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2 Favre, Valérie. ‘A Room of One's Own's (Resistance to) Feminist Interpretations and Feminism.’ Études Britanniques Contemporaines 58 (2020). https://doi.org/10.4000/ebc.9184.

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4 Virginia Woolf: Feminism, and the Reader. New York: Palgrave Macmillan, 2006.

5 Gan, Wendy. ‘Solitude and Community: Virginia Woolf, Spatial Privacy and A Room of One's Own.’ Literature & History 18.1 (2009): 68–80.

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7 Parkes, Adam. ‘Lesbianism, History, and Censorship: The Well of Loneliness and the Suppressed Randiness of Virginia Woolf's Orlando.’ Twentieth Century Literature 40.4 (1994): 434–60.

8 Rosenman, Ellen Bayuk. ‘Sexual Identity and A Room of One's Own: “Secret Economies” in Virginia Woolf's Feminist Discourse.’ Signs 14.3 (1989): 634–50.

9 Saloman, Randi. ‘“Unsolved Problems”: Essayism, Counterfactuals, and the Future of A Room of One's Own.’ Tulsa Studies in Women's Literature 32.1 (2013): 53–73.

10 Solomon, Julie Robin. ‘Staking Ground: The Politics of Space in Virginia Woolf's A Room of One's Own and Three Guineas.’ Women's Studies 16 (1989): 331–47.

11 Spiropoulou, Angeliki. ‘Woolf's Contradictory Thinking.’ Contradictory Woolf. Ed. Stella Bolaki and Derek Ryan. Liverpool: Liverpool UP, 2012. 101–7.

12 Stevenson, Christina. ‘“Here Was One Room, There Another”: The Room, Authorship, and Feminine Desire in A Room of One's Own and Mrs Dalloway.’ Pacific Coast Philology 49.1 (2014): 112–32.

13 Sullivan, Melissa. ‘“She Was No ‘Genius’”: Virginia Woolf and Women's Middlebrow Fiction.’ Virginia Woolf Miscellany 83 (2013): 15–17.

14 Wall, Kathleen. ‘Frame Narratives and Unresolved Contradictions in Virginia Woolf's A Room of One's Own.’ Journal of Narrative Theory 29.2 (1999): 184–207.

15 West, Rebecca. ‘Autumn and Virginia Woolf.’ Ending in Earnest: A Literary Log. New York: Doubleday, 1931.

16 Woolf, Virginia. ‘Professions for Women.’ 1931. The Collected Essays of Virginia Woolf. Oxford: Benediction, 2011.

17 Ziarek, Ewa Plonowska. ‘Woolf's Feminist Aesthetics: On the Political and Artistic Practice in A Room of One's Own.’ Parallax 16.4 (2010): 70–82.