Zayas languished. Then, in 1976 Frederick A. de Armas foregrounded her work in his book The Invisible Mistress: Aspects of Feminism and Fantasy in the Golden Age. Here, he linked her work to that of playwright Ana Caro. In 1979, Sandra Foa studies the contrast between misogyny and feminism in Zayas. Six years later, Elizabeth Ordóñez analyzes Zayas and Caro together in "The Woman and her Text in the Works of María de Zayas and Ana Caro" (1985), and in 1989, a turning point was reached when, for the very first time, an entire section of the Kentucky Foreign Language Conference was devoted to the works of Zayas (including papers by Judith A. Whitenack, Amy R. Williamsen, Gwyn E. Campbell, and Margaret Greer). From that point on, Zayas studies were on their way. In 1991, Daniel L. Heiple wrote a creative essay in which he proposed the idea that both Lope de Vega and Zayas were reacting against Huarte de San Juan's misogynistic treatise Examen de ingenios (1575). During the 1990s, a variety of scholars, including Margaret Greer and Marina S. Brownlee (both in 2000), published influential monographs on the work of the Madrid writer. Translations (Patsy Boyer), conference papers, and essay collections (Judith Whitenack, Amy Williamsen, Gwyn Campbell) abounded. At the same time, scholars began to turn their attention to close studies of other women writers of Golden Age. Interest in "Gynocriticism", one popular term for the study of women writers, grew considerably during the 1990s and 2000s, and within studies of peninsular Spanish literature, both in the U.S. and Europe, much of the interest focused on Zayas's work, In 2009 Golden Age scholar Anne J. Cruz summarized Margaret R. Greer's major study of Zayas's work thus: "Greer brings a welcome psychoanalytical perspective to Zayas’ novellas. Focusing on the various meaning of 'desire,' she investigates both the author's need to win over readers, and the role that sexual desire plays in structuring the fiction." In another well-known study, The Cultural Labyrinth of Maria de Zayas, Marina Brownlee argues that Zayas’s novelas were greatly influenced by Baroque culture, and were represented by a series of paradoxes. Brownlee explains how Zayas' women were themselves a paradox: the women were strong of character, but not strong enough to escape their particular negative situations. According to Brownlee, Zayas's belief was that the source of violence was the family, which was in turn an