.56, No.4 (Winter): 11-18. Art Journal Larson, Lars Bang. (2010) Turn! Turn!’ 35 (October). Mousse Magazine ‘Turn! http://moussemagazine.it/articolo.mm?id=879. McRobbie, Angela. (2008) The Aftermath of Feminism: Gender Culture and Social Change, London: SAGE Publications. Meskimmon, Marsha. (1996) London: Scarlet The Art of Refection,
Eisenstein, Hester. (2009) Feminism Seduced: How Global Elites Use Women’s Labour and Ideas to Exploit the World, Boulder: Paradigm Publishers. Foster, Hal. (2004) ‘An Archival Impulse’, October 110 (Fall): 3-22. Godfrey, Mark. (2007) ‘The Artist as Historian’, October 120 (Spring): 140-172. Grant, Catherine. (2011) ‘Fans of Feminism: Re-Writing Histories of Second-Wave Feminism in Contemporary Art’, Oxford Art Journal, Vol. 34. No. 2: 265-286. Gunnarsson, Lena. (2013) ‘The naturalistic turn in feminist theory: A Marxist-realist contribution’, Feminist Theory, Vol.14, No.1 (April): 3-19. Hemmings, Clare. (2011) Why Stories Matter: The Political Grammar of Feminist Theory, Duke University Press. Hutcheon, Linda. (1988) ‘The Politics of Postmodernism: Parody and History’, Cultural Critique No.5 (Winter 1986-87): 179-207. King, Shelley. (2004) ‘Amelia Opie’s “The Maid of Corinth” and the Origins of Art’, Eighteenth-Century Studies, Vol.37, No.4 (Summer): 629-651. Amelia. (2011) ‘”The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence’, TDR: The Drama Review, Vol.55, No.1 (Spring): 16-45. Jones, Amelia. (1997) ‘Presence in Absentia: Experiencing Performance and Documentation’, Art Journal Vol.56, No.4 (Winter): 11-18. Larson, Lars Bang. (2010) ‘Turn! Turn! Turn!’ Mousse Magazine 35 (October). http://moussemagazine.it/articolo.mm?id=879. McRobbie, Angela. (2008) The Aftermath of Feminism: Gender Culture and Social Change, London: SAGE Publications. Meskimmon, Marsha. (1996) The Art of Refection, London: Scarlet
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