| Domestic Space: A Terrain of Empowerment and Entrapment in Susan Glaspell's “Trifles” ÖK GÜMÜŞÇUBUK Dokuz Eylül Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 21 (2), 397-407, 2019 | 2 | 2019 |
| Nature v/s Culture Ö Gümüşçubuk, U Özdağ, C Duffy Ege University, Izmir, 2022 | 1 | 2022 |
| The Intersections of Feminism: Race, Motherhood, and White Supremacy in Little Fires Everywhere Ö Karagöz Gümüşçubuk Women's Wolrds via Women's Words, 103-124, 2021 | | 2021 |
| The Construction of a Third Space in Good Bye Lenin! Ö Karagöz Gümüşçubuk Exploring Borders and Boundaries in the Humanities, 266-272, 2021 | | 2021 |
| Biracial Identity and Borders in the Immigrant Experience: Neela Vaswani's You Have Given Me a Country Ö Karagöz Gümüşçubuk International Migration Researches in the Geography, Society and Culture …, 2021 | | 2021 |
| The Cult of True Womanhood in Edward Albee's Three Tall Women Ö Karagöz Gümüşçubuk Marginal Women in Theather, 103-114, 2020 | | 2020 |
| DOMESTİK LAND: SUSAN GLASPELL’IN “TRIFLES” ADLI OYUNUNDA GÜÇLENME VS HAPSEDİLMİŞLİK Ö Gümüşçubuk | | 2019 |
| The New Extended Families: Adoption in Gish Jen’s The Love Wife and Jeffrey Paul Chan’s Eat Everything Before You Die: A Chinaman in the Counterculture Ö Karagöz Gümüşçubuk Interactions 20, 67-77, 2011 | | 2011 |
| Land and River Dilemma: A Discussion of Race in Adventures of Huckleberry Finn Ö Karagöz Gümüşçubuk TURKBİLİM, 1-11, 2011 | | 2011 |
| Representation of Chinese American Identity in Fae Myenne Ng’s Bone ÖK Gümüşçubuk Sosyoloji Dergisi, 389-402, 0 | | |
| THE INTERSECTIONS OF BODY AND SPACE IN LILLIAN HELLMAN’S THE CHILDREN’S HOUR ÖK GÜMÜŞÇUBUK Toplum ve Kültür Araştırmaları Dergisi, 48-60, 0 | | |
