| ‘There is another story’: Writing after the Odyssey in Margaret Atwood’s The Penelopiad E Hauser Classical Receptions Journal 10 (2), 109-126, 2018 | 14 | 2018 |
| In her own words: The semantics of female authorship in ancient Greece, from Sappho to Nossis E Hauser Ramus 45 (2), 133-164, 2016 | 11 | 2016 |
| Optima tu proprii nominis auctor: The semantics of female authorship in ancient Rome, from Sulpicia to Proba E Hauser Eugesta 6, 151-186, 2016 | 10 | 2016 |
| Reading Poetry, Writing Genre: English Poetry and Literary Criticism in Dialogue with Classical Scholarship S Bär, E Hauser Bloomsbury Publishing, 2018 | 8 | 2018 |
| When Classics Gets Creative: From Research to Practice E Hauser TAPA 149 (3), S-163-S-177, 2019 | 3 | 2019 |
| Since Sappho: Women in Classical Literature and Contemporary Women's Writing in English E Hauser Yale University, 2017 | 3 | 2017 |
| How women became poets: a gender history of Greek literature E Hauser Princeton University Press, 2023 | 2 | 2023 |
| Putting an End to Song: Penelope, Odysseus, and the Teleologies of the Odyssey E Hauser Helios 47 (1), 39-69, 2020 | 2 | 2020 |
| “Homer Undone”: Homeric Scholarship and the Invention of Female Epic ESV Hauser Bloomsbury, 2018 | 2 | 2018 |
| Making Men: Gender and the Poet in Pindar E Hauser The Gendered" I" in Ancient Literature, 2022 | 1 | 2022 |
| Erica Jong’s Sappho’s Leap:(Re-) Constructing Gender and Authorship through Sappho E Hauser Synthesis, 2020 | 1 | 2020 |
| ‘Back from the silence with something to say’: Ursula Le Guin’s Lavinia and silence as classical reception E Hauser Classical Receptions Journal, clae001, 2024 | | 2024 |
| Between voice and presence: Ursula Le Guin’s Lavinia and silence as reception E Hauser Classical Receptions Journal, 2023 | | 2023 |
| THE ORESTEIA E Hauser TLS-THE TIMES LITERARY SUPPLEMENT, 27-27, 2019 | | 2019 |
| Reading Poetry, Writing Genre E Hauser, S Bär Reading Poetry, Writing Genre, 1-272, 2018 | | 2018 |
| How Women Became Poets E Hauser How Women Became Poets, 0 | | |
