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Cited by

• 2006Jonathan Swift in the Company of Women27 cited
• 2013Community, Credit, and the Prodigal Husband on the Early Modern Stage26 cited
• 2001Pamphilia's Cabinet: Gendered Authorship and Empire in Lady Mary Wroth's Urania26 cited
• 2000Margaret Cavendish's Dramatic Utopias and the Politics of Gender26 cited
• 1999Effeminacy and Femininity: Domestic Prose Satire and David Simple22 cited
• 2001“A Wittall cannot be a cookold”: Reading the Contented Cuckold in Early Modern English Drama and Culture19 cited
• 2008A "World of Nothing, but Pure Wit": Margaret Cavendish and the Gendering of the Imaginary18 cited
• 2009Desire and dramatic form in early modern England14 cited
• 2004Material Cavendish: Paper, Performance, “Sociable Virginity”10 cited
• 2007:Autobiography and Gender in Early Modern Literature: Reading Women's Lives, 1600-168010 cited
• 2009Wroth's Clause9 cited
• 2008Performance, Performativity, and Identity in Margaret Cavendish’s The Convent of Pleasure9 cited
• 2001The Politics of Genre in Early Women’s Writing: The Case of Lady Mary Wroth9 cited
• 2016“A World of her own Invention”: The Realm of Fancy in Margaret Cavendish’s The Description of a New World, Called the Blazing World