Skip to main content
Dancing in the Blood
  • Export citation
  • Recommend to librarian
  • Recommend this book

    Email your librarian or administrator to recommend adding this book to your organisation's collection.

    Dancing in the Blood
    • Online ISBN: 9781108164573
    • Book DOI:
    Please enter your name
    Please enter a valid email address
    Who would you like to send this to *
  • Buy the print book

Book description

This is a remarkable account of the revolutionary impact of modern dance on European cultural life in the early twentieth century. Edward Ross Dickinson uncovers modern dance's place in the emerging 'mass' culture of the modern metropolis, sufficiently ubiquitous and high-profile to spark media storms, parliamentary debates, and exasperated denunciations even from progressive art critics. He shows how modern dance spoke in multiple registers - as religious and as scientific; as redemptively chaste and scandalously sensual; as elitist and popular. He reveals the connections between modern dance and changing gender relations and family dynamics, imperialism, racism, and cultural exchanges with the wider non-European world, and new conceptions of selfhood. Ultimately the book finds in these complex and often contradictory connections a new way of understanding the power of modernism and modernity and their capacity to revolutionize and transform the modern world in the momentous, creative, violent middle decades of the twentieth century.


'Edward Ross Dickinson brilliantly demonstrates that aesthetic modernism danced a neat double-two-step in the early decades of the twentieth century, combining the tense oppositions of global modernity into a harmonious new language. With its nimble prose and adroit research, Dancing in the Blood is itself a delightfully artful and informative cultural history.'

Michael Saler - University of California, Davis

'Dancing in the Blood makes a major new contribution to the scholarship of early twentieth-century dance. Edward Ross Dickinson brings a fresh historical perspective to dance and asks us to reconsider the formative early years of modern dance with new readings of modernism and modernity. An exhilarating read.'

Michael Huxley - De Montfort University

Refine List
Actions for selected content:
Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Send to Kindle
  • Send to Dropbox
  • Send to Google Drive
  • Send content to

    To send content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to .

    To send content items to your Kindle, first ensure is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle.

    Note you can select to send to either the or variations. ‘’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

    Find out more about the Kindle Personal Document Service.

    Please be advised that item(s) you selected are not available.
    You are about to send

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Adamson, Walter L. Embattled Avant-Gardes: Modernism’s Resistance to Commodity Culture in Europe (Berkeley: University of California Press, 2007).
Adelsbach, Karin, and Firmenich, Andrea, eds. Tanz in der Moderne. Von Matisse bis Schlemmer (Cologne: Wienand, 1996).
Anderson, Benedict. Imagined Communities: Reflections on the Origins and Spread of Nationalism (London: Verso, 1991).
Anderson, Jack. Art without Boundaries (Iowa City: University of Iowa Press, 1997).
Aston, Elaine. Sarah Bernhardt: A French Actress on the English Stage (New York: Berg, 1989).
Balachandran, G.Circulation through Seafaring Indian Seamen, 1890–1945,” in Markovits, Claude, Pouchepadass, Jacques, Subrhmanyam, Sanja, eds., Society and Circulation: Mobile People and Itinerant Cultures in South Asia 1750–1950 (Delhi: Permanent Black, 2003), pp. 89–130.
Bald, Vivek. Bengali Harlem and the Lost Histories of South Asian America (Cambridge, MA: Harvard University Press, 2013).
Balk, Claudia, “Vom Sinnenrausch zur Tanzmoderne,” in Brygida Ochaim and Claudia Balk, eds., Varieté-Tänzerinnen um 1900 (Frankfurt: Stroemfeld/Roter Stern, 1998), pp. 7–68.
Barche, Gisela, and Jeschke, Claudia. “Bewegungsrausch und Formbestreben,” in Oberzaucher-Schüller, Gunhild, Oberzaucher, Alfred, and Steiert, Thomas, eds., Ausdruckstanz (Wilhelmshaven: Florian Noetzel, 1986), pp. 317–346.
Bardsley, Kay. “Isadora Duncan’s First School,” Dance Research Annual 10 (1979): 219249.
Baril, Jacques. La danse modern (Isadora Duncan a Twyla Tharp) (Paris: Vigot, 1977).
Batson, Charles R. Dance, Desire and Anxiety in Early Twentieth-Century French Theater: Playing Identities (Aldershot, UK: Ashgate, 2005).
Bayertz, Kurt. “Biology and Beauty: Science and Aesthetics in Fin-de-siècle Germany,” in Teich, Mikulas and Porter, Roy, eds., Fin de Siecle and Its Legacy (Cambridge: Cambridge University Press, 1991), pp. 278–295.
Bell, Michael. “The Metaphysics of Modernism,” in Levenson, Michael, ed., The Cambridge Companion to Modernism (Cambridge: Cambridge University Press, 1999), pp. 9–32.
Bellver, Catherine G. Bodies in Motion (Lewisburg, PA: Bucknell University Press, 2010).
Benedetti, Jean. Stanislavski (London: Methuen, 1988).
Bentivoglio, Leonetta. La danza moderna (Milan: Longanesi, 1977).
Bentley, Toni. Sisters of Salome (New Haven, CT: Yale University Press, 2002).
Berg, Shelley C.Sada Yacco: The American Tour, 1899–1900,” DC 16 (1993): 147196.
Berg, Shelley C.Sada Yacco in London and Paris, 1900: Le Rêve Réalisé,” DC 18 (1995): 343404.
Betz, Thomas. “Dichten und Trachten: Hans Brandenburg und der Tanz,” Tanzdrama 55 (2000).
Betz, Thomas. “Der Russe und die Münchnerin,” Tanz-Journal 1, no. 1 (2003).
Betz, Thomas. “Die Duncan dichtet, die Sacchetto malt,” Tanz-Journal 1, no. 5 (2003).
Birken, Lawrence. Consuming Desire: Sexual Science and the Emergence of a Culture of Abundance, 1871–1914 (Ithaca, NY: Cornell University Press, 1988).
Blair, Fredrika. Isadora: Portrait of the Artist as a Woman (New York: McGraw-Hill, 1986).
Boes, Tobias. “Germany,” in Lewis, Pericles, ed., The Cambridge Companion to European Modernism (Cambridge: Cambridge University Press, 2011), pp. 33–51
Bonnet, Alastair. White Identities: Historical and International Perspectives (New York: Prentice Hall, 2000).
Bradshaw, David, ed. A Concise Companion to Modernism (Malden, MA: Blackwell, 2003).
Brandon, Ruth. The Dollar Princesses: Sagas of Upward Nobility, 1870–1914 (New York: Alfred A. Knopf, 1980).
Brandstetter, Gabriele. “Tanzreform und Reformkleid: Zur Textilkunst von Mariano Fortuny,” Tanzdrama 14 (1991): 47.
Brandstetter, Gabriele. Tanz-Lektüren: Körperbilder und Raumfiguren der Avantgarde (Ph.D. diss., Frankfurt, 1995).
Betz, Thomas. “Grete Wiesenthals Walzer,” in Gabriele Brandstetter and Gunhild Oberzaucher-Schüller, eds., Mundart der Wiener Moderne: Der Tanz der Grete Wiesenthal (Munich: Kieser, 2009), pp. 15–39.
Brandstetter, Gabriele and Oberzaucher-Schüler, Gunhild, eds., Mundart der Wiener Moderne: Der Tanz der Grete Wiesenthal (Munich: Kieser, 2009).
Brandstetter, Gabriele, and Ochaim, Brygida Maria. Loïe Fuller: Tanz–Licht-Spiel–Art Nouveau (Freiburg: Rombach, 1989).
Brenscheidt, Diana, Shiva Onstage: Uday Shankar's Company of hindu Dancers and Musicians in Europe and the United States, 1931-1938 (Zurich: Lit, 2011).
Buchholz, Kai, et al. Die Lebensreform (Darmstadt: Häusser, 2001).
Burger, Hildegard, ed. Hugo von Hofmannsthal/Harry Graf Kessler: Briefwechsel 1898–1929 (Frankfurt: Insel, 1968).
Burt, Ramsay. Alien Bodies: Representations of Modernity, ‘Race’ and Nation in Early Modern Dance (New York: Routledge, 1998).
Butler, Christopher. Early Modernism: Literature, Music, and Painting in Europe, 1900–1916 (Oxford: Oxford University Press, 1994).
Butler, Eliza Marion. The Tyranny of Greece over Germany (Cambridge: Cambridge University Press, 1935).
Caldwell, Helen. Michio Ito: The Dancer and His Times (Berkeley: University of California Press, 1977).
Cameron, Theresa. “The Tannhäuser Bacchanale in Bayreuth,” in Gunhild Oberzaucher-Schüller, Alfred Oberzaucher, and Thomas Steiert, eds., Ausdruckstanz (Wilhelmshaven: Florian Noetzel, 1986), pp. 278–293.
Carandini, Silvia and Vaccarino, Elisa, eds. La Generazione Danzante: L’Arte del movimento in Europa nel primo Novecento (Rome: Di Giacomo, 1997).
Carter, Alexandra. “London, 1908: A Synchronic View of Dance History,” DRJ 23 (2005): 36–50.
Carter, Alexandra. “Constructing and Contesting the Natural in British Theatre Dance,” in Carter, Alexandra and Fensham, Rachel, eds., Dancing Naturally: Nature, Neo-Classicism and Modernity in Early Twentieth-Century Dance (London: Palgrave-MacMillan, 2011), pp. 16–30.
Chakravorty, Pallabi. “Dancing into Modernity: Multiple Narratives of India’s Kathak Dance,” DRJ 38 (2006): 115–136.
Chakravorty, Pallabi. Bells of Change: Kathak Dance, Women and Modernity in India (Calcutta: Seagull, 2008).
Chavarría, Jesús. José Carlos Mariátegui and the Rise of Modern Peru, 1890–1930 (Albuquerque: University of New Mexico Press, 1979).
Cheng, Anne Anlin. Second Skin: Josephine Baker & the Modern Surface (New York: Oxford University Press, 2011).
Cherniavsky, Felix. “Maud Allan, Part I: The Early Years, 1873–1903,” DC 6 (1983): 136.
Cherniavsky, Felix. “Maud Allan, Part II: First Steps to a Dancing Career, 1904–1907,” DC 6 (1983): 189227.
Cherniavsky, Felix. “Maud Allan, Part III: Two Years of Triumph, 1908–1909,” DC 7 (1984): 119158.
“Maud Allan, Part IV: The Years of Touring, 1910–1915,” DC 8 (1985): 1–50.
Cherniavsky, Felix. “Maud Allan, Part V: The Years of Decline, 1915–1956,” DC 9 (1986): 177–236.
Clark, Anna. Desire: A History of European Sexuality (New York: Routledge, 2012).
Clayton, Michelle. “Touring History: Tórtola Valencia between Europe and the Americas,” DRJ 44 (2012): 29–49.
Coe, Robert. Dance in America (New York: Dutton, 1985).
Cohen, Barbara Naomi. The Borrowed Art of Gertrude Hoffman (New York: Dance Horizons, 1977).
Conyers, Claude. “Courtesans in Dance History: Les Belles de la Belle Époque,” DC 26 (2003): 219–243.
Cook, James W. The Arts of Deception: Playing with Fraud in the Age of Barnum (Cambridge, MA: Harvard University Press, 2001).
Coorlawla, Uttara Asha. “Ruth St. Denis and India’s Dance Renaissance,” DC 15 (1992): 123–152.
Cowan, Michael. Technology’s Pulse: Essays on Rhythm in German Modernism (London: Institute of Germanic and Romance Studies, 2011).
Cranston, Sylvia. HPB (New York: Putnam, 1993).
Cresswell, Tim. On the Move: Mobility in the Modern Western World (New York: Routledge, 2006).
Current, Richard Nelson, and Current, Marcia Ewing. Loie Fuller: Goddess of Light (Boston: Northeastern University Press, 1997).
Dahms, Sibylle and Schroedter, Stephanie, eds. Der Tanz – Ein Leben: In Memoriam Friderica Derra de Moroda (Salzburg: Selke Verlag, 1997).
Daly, Ann. “Isadora Duncan’s Dance Theory,” DRJ 26 (1994): 24–31.
Daly, Ann. Done into Dance: Isadora Duncan in America (Bloomington: Indiana University Press, 1995).
Dawkins, Heather. The Nude in French Art and Culture 1870–1910 (New York: Cambridge University Press, 2002).
De Boer, Jacobien. Dans voluit, dat is leven: Gertrud Leistikow (1885–1948) (Wezep: Uitgeverij de Kunst, 2014).
De Cossart, Michael. Ida Rubinstein (1885–1960): A Theatrical Life (Liverpool, UK: Liverpool University Press, 1987).
Décoret-Ahiha, Anne. Les danses exotiques en France, 1880–1940 (Paris: Centre Nationale de la Danse, 2004).
Dekoven, Marianne. “Modernism and Gender,” in Michael Levenson, ed., The Cambridge Companion to Modernism (New York: Cambridge University Press, 2011), pp. 174–193.
Desmond, Jane. “Dancing Out the Difference: Cultural Imperialism and Ruth St. Denis’s ‘Radha’ of 1906,” Signs 17 (1991): 28–49.
Dickinson, Edward Ross. “Citizenship, Reaction, and Technical Education: Vocational Schooling and the Prussian ‘Youth Cultivation’ Decree of 1911,” European History Quarterly 29 (1999): 109–147.
Dickinson, Edward Ross. “Altitude and Whiteness: Germanizing the Alps and Alpinizing the Germans, 1875–1935,” German Studies Review 33 (2010): 577–599.
Dickinson, Edward Ross. “‘Must We Dance Naked?”: Art, Beauty and Politics in Munich and Paris, 1911 and 1913,” Journal of the History of Sexuality 20 (2011): 95–131.
Betz, Thomas. Sex, Freedom and Power in Imperial Germany (New York: Cambridge University Press, 2014).
Diepveen, Leonard. The Difficulties of Modernism (New York: Routledge, 2003).
Doerr, Evelyn. Rudolf Laban: The Dancer of the Crystal (Lanham, MD: Scarecrow, 2008).
Dorf, Samuel N.Dancing Greek Antiquity in Private and Public: Isadora Duncan’s Early Patronage in Paris,” DRJ 44 (2012): 5–27.
Dörr, Evelyn. “‘Wie ein Meteor tauchte sie in Europa auf ...’: Die philosophische Tänzerin Isadora Duncan im Speigel der deutschen Kritik,” in Peter, Frank-Manuel, ed., Isadora & Elizabeth Duncan in Deutschland/in Germany (Cologne: Wienand, 2000), pp. 31–48.
Drehsen, Volker. “Körper Religion: Ausdruckstanz um 1900,” in Drehsen, Volker, Gräb, Wilhelm, and Korsch, Dietrich, eds., Protestantismus und Ästhetik (Gütersloh: Chr. Kaiser, 2001), pp. 197–232.
Easton, Laird McLeod. The Red Count: The Life and Times of Harry Kessler (Berkeley: University of California Press, 2002).
Ehrich, Karin. “Im Sauseschritt: Über das Leben von Gertrud Leistikow,” Tanzdrama 58 (2001): 8–11.
Elswit, Kate. Watching Weimar Dance (New York: Oxford University Press, 2014).
Erdman, Joan L.Dance Discourses: Rethinking the History of the ‘Oriental Dance,’” in Morris, Gay, ed., Moving Words: Re-Writing Dance (New York: Routledge, 1996), pp. 288–305.
Fabian, Reinhard. Christian von Ehrenfels: Leben und Werk (Amsterdam, The Netherlands: Rodopi 1986)
Facos, Michelle, and Hirsch, Sharon L., eds., Art, Culture, and Identity in Fin-de-Siecle Europe (New York: Cambridge University Press, 2003).
Farfan, Penny. Women, Modernism and Performance (New York: Cambridge University Press, 2004).
Faulk, Barry J. Music Hall and Modernity: The Late-Victorian Discovery of Popular Culture (Athens: Ohio University Press, 2004).
Fiedler, Leonhard M., and Lang, Martin, eds. Grete Wiesenthal: Die Schönheit der Sprache des Körpers in Bewegung (Salzburg: Residenz, 1985).
Betz, Thomas. “‘nicht Wort – aber mehr als Wort ...’: Zwischen Sprache und Tanz – Grete Wiesenthal und Hugo von Hofmannsthal,” in Gabriele Brandstetter and Gunhild Oberzaucher-Schüller, eds., Mundart der Wiener Moderne: Der Tanz der Grete Wiesenthal (Munich: Kieser, 2009), pp. 127–150.
Fiedler, Theodor. “Weimar contra Berlin: Harry Graf Kessler and the Politics of Modernism,” in Forster-Hahn, Françoise, ed., Imagining Modern German Culture: 1889–1910 (Hanover: National Gallery of Art, Washington, 1996), pp. 107–125.
Finney, Gail. Women in Modern Drama (Ithaca, NY: Cornell University Press, 1989).
Fischer, Lothar. Tanz zwischen Rausch und Tod: Anita Berber 1918–1928 in Berlin (Berlin: Haude and Spener, 1984).
Fischer, Lothar. “Getanzte Körperbefreiung,” in Wir sind nackt und nennen us Du”: Von Lichtfreunden und Sonnenkämpfern – Eine Geschichte der Freikörperkultur (Giessen, Anabas, 1989), pp. 106–123.
Fisher, Jennifer. “The Swan Brand: Reframing the Legacy of Anna Pavlova,” DRJ 44 (2012): 5067.
Fleischer, Mary. Embodied Texts: Symbolist Playwright-Dancer Collaborations (Amsterdam: Rodopi, 2007).
Florack, Ruth. “Liebe im Zeichen der Sittenrichter,” in Scheuer, Helmut and Grisko, Michael, eds., Liebe, Lust und Leid: Zur Gefühlskultur um 1900 (Kassel: Kassel University Press, 1999) pp. 215–236.
Foellmer, Susanne. Valeska Gert: Fragmente einer Avantgardistin in Tanz un Schauspiel der 1920er Jahre (Bielefeld: Transcript, 2006).
Foulkes, Julia L. Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey (Chapel Hill: University of North Carolina Press, 2002).
Francis, Claude, and Gontier, Fernande. Creating Colette, vol. 1, From Ingenue to Libertine, 1873–1913 (South Royalton, VT: Steerforth Press, 1998).
Frank, Gustav, and Katja, Schneider. “Tanz-Technik: Körperdispositive in der Massenkommunikation der Moderne,” Tanzdrama 54 (2000): 6–15.
Frank, Gustav, and Schneider, Katja. “Tanz und Tanzdebatte in der Moderne: Voraussetzungen von Leni Riefenstahls Film Das blaue Licht,” Tanzdrama 63 (2002): 410.
Franko, Mark. Martha Graham in Love and War: The Life in the Work (New York: Oxford University Press, 2012).
Franks, A. H. “A Biographical Sketch,” in Pavlova: A Biography, ed. Franks (New York: Da Capo, 1979), pp. 11–52.
Fraser, Mariam, and Greco, Monica, eds. “Marcel Mauss: Techniques of the Body,” in The Body: A Reader (London: Routledge, 2005), pp. 73–77.
Freydank, Ruth, ed. Theater als Geschäft: Berlin und seine Privattheater um die Jahrhundertwende (Berlin: Hentrich, 1995).
Friedman, Susan Stanford. “Definitional Excursions: The Meanings of Modern/Modernity/Modernism,” Modernism/Modernity 8 (2001): 493–513.
Fritsch-Vivié, Gabriele. Mary Wigman (Reinbek: Rowohlt, 1999).
Fritzsche, Peter. Reading Berlin 1900 (Cambridge, MA: Harvard University Press, 1996).
Funkenstein, Susan Laikin. “There’s Something About Mary Wigman: The Woman Dancer as Subject in German Expressionist Art,” Gender & History 17, no. 3 (2005): 826859.
Garafola, Lynn. “The Travesty Dancer in Nineteenth-Century Ballet,” DRJ 18 (1985): 35–40.
Betz, Thomas. ed. Of, By, and For the People: Dancing on the Left in the 1930s (New York: Journal of the Society of Dance History Scholars, vol. 5, 1994).
Garb, Tamar. “Modeling the Body: Photography, Physical Culture, and the Classical Ideal in Fin-de-Siecle France,” in Johnson, Geraldine A., ed., Sculpture and Photography: Envisioning the Third Dimension (New York: Cambridge, 1998), pp. 86–99.
Gardner, Howard. "Martha Graham: Discovering the Dance of America," Ballet Review 22, no. 1 (1994): 67–93.
Garland, Iris. “Early Modern Dance in Spain: Tórtola Valencia, Dancer of the Historical Intuition,” DRJ 29 (1997): 1–22.
Garland, Iris. “The Eternal Return: Oriental Dance (1900–1914) and Multicultural Dance (1990–2000),” Dancing in the Millennium: An International Conference: Proceedings (Washington, DC: n.p., 2000), pp. 193–198.
Garland, Iris. Tortola Valencia: Modernism and Exoticism in Early Twentieth Century Dance, ed. Fox, Mary (Vancouver, BC: Five/Cinq, 2013).
Gay, Peter. Modernism (New York: Norton, 2007).
Genné, Beth. The Making of a Choreographer: Ninette de Valois and Bar aux Folies-Bergère (Pennington, NJ: Society of Dance History Scholars, 2012).
Georgen, Jeanpaul. “Der pikante Film: Ein vergessenes Genre der Kaiserzeit,” in Elsaesser, Thomas and Wedel, Michael, eds., Kino der Kaiserzeit: Zwischen Tradition und Moderne (Munich: text + kritik, 2002), pp. 45–62.
Giazitzidis, Katja. “Eine goldene Zeit für den Tanz – die Zwanziger,” in Bock, Petra and Koblitz, Katja, eds., Neue Frauen zwischen den Zeiten (Berlin: Hentrich, 1995), pp. 194–219.
Glenn, Susan A. Female Spectacle: The Theatrical Roots of Modern Feminism (Cambridge, MA: Harvard University Press, 2000).
Goodall, Jane R. Performance and Evolution in the Age of Darwin (New York: Routledge, 2002).
Gopal, Ram. "Pavlova and the Indian Dance," in Pavlova: A Biography, ed. A. H. Franks (New York: Da Capo, 1979), pp. 98–110.
Gordon, Mel. The Seven Addictions and Five Professions of Anita Berber: Weimar Berlin’s Priestess of Depravity (Port Townsend, WA: Feral House, 2006).
Graff, Ellen. Stepping Left: Dance and Politics in New York City, 1928–1942 (Durham, NC: Duke University Press, 1997).
Green, Martin. Mountain of Truth (Hanover, NH: University Press of New England, 1986).
Guest, Ivor. The Romantic Ballet in Paris (Middleton: Wesleyan University Press, 1966).
Betz, Thomas. The Dancer’s Heritage: A Short History of Ballet (London: Dancing Times, 1977).
Guilbert, Laure. Danser avec le IIIe Reich (Paris: Editions Complexe, 2000).
Hammer, Les. "Michio Ito," Ballet Review 28, no. 1 (2001): 69–74.
Haney, Lynn. Naked at the Feast: A Biography of Josephine Baker (London: Robson, 1981).
Hardt, Yvonne. Politische Körper: Ausdruckstanz, Choreographien des Protests und die Arbeiterkulturbewegung in der Weimarer Republik (Münster: Lit, 2004).
Hardt, Yvonne. “Ausdruckstanz on the left and the work of Jean Weidt,” in Franco, Susanne and Nordera, Marina, eds., Dance Discourses (New York: Routledge, 2007), pp. 61–79.
Harrison, Robert. “Archaeology on Trial,” Modernism/Modernity 11 (2004): 35–36.
Hastie, Jim. “Margaret Morris (1891–1980),” in Pidoux, Jean-Yves, ed., La danse: Art du XXe siècle? (Lausanne: Editions Payot, 1990), pp. 167–171.
Hastings, Baird. “The Denishawn Era,” in Magriel, Paul, ed., Chronicles of the American Dance (New York: Henry Holt, 1948), pp. 227–237.
Hause, Steven C.Social Control in Late Nineteenth-Century France: Protestant Campaigns for Strict Public Morality,” in Forth, Christopher E. and Accampo, Elinor, eds., Confronting Modernity in Fin-de-Siècle France (New York: Palgrave-MacMillan, 2010), pp. 135150.
Hawkins, Mike. Social Darwinism in European and American Thought, 1860–1945 (New York: Cambridge University Press, 1997).
Heath, Deana. Purifying Empire: Obscenity and the Politics of Moral Regulation in Britain, India and Australia (New York: Cambridge University Press, 2010).
Herzog, Dagmar. “Hubris and Hypocrisy, Incitement and Disavowal: Sexuality and German Fascism” in Herzog, Dagmar, ed., Sexuality and German Fascism (New York: Berghahn Books, 2005), pp. 3–21.
Herzog, Dagmar. Sexuality in Europe: A Twentieth Century History (New York: Cambridge University Press, 2011).
Hindson, Catherine. Female Performance Practice on the Fin-de-Siècle Popular Stages of London and Paris (Manchester, UK: Manchester University Press, 2007).
Hoare, Philip. Wilde’s Last Stand (London: Duckworth, 1997).
Hobsbawm, E. J., and Ranger, Terence O.. The Invention of Tradition (Cambridge: Cambridge University Press, 1983).
Homans, Jennifer. Apollo’s Angels: A History of Ballet (New York: Random House, 2010).
Horosko, Marian. Martha Graham: The Evolution of Her Dance Theory and Training (Gainesville: University of Florida Press, 2002).
Horwood, Catherine. “‘Girls Who Arouse Dangerous Passions’: Women and Bathing, 1900–1939,” Women’s History Review 9 (2000): 653673.
Howe, Dianne S. Individuality and Expression: The Aesthetics of the New German Dance, 1908–1936 (New York: Peter Lang, 1996).
Hughes, Russell Meriwether (La Meri). Dance Out the Answer (New York: Marcel Dekker, 1977).
Huschka, Sabine. Moderner Tanz: Konzepte – Stile – Utopien (Reinbek: Rowohlt, 2002).
Huschka, Sabine. “Bildgebungen tanzender Körper: Choreographierte Blickfänge 1880 bis 1920,” Fotogeschichte 101 (2006): 4150.
Huxley, Michael. The Dancer’s World, 1920–1945: Modern Dancers and Their Practices Reconsidered (New York: Palgrave-MacMillan, 2015).
Innes, Christopher. “Modernism in Drama,” in Levenson, Michael, ed., The Cambridge Companion to Modernism (New York: Cambridge University Press, 2011), pp. 130–156.
Järvinen, Hanna. “The Russian Dancing – Vaslav Nijinsky in Western Imagination,” Conference Proceedings, Congress on Research in Dance, October 26–28, 2001 (New York: New York University, 2001), pp. 165–166.
Järvinen, Hanna. Dancing Genius: The Stardom of Vaslav Nijinsky (New York: Palgrave MacMillan, 2014).
Jelavich, Peter. Berlin Cabaret (Cambridge, MA: Harvard University Press, 1993).
Jeschke, Claudia, and Vettermann, Gabi. “Isadora Duncan, Berlin and Munich in 1906: Just an Ordinary Year in a Dancer’s Career,” DC 18 (1995): 217–229.
Jeschke, Claudia, and Vettermann, Gabi. “Between Institutions and Aesthetics: Choreographing Germanness?,” in Grau, Andrée and Jordan, Stephanie, eds., Dancing Europe: Perspectives on Theatre Dance and Cultural Identity (New York: Routledge, 2000), pp. 55–72.
Jockel, Nils. “Aus dem Moment des Empfindens,” Tanzdrama 7 (1989): 1823.
Jockel, Nils, and Stöckemann, Patricia. “Flugkraft in goldene Ferne”: Bühnentanz in Hamburg seit 1900 (Hamburg: Museum für Kunst und Gewerbe, 1989).
Jones, Susan. Literature, Modernism, and Dance (Oxford: Oxford University Press, 2013).
Jowitt, Deborah. “Images of Isadora : The Search for Motion,” DRJ 17 (1985): 21–29.
Jowitt, Deborah. “The Impact of Greek Art on the Style and Persona of Isadora Duncan,” Proceedings, Tenth Annual Conference of the Society of Dance History Scholars (Irvine, CA, 1987).
Jowitt, Deborah. Time and the Dancing Image (New York: Morrow, 1988).
Kahan, Sylvia. Music’s Modern Muse: A Life of Winaretta Singer, Princesse de Polignac (Rochester, NY: University of Rochester Press, 2003).
Kant, Marion. “Mary Wigman – Die Suche nach der verlorenen Welt,” Tanzdrama 25 (1994): 16–21.
Kant, Marion. “Annäherung und Kollaboration: Tanz und Weltanschauung im ‘Dritten Reich,’” Tanzjournal 3 (2003): 13–23.
Kant, Marion. “Mittel zur Transzendenz,” Tanz-Journal 1, no. 6 (2003): 15–22.
Kant, Marion. “Death and the Maiden: Mary Wigman in the Weimar Republic,” in Kolb, Alexandra, ed., Dance and Politics (New York: Peter Lang, 2010), pp. 119–143.
Karina, Lillian, and Kant, Marion. Hitler’s Dancers: German Modern Dance and the Third Reich, trans. Jonathan Steinberg (Oxford: Berghahn, 2003).
Karthas, Ilyana. When Ballet Became French: Modern Ballet and the Cultural Politics of France, 1909–1939 (Montreal: McGill-Queen’s University Press, 2015).
Keay, Julia. The Spy Who Never Was: The Life and Loves of Mata Hari (London: Joseph, 1987).
Kelly, Alfred. The Descent of Darwin: The Popularization of Darwinism in Germany, 1860–1914 (Chapel Hill: University of North Carolina Press, 1981).
Kendall, Elizabeth. Where She Danced (New York: Knopf, 1979).
Kerensky, Oleg. Anna Pavlova (London: Hamilton, 1973).
Kermode, Frank. “Poet and Dancer before Diaghilev,” in Copeland, Roger and Cohen, Marshall, eds., What Is Dance? Readings in Theory and Criticism (Oxford: Oxford University Press, 1983), pp. 145–160.
Kew, Carole. “Mary Wigman’s London Performances: A New Dance in Search of a New Audience,” Dance Research 30 (2012): 1–21.
Khan, Inayat. Biography of Pir-o-Murshid Inayat Khan (London: East-West, 1979).
Kischke, Roland. “‘Die Berauschendste Verkettung von Gebärden’: Faszination des Tanzes um 1900,” in Frankhäuser, Gernot, Krischke, Roland, and Paas, Sigrun, eds., Tänzerinnen um Slevogt (Munich: Deutscher Kunstverlag, 2007), pp. 23–40.
Koegler, Horst. “A Single Being and a Single Soul with Two Bodies,” DC 26, no. 2 (2003): 253–259.
Kolb, Alexandra. Performing Femininity: Dance and Literature in German Modernism (New York: Peter Lang, 2009).
Koritz, Amy. Gendering Bodies/Performing Art: Dance and Literature in Early Twentieth-Century British Culture (Ann Arbor: University of Michigan Press, 1995).
Koritz, Amy. “Dancing the Orient for England: Maud Allan’s The Vision of Salomé,” in Desmond, Jane C., ed., Meaning in Motion: New Cultural Studies of Dance(Durham, NC: Duke University Press, 1997), pp. 133-152; also in Theater Journal 46 (1994): 63–78
Krauze, Enrique. Mexico: Biography of Power (New York: HarperCollins, 1997).
Kurth, Peter. Isadora: A Sensational Life (Boston: Little, Brown 2001).
LaMothe, Kimerer. Nietzsche’s Dancers (New York: Palgrave MacMillan, 2006).
Lewis, Pericles. “Introduction,” in The Cambridge Companion to European Modernism (New York: Cambridge University Press, 2011), pp. 1–11.
Lewis, Reina. Gendering Orientalism: Race, Femininity and Representation (London: Routledge, 1996).
Linse, Ulrich. “Säkularisierung oder Neue Religiösität? Zur religiösen Situation in Deutschland um 1900,” Recherches Germaniques 27 (1997): 117141.
Linse, Ulrich. Barfüssige Propheten (Berlin: Siedler, 1983).
Lista, Giovani. Loïe Fuller: Danseuse de la Belle Époque (Paris: Somogy-Stock, 1995).
Litvak, Lily. España 1900 (Barcelona: Anthropos, 1990).
Lloyd, Jill. German Expressionism: Primitivism and Modernity (New Haven, CT: Yale University Press, 1991).
Loewenthal, Lillian. The Search for Isadora: The Legend & Legacy of Isadora Duncan (Pennington, NJ: Dance Horizons, 1993).
Lubkoll, Christine. “Rhythmus: Zum Komplex von Lebensphilosophie und ästhetischer Moderne,” in Christine Lubkoll, , ed., Das Imaginäre des Fin de siècle (Freiburg: Rombach, 2002), pp. 83110.
Lüders, Christine. Apropos Mata Hari (Frankfurt: Verlag Neue Kritik, 1997).
Macdougall, Allan Ross. Isadora: A Revolutionary in Art and Love (Edinburgh: Thomas Nelson, 1960).
Macdougall, Allan Ross. “Isadora Duncan and the Artists,” in Magriel, Paul, ed., Nijinsky, Pavlova, Duncan: Three Lives in Dance (New York: Da Capo, 1977), pp. 35–51.
Macintosh, Fiona. “Dancing Maenads in Early 20th-Century Britain,” in Fiona Macintosh, , ed., The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance (Oxford: Oxford University Press, 2010), pp. 188–209.
MacKenzie, John. Orientalism: History, Theory, and the Arts (Manchester, UK: Manchester University Press, 1995).
Manning, Susan. “Feminism, Utopianism, and the Incompleted Dialogue of Modernism,” in Oberzaucher-Schüller, Gunhild, Oberzaucher, Alfred, and Steiert, Thomas, eds., Ausdruckstanz (Wilhelmshaven: Florian Noetzel, 1986), pp. 105–115.
Manning, Susan. “Mary Wigmans Erbe in Amerika,” Tanzdrama 3 (1987): 6–8.
Manning, Susan. “Isadora Duncan, Martha Graham und die lesbische Rezeption,” Tanzdrama 44/45 (1999): 18–25.
Manning, Susan. “The Female Dancer and the Male Gaze: Feminist Critiques of Early Modern Dance,” in Jane Desmond, , ed., Meaning in Motion (Durham, NC: Duke University Press, 1997), pp. 153–166.
Manning, Susan. “Ausdruckstanz across the Atlantic,” in Franco, Susanne and Nordera, Marina, eds., Dance Discourses (New York: Routledge, 2007), pp. 46–60.
Manning, Susan. Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman (Berkeley: University of California Press, 1993).
Mansfield, Janet. Louis Horst: Musician in a Dancer’s World (Durham, NC: Duke University Press, 1992).
Marcovitch, Heather. “Dance, Ritual, and Arthur Symons’s London Nights,” English Literature in Transition, 1880–1920 56 (2013), pp. 462–482.
Marwick, Arthur. IT: A History of Human Beauty (London: Hambledon Press, 2004).
Masuzawa, Tomoko. The Invention of World Religions (Chicago: University of Chicago Press, 2005).
Mayer, Charles S.Ida Rubinstein: A Twentieth-Century Cleopatra,” DRJ 20 (1988): 33–51.
Meglin, Joellen. “Blurring the Boundaries of Genre, Gender, and Geopolitics: Ruth Page and Harald Kreutzberg’s Trans-Atlantic Collaboration in the 1930s,” DRJ 41 (2009): 52–75.
Meinzenbach, Sandra. Neue alte Weiblichkeit: Frauenbilder und Kunstkonzepte im Freien Tanz (Marburg: Tectum, 2010).
Meinzenbach, Sandra. Tanz ist eine Sprache und eine Schrift des Göttlichen”: Kunst und Leben der Ruth St. Denis (Wilhelmshaven: Florian Noetzel, 2013).
Mester, Terri A. Movement and Modernism: Yeats, Eliot, Lawrence, Williams, and Early Twentieth-Century Dance (Fayetteville: University of Arkansas Press, 1997).
Miller, Kamae A., ed. Wisdom Comes Dancing: Selected Writings of Ruth St. Denis on Dance, Spirituality, and the Body (Seattle: PeaceWorks, 1997).
Mitchell, Timothy. “Orientalism and the Exhibitionary Order,” in Dirks, Nicholas B., ed., Colonialism and Culture (Ann Arbor: University of Michigan Press, 1992), pp. 289–317.
Möhring, Mahren. Marmorleiber. Körperbildung in der deutschen Nacktkultur (1890–1930) (Cologne: Böhlau, 2004).
Money, Keith. Anna Pavlova: Her Life and Art (London: Collins, 1982).
Mosse, George L. Toward the Final Solution: A History of European Racism (New York: Fertig, 1978).
Müller, Hedwig. Mary Wigman: Leben und Werk der grossen Tänzerin (Weinheim: Quadriga, 1986).
Müller, Hedwig. “Von der äusseren zur inneren Bewegung: Klassische Ballerina – moderne Tänzerin,” in Möhrmann, Renate, ed., Die Schauspielerin: Zur Kulturgeschichte der weiblichen Bühnenkunst (Frankfurt: Insel, 1989), pp. 283–299.
Nead, Lynda. The Female Nude: Art, Obscenity and Sexuality (New York: Routledge, 1992).
Nemetz, Laurice D.Moving with Meaning: The Historical Progression of Dance/Movement Therapy,” in Brooke, Stephanie L., ed., Creative Arts Therapies Manual (Springfield, IL: Charles C. Thomas, 2006).
Nicholas, Larraine. Dancing in Utopia: Dartington Hall and its Dancers (Alton, UK: Dance Books, 2007).
Oberzaucher, Alfred, and Oberzaucher, Gunhild. “Wer waren die Lehrer von Gertrud Bodenwieser,” Tanzdrama 33 (1996): 15–22.
Oberzaucher-Schüller, Gunhild. “Das bislang verschattete Leben der Miss Gertrude,” Tanzdrama 50 (2000): 611.
Ochaim, Brygida. “Anmerkungen zur Wiesenthal-Rezeption,” in Gabriele Brandstetter and Oberzaucher-Schüller, eds., Mundart der Wiener Moderne: Der Tanz der Grete Wiesenthal (Munich: Kieser, 2009), pp. 261–263.
Ochaim, Brygida Maria. “Die getanzten Bilder der Rita Sacchetto,” Tanzdrama 14 (1991): 22–25.
Ochaim, Brygida.Miss Saharet,” Tanzdrama 16 (1991): 3436.
Ochaim, Brygida.Die Barfusstänzerin Olga Desmond,” Tanzdrama 39 (1997): 1921.
Ochaim, Brygida. “Biographien,” in Brygida Ochaim and Claudia Balk, eds., Varieté-Tänzerinnen um 1900 (Frankfurt: Stroemfeld/Roter Stern, 1998), pp. 117–143.
Ochaim, Brygida. “Varieté-Tänzerinnen um 1900,” in Brygida Ochaim and Claudia Balk, eds., Varieté-Tänzerinnen um 1900 (Frankfurt: Stroemfeld/Roter Stern, 1998), pp. 69–116.
Ochaim, Brygida and Balk, Claudia, eds., Varieté-Tänzerinnen um 1900 (Frankfurt: Stroemfeld/Roter Stern, 1998).
Oosterhuis, Harry. Stepchildren of Nature: Krafft-Ebing, Psychiatry, and the Making of Sexual Identity (Chicago: University of Chicago Press, 2000).
O’Shea, Janet. “Dancing through History and Ethnography: Indian Classical Dance and the Performance of the Past,” in Theresa Jill Buckland, ed., Dancing from Past to Present: Nation, Culture, Identities (Madison: University of Wisconsin Press, 2006), pp. 123–152.
Paret, Peter. The Berlin Secession (Cambridge, MA: Harvard University Press, 1980).
Paret, Peter. “The Tschudi Affair,” Journal of Modern History 53 (1981): 589618.
Parker, Henry Taylor. Motion Arrested: Dance Reviews of H. T. Parker, ed. Olive Holmes (Middletown, CT: Wesleyan University Press, 1982).
Passmore, Kevin. “Politics,” in Jackson, Julian, ed., Europe, 1900–1945 (Oxford: Oxford University Press, 2002), pp. 77–115.
Pastori, Jean-Pierre. A corps perdu: La dance nue au XXe siècle (Lausanne: Favre, 1983).
Peppis, Paul. Sciences of Modernism: Ethnography, Sexology, and Psychology (New York: Cambridge University Press, 2014).
Peri, Paolo. “La trama della sua vita,” in Fumi, Leonardo, ed., Fortuny nella belle époque (Milan: Electa, 1984), pp. 6264.
Peter, Frank-Manuel. Valeska Gert: Tänzerin, Schauspielerin, Kabarettistin (Berlin: Frölich and Kaufmann, 1985).
Paret, Peter. “Die ‘neie Minchener Derpsichore’: Clotilde von Derp – die früheste Vertreterin des Ausdruckstanzes?,” in Frank-Manuel Peter and Rainer Stamm, eds., Die Sacharoffs–zwei Tänzer aus dem Umkreis des Blauen Reiters (Cologne: Wienand, 2002), pp. 75–136.
Peter, Frank-Manuel, and Stamm, Rainer, eds. Die Sacharoffs – zwei Tänzer aus dem Umkreis des Blauen Reiters (Cologne: Wienand, 2002).
Peypach, Irene. Tórtola Valencia (Barcelona: Edicions de Nou Art Thor, no year).
Postuwka, Gabriele. “Aufbruch in die Moderne: Konzeptionen von Tanzerziehung und Tanzausbildung in Europa und den USA,” Tanzdrama 38 (1997): 8–11.
Preston, Carrie J.The Motor in the Soul: Isadora Duncan and Modernist Performance,” Modernism/Modernity 12 (2005): 273289.
Preston, Carrie J. Modernism’s Mythic Pose: Gender, Genre, Solo Performance (New York: Oxford University Press, 2011).
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life (London: Dance, 1998).
Purkayastha, Prathana. “Dancing Otherness: Nationalism, Transnationalism, and the Work of Uday Shankar,” DRJ 44, no. 1 (2012): 6992.
Queralt, Maria Pilar. Tórtola Valencia (Barcelona: Lumen, 2005).
Randall, Tresa. “Hanya Holm and an American Tanzgemeinschaft,” in Manning, Susan and Ruprecht, Lucia, eds., New German Dance Studies (Urbana: University of Illinois Press, 2012).
Reynolds, Dee. “Dancing as a Woman: Mary Wigman and ‘Absolute Dance,’” Forum for Modern Language Studies 35 (1999): 297310.
Reynolds, Nancy, and McCormick, Malcolm. No Fixed Points: Dance in the Twentieth Century (New Haven, CT: Yale University Press, 2003).
Ricci, Fabio. Ritter, Tod & Eros: Die Kunst Elisar von Kupffers (1872–1942) (Cologne: Böhlau, 2007).
Roberts, Mary Louis. “Rethinking Female Celebrity: The Eccentric Star of Nineteenth-Century France,” in Berenson, Edward and Giloi, Eva, eds., Constructing Charisma (New York: Berghahn, 2010), pp. 103–116.
Robinson, Jacqueline. Modern Dance in France (London: Harwood, 1997).
Rodriguez, Suzanne. Wild Heart (New York: HarperCollins, 2002).
Roseman, Janet Lynn. Dance Was Her Religion: The Sacred Choreography of Isadora Duncan, Ruth St. Denis, and Martha Graham (Prescott, AZ: Hohm, 2004).
Roseman, Mark. A Past in Hiding (New York: Metropolitan, 2001).
Roseman, Mark. “Ein Mensch in Bewegung: Dore Jacobs (1894–1978),” Essener Beiträge 114 (Essen: Klartext, 2002): 73–108.
Runge, Jörn. Olga Desmond: Preussens nackte Venus (Friedland/Mecklenburg: Steffen, 2009).
Ruyter, Nancy Chalfa. “American Delsartism: Precursor of an American Dance Art,” Educational Theater Journal 25, no. 4 (1973): 421435.
Saler, Michael. Reformers and Visionaries: The Americanization of the Art of Dance (New York: Dance Horizons, 1979).
Saha, Shandip. “Hinduism, Gurus, and Globalization,” in Beyer, Peter and Beaman, Lori, eds., Religion, Globalization and Culture (Leiden, The Netherlands: Brill, 2007), pp. 485–502.
Said, Edward. Orientalism (London: Penguin, 1985 [1978]).
Saler, Michael. As If: Modern Enchantment and the Literary Prehistory of Virtual Reality (Oxford: Oxford University Press, 2013).
Saler, Michael. “Introduction,” in Michael Saler, ed., The Fin-de-siècle World (New York: Routledge, 2015), pp. 1–8.
Samuels, Maurice. “France,” in Lewis, Pericles, ed., The Cambridge Companion to European Modernism (New York: Cambridge, 2011), pp. 13–32.
Scheub, Ute. Verrückt nach Leben: Berliner Szenen in den zwanziger Jahren (Reinbek: Rowohlt, 2000).
Schmidt, Jochen. Tanzgeschichte des 20. Jahrhunderts in einem Band (Berlin: Henschel, 2002).
Schnapp, Jeffrey, Shanks, Michael, and Tiews, Matthew. “Archaeology, Modernism, Modernity,” Modernism/Modernity 11 (2004): 116.
Schneider, Ilya Ilyich. Isadora Duncan: The Russian Years (London: MacDonald, 1968).
Schneider, Katja. “Schlank, biegsam, grazil: Das Körperbild im klassischen Tanz des 20. Jahrhunderts,” Tanzdrama 36 (1997): 1115.
Schwieters, Martha. “Marian Chace: The Early Years in Life and Art,” in Sandel, Susan L., Chaiklin, Sharon, and Lohn, Ann, eds., Foundations of Dance/Movement Therapy: The Life and Work of Marian Chace (Columbia, MD: Marian Chace Memorial Fund, 1993), pp. 3–11.
Shedel, James. “Aesthetics and Modernity: Art and the Amelioration of Change in Fin de Siècle Austria,” Austrian History Yearbook 19, no. 1 (1983): 135142.
Shelton, Suzanne. Ruth St. Denis: A Biography of the Divine Dancer (Austin: University of Texas, 1981).
Sheppard, Richard. “The Problematics of European Modernism,” in Giles, Steve, ed., Theorizing Modernism (New York: Routledge, 1993), pp. 1–50.
Silverman, Debora. “The ‘New Woman,’ Feminism, and the Decorative Arts in Fin-de-Siècle France,” in Hunt, Lynn, ed., Eroticism and the Body Politic (Baltimore, MD: Johns Hopkins University Press, 1991), pp. 144–163.
Simonson, Mary. Body Knowledge (New York: Oxford University Press, 2013).
Skidmore, Thomas E. and Smith, Peter H.. Modern Latin America (New York: Oxford University Press, 1989).
Smith, Anthony D. National Identity (Reno: University of Nevada Press, 1991).
Soares, Janet Mansfield. Louis Horst: Musician in A Dancer’s World (Durham, NC: Duke University Press, 1992).
Solrac, Odelotte. Tórtola Valencia and Her Legacy (New York: Vintage, 1982).
Sorell, Walter. Mary Wigman: Ein Vermächtnis (Wilhelmshaven: Noetzel, 1986).
Souritz, Elizabeth. “Isadora Duncan and Prewar Russian Dancemakers,” in Garafola, Lynn and Baer, Nancy van Norman, eds., The Ballets Russes and Its World (New Haven, CT: Yale University Press, 1999), pp. 97–116.
Soyka, Amelie. Tanzen und tanzen und nichts als tanzen (Berlin: Aviva, 2004).
Spector, Irwin. Rhythm and Life: The Work of Emile Jaques-Dalcroze (Stuyvesant, NY: Pendragon, 1990).
Srinivasan, Amrit. “Reform and Revival: The Devadasi and Her Dance,” Economic and Political Weekly 20, no. 44 (1985): 18691876.
Stadlinger, Michael. “Beziehungen zwischen Modernem Tanz in Mitteleuropa und den USA in den 20er und 30er Jahren des zwanzigsten Jahrhunderts” (Ph.D. diss., Vienna, 1980).
Stamm, Rainer. “Alexander Sacharoff – Bildende Kunst und Tanz,” in Peter, Frank-Manuel and Stamm, Rainer, eds., Die Sacharoffs–zwei Tänzer aus dem Umkreis des Blauen Reiters (Cologne: Wienand, 2002), pp. 11–45.
Stearns, Peter N. Fat History: Bodies and Beauty in the Modern West (New York: New York University Press, 2002).
Steegmuller, Francis. Your Isadora: The Love Story of Isadora Duncan & Gordon Craig (New York: Random House, 1974).
Stewart, Mary Lynn. For Health and Beauty: Physical Culture for Frenchwomen, 1880s–1930s (Baltimore, MD: Johns Hopkins University Press, 2001).
Stüdemann, Natalia. Dionysos in Sparta: Isadora Duncan in Russland (Bielefeld: Transcript, 2008).
Studlar, Gaylyn. Visions of the East: Orientalism in Film (New Brunswick, NJ: Rutgers University Press, 1997).
Suquet, Annie. L’Eveil des modernités: Une histoire culturelle de la danse (1870–1945) (Paris: Pantin/Centre national de la danse, 2012).
Sweeney, Carole. From Fetish to Subject: Race, Modernism, and Primitivism, 1919–1935 (Westport, CT: Praeger, 2004).
Takeishi, Midori. Japanese Elements in Michio Ito’s Early Period (1915–1924), ed. Pacun, David (Los Angeles: California Institute of the Arts, 2006).
Taper, Bernard. Balanchine: A Biography (Berkeley: University of California Press, 1984).
Taylor, George and Whyman, Rose, “François Delsarte, Prince Sergei Volkonsky and Mikhail Chekhov,” Mime Journal 23 (2005): 97–111.
Terry, Walter. Miss Ruth: The “More Living Life” of Ruth St. Denis (New York: Dodd, Mead, 1969).
Thomas, Helen. Dance, Modernity and Culture: Explorations in the Sociology of Dance (London: Routledge, 1995).
Thomas, Julian. “Archaeology’s Place in Modernity,” Modernism/Modernity 11 (2004): 17–34.
Thoms, Ulrike. “Dünn und dick, schön und hässlich: Schönheitsideal und Körpersilhouette in der Werbung 1850–1950,” in Borscheid, Peter, ed., Bilderwelt des Alltags: Werbung in der Konsumgesellschaft des 19. und 20. Jahrhunderts (Stuttgart: Steiner, 1995), pp. 242–281.
Thorun, Claudia. Sarah Bernhardt: Inszenierungen von Weiblichkeit im fin de siècle (Hildesheim: Olms, 2006).
Thurman, Judith. Secrets of the Flesh: A Life of Colette (New York: Alfred A. Knopf, 1979).
Tickner, Lisa. The Spectacle of Women: Imagery of the Suffrage Campaign, 1907–1914 (London: Chatto and Windus, 1987).
Tilburg, Patricia. “‘The Triumph of the Flesh’: Women, Physical Culture, and the Nude in the French Music Hall, 1904–1914,” Radical History Review 98 (2007): 63–80.
Toepfer, Karl. Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910–1935 (Berkeley: University of California Press, 1997).
Toepfer, Karl. “One Hundred Years of Nakedness in German Performance,” Drama Review 47 (2003): 144–188.
Tomko, Linda J. Dancing Class: Gender, Ethnicity, and Social Divides in American Dance, 1890–1920 (Bloomington: Indiana University Press, 1999).
Traub, Ulrike. Theater der Nacktheit: Zum Bedeutungswandel entblösster Körper auf der Bühne seit 1900 (Bielefeld: Transcript, 2010).
Tschannen, Olivier. “La revaloración de la teoría de la secularizatión mediante la perspectiva comparada Europa Latina-América Latina,” in Bastien, Jean-Pierre, ed., La Modernidad Religiosa: Europea Latina y América Latina en perspectiva comparada (México: Fondo de Cultura Económica, 2004), pp. 353–366.
Van Os, Henk, et al., Femmes Fatales, 1860–1910 (Antwerp: Groninger Museum, 2002).
Veroli, Patrizia. “Auf der Suche nach der Ekstase,” Tanzdrama 20 (1992): 20–27.
Veroli, Patrizia. Baccante e dive dell’aria: Donne danza e società in Italia, 1900–1945 (Castello: Edimond, 2001).
Veroli, Patrizia. “Der Spiegel und die Hieroglyphe: Alexander Sacharoff und die Moderne im Tanz,” in Peter, Frank-Manuel and Stamm, Rainer, eds., Die Sacharoffs (Cologne: Wienand, 2002).
Voskuil, Lynn M. Acting Naturally (Charlottesville: University of Virginia Press, 2004).
Waagenaar, Sam. The Murder of Mata Hari (London: Arthur Barker, 1964).
Wagner, Ann. Adversaries of Dance: From the Puritans to the Present (Urbana: University of Illinois Press, 1997).
Walkowitz, Judith R. City of Dreadful Delight (Chicago: University of Chicago Press, 1992).
Walkowitz, Judith R.The ‘Vision of Salomé: Cosmopolitanism and Erotic Dancing in Central London, 1908–1918,” American Historical Review 108 (2003): 337–376.
Walkowitz, Judith R. Nights Out: Life in Cosmopolitan London (New Haven, CT: Yale University Press, 2012).
Walther, Suzanne K. The Dance of Death: Kurt Jooss and the Weimar Years (Chur: Harwood Academic, 1994).
Weeks, Jeffrey. The World We Have Won: The Remaking of Erotic and Intimate Life (New York: Routledge, 2007).
Wheelwright, Julie. The Fatal Lover: Mata Hari and the Myth of Women in Espionage (London: Collins and Brown, 1992).
Wilhelm, Hermann. Die Münchener Bohème (Munich: Buchendorfer, 1993).
Wohl, Anthony. “Heart of Darkness: Modernism and Its Historians,” Journal of Modern History 74 (2002): 573–621.
Wohler, Ulrike. “Tanz zwischen Avantgarde und klassischer Moderne: Anita Berber und Mary Wigman,” in Hieber, Lutz and Moebius, Stephan, eds., Avantgarden und Politik: Künstlerischer Aktivismus von Dada bis zur Postmoderne (Bielefeld: transcript, 2009).
Wollen, Peter. “Fashion/Orientalism/The Body,” New Formations 1 (1987): 5–33.
Woolf, Vicki. Dancing in the Vortex: The Story of Ida Rubinstein (Amsterdam, The Netherlands: Harwood, 2000).
Wouters, Cas. “Etiquette Books and Emotional Management in the 20th Century: Part Two – The Integration of the Sexes,” Journal of Social History 29 (1995): 325339.
Saler, Michael. Informalization: Manners and Emotions Since 1890 (Los Angeles: SAGE, 2007).
  • Deutsches Tanzarchiv Köln/SK Stiftung Kultur, Cologne

  • Inventory no. 0118, La Argentina/Antonia Mercé

  • Inventory no. 69, Duncan-Archiv

  • Inventory no. 56, Clotilde und Alexander Sacharoff

  • Inventory no. 10, Gertrud und Ursula Falke

  • Inventory no. 161, Edith von Schrenck

  • Inventory no. 193, Schwestern Wiesenthal

  • Jerome Robbins Dance Division, New York Public Library of the Performing Arts

  • Ruth St. Denis Papers

  • Natalia Roslasleva files

  • Sent M’ahesa Clippings

  • Irma Duncan Collection of Isadora Duncan Materials

  • Museo de les Arts Escèniques (MAE), Institut del Teatre, Barcelona

  • Fonds Tórtola Valencia

  • Theatercollectie, Bijzondere Collecties, Universiteit Amsterdam

  • Archief Gertrud Leistikow

  • Museum of Performance and Design, San Francisco

  • Maud Allan clippings files

  • Staatsarchiv Munich

  • Polizei-Direktion, no. 3806/4

  • Polizei-Direktion, no. 1010/4

  • Landesarchiv Berlin

  • APrBr, Repositur 030-05, Tit. 74, Th. 1502

  • Geheimes Staatsarchiv Preussischer Kulturbesitz, Berlin

  • Rep. 77, Ministerium des Innern, Tit. 425, no. 37

  • Institut für Zeitungsforschung, Dortmund

  • Newspaper article in Münchner Post, Berliner Tageblatt, Münchner Neueste Nachrichten, Germania

Acosta, Mercedes de. Here Lies the Heart (New York: Reynal, 1960).
Allan, Maud. My Life and Dancing (London: Everett, 1908).
Altenberg, Peter. “Greek Art,” in Maud Allan and Her Art (London: n.p., n.d.), p. 1.
Altenberg, Peter.My Aims and Ideals,” Maud Allan and Her Art (London: n.p., n.d.), pp. 2–3.
Altenberg, Peter. Das grosse Peter Altenberg Buch, ed. Schweiger, Werner J. (Vienna: Paul Zsolnay, 1977).
Altenberg, Peter.Mata Hari im Apollotheater,” in Christine Lüders, ed., Apropos Mata Hari (Frankfurt: Neue Kritik, 1997), p. 91.
Armitage, Merle, ed. Martha Graham (New York: Dance Horizons, 1966 [original 1937]).
Aubel, Hermann and Marianne, . Der künstlerische Tanz unserer Zeit (Königstein/Ts: Langewiesche, 1930).
Baars, Ernst. Sexuelle Ethik (Berlin: Akademischer Bund Ethos, 1908).
Bach, Rudolf, ed. Das Mary Wigman-Werk (Dresden: Reissnerl 1933).
Baudelaire, Charles. The Painter of Modern Life and Other Essays (London: Phaidon, 1964 [1863]).
Becker, Marie Luise. Der Tanz (Leipzig: Seemann, 1901).
Becker, Marie Luise. “Tanz,” Schönheit 1 (1903): 277–290.
Becker, Marie Luise.Die Sezession in der Tanzkunst,” Bühne und Welt 12 (1910): 2743.
Belasco, David. The Theatre through Its Stage Door (New York: Harper and Brothers, 1919).
Benois, Alexandre. Reminiscences of the Russian Ballet (London: Putnam, 1947).
Bie, Oskar. Der Tanz (Berlin: Julius Bard, 1919).
Bird, Dorothy.Martha,” in Gottlieb, Robert, ed., Reading Dance: A Gathering of Memoirs, Reportage, Criticism, Profiles, Interviews, and Some Uncategorizable Extras (New York: Pantheon, 2008), pp. 735–740.
Blass, Ernst. Das Wesen der neuen Tanzkunst (Weimar: Lichtenstein, 1922).
Blavatsky, H. P. The Secret Doctrine: The Synthesis of Science, Religion and Philosophy (Adyar: Theosophical Publishing House, 1962).
Bloch, Iwan. Beiträge zur Aetiologie der Psychopathia sexualis (Dresden: Dohrn, 1902).
Boehn, Max von. Der Tanz (Berlin: Wegweiser, 1925).
Böhme, Fritz. Der Tanz der Zukunft (Dresden: Reissner, 1926).
Böhme, Fritz. Tanzkunst (Dessau: Dünnhaupt, 1926).
Brandenburg, Hans. Der modern Tanz (Munich: Georg Müller, 1921).
Brandenburg, Hans. “Von deutscher Tanzkunst: Rückblick und Ausblick,” in Die tänzerische Situation unserer Zeit: Ein Querschnitt (Dresden: Reissner, 1936), pp. 50–58.
Saler, Michael. München leuchtete: Jugenderinnerungen (Munich: Herbert Neuner, 1953).
Saler, Michael. “Drei Walzer und die Schwestern Wiesenthal,” in Fiedler, Leonhard M. and Lang, Martin, eds., Gertrude Wiesenthal (Salzburg: Residenz, 1985).
Browne, Junius H.The Ballet as a Social Evil,” The Northern Review 2 (1868): 522538.
Caffin, Caroline and Charles, H. Dancing and Dancers of Today (New York: Dodd, Mead and Company, 1912).
Carpenter, Edward. Wenn die Menschen reif zur Liebe werden, trans. Karl Federn (Leipzig: Hermann Seemann, 1902).
Cohen, Selma Jeanne, ed. Dance as a Theater Art (New York: Dodd, Mean, 1974).
Cooper, Diana. The Rainbow Comes and Goes (Boston: Houghton Mifflin, 1958).
Coote, William Alexander, ed. A Romance of Philanthropy (London: National Vigilance Association, 1916).
Craig, Gordon. Gordon Craig on Movement and Dance, ed. Rood, Arnold (New York: Dance Horizons, 1977).
Croce, Benedetto. Aesthetik als Wissenschaft des Ausdrucks und allgemeine Linguistik, trans. Karl Federn (Leipzig: E. A. Seemann, 1905).
Delius, Rudolf von. Die Philosophie der Liebe (Darmstadt: Reichl, 1922).
Delius, Rudolf von. Mary Wigman (Dresden: Carl Reissner, 1925).
Delius, Rudolf von.Clotilde von Derp (1910),” in Peter, Frank-Manuel and Stamm, Rainer, eds., Die Sacharoffs (Cologne: Wienand, 2000).
dell’Era, Antonietta.Muss man nackt tanzen?,” Berliner Tageblatt 628, December 3, 1911.
Delsarte, François. “Address of François Delsarte before the Philotechnic Society of Paris,” in Genevieve Stebbins, Delsarte System of Expression (New York: Edgar S. Werner, 1902), pp. 21–68.
Denby, Edwin. Dance Writings & Poetry, ed. Cornfield, Robert (New Haven, CT: Yale University Press, 1998).
Desmond, Olga. Mein Weg zur Schönheit (Berlin: Bücherzentrale, n.d.).
Döblin, Alfred.Tänzerinnen,” Alfred Döblin, Kleine Schriften, vol. I (Freiburg: Walter, 1985), pp. 128–130.
Dörr, Evelyn. Also, die Damen voran! Rudolf Laban in Briefen an Tänzer, Choreographen und Tanzpädagogen, vol. 1, 19121918 (Norderstedt: Books on Demand, 2013).
Dransfeld, Hedwig.Die Teilnahme des katholischen Frauenbundes an der Bekämpfung gefährlicher und unsittlicher Bestrebungen,” Die christliche Frau 12 (1914): 109–114.
Duncan, Irma. Duncan Dancer: An Autobiography (Middletown, CT: Wesleyan University Press, 1965).
Duncan, Isadora. Der Tanz der Zukunft (The Dance of the Future): Eine Vorlesung, trans. Karl Federn (Leipzig: Diederichs, 1903).
Duncan, Isadora. The Art of the Dance (New York: Theatre Arts, 1928).
Duncan, Isadora. “A Child Dancing” (1906), in Sheldon Cheney, ed., The Art of the Dance (New York: Theatre Arts, 1928), pp. 74–76.
Duncan, Isadora.The Dancer and Nature,” in Cheney, Sheldon, ed., The Art of the Dance (New York: Theater Arts, 1928), pp. 66–70.
Duncan, Isadora. “Depth,” in Sheldon Cheney, ed., The Art of the Dance (New York: Theater Arts, 1928), pp. 99–100.
Duncan, Isadora. “Movement Is Life,” in Sheldon Cheney, ed., The Art of the Dance (New York: Theater Arts, 1928), pp. 77–79.
Duncan, Isadora. “The Parthenon,” in Duncan,The Art of the Dance, ed. Sheldon Cheney (New York: Theatre Arts, 1928), pp. 64–65.
Duncan, Isadora. My Life (New York: Liveright, 1955 [1927]).
Duncan, Isadora. “Come, Children, Let’s Dance,” in Franklin Rosemont, ed., Isadora Speaks (San Francisco: City Lights, 1981), pp. 81–84.
Duncan, Isadora. “I Have a Will of My Own,” Isadora Speaks, ed. Rosemont, Franklin (San Francisco: City Lights, 1981), p. 33.
Duncan, Isadora. Isadora Speaks, ed. Rosemont, Franklin (San Francisco: City Lights, 1981).
Duncan, Margherita.Isadora,” in Cheney, Sheldon, ed., The Art of the Dance (New York: Theatre Arts, 1928), pp. 16–23.
Duncan, Raymond. “Isadora’s Last Dance,” in Sheldon Cheney, ed., The Art of the Dance (New York: Theater Arts, 1928), pp. 13–15.
Einstein, Carl.Lettre a la danseuse Napierkowska,” La Phalange 12 (1912): 73-76.
Elberskirchen, Johanna. Die Sexualempfindung bei Weib und Mann, betrachtet vom physiologisch-soziologischen Standpunkte (Leipzig: Jacques Hegner, 1903).
Ellis, Havelock.The Philosophy of Dancing,” Atlantic Monthly, February 1914, at
Ellis, Havelock. The Dance of Life (Boston: Houghton Mifflin, 1923).
Erlbach, Otto von (Armin Kausen). “Das Nackte auf der Bühne,” Allgemeine Rundschau 4, no. 5 (1907): 215.
Erlbach, Otto vonBühne und Neuheidentum,” Allegemeine Rundschau 9, no. 12 (1912): 613.
Ernst, Clara. Der feine Ton im gesellschaftlichen und öffentlichen Leben (Mülheim: Bagel, 1885).
Ernst, Clara. Was sich schickt–Was sich nicht schickt (Mülheim: Bagel, 1900).
Ettlinger, Karl.Sent M’ahesa,” Tanzdrama 14 (1991): 32–34.
Federn, Karl.Die Zeit und das Problem,” in Carpenter, Edward, ed., Wenn die Menschen reif zur Liebe werden, trans. Karl Federn (Leipzig: Seemann, 1902), pp. 7–36.
Federn, Karl. “Einleitung,” in Isadora Duncan, Der Tanz der Zukunft (Leipzig: Eugen Diederichs, 1903), pp. 5–10.
Felder, Erich.Münchner Keuschheitsgelüste,” Der Turm 1, no. 1 (December 1911): 18.
Flitch, J. E. Crawford. Modern Dancing and Dancers (Philadelphia: Lippincott, 1912).
Foerster, Friedrich Wilhelm. Sexualethik und Sexualpädagogik (Kempten: Josef Kösel, 1907).
Fokine, Vitale. Fokine: Memoirs of a Ballet Master (Toronto: Little, Brown, 1961).
Freud, Sigmund.Civilization and its Discontents” (1930), in Strachey, James, ed., The Standard Edition of the Complete Psychological Works of Sigmund Freud, vol. 21 (London: Hogarth, 1961), pp. 64–148.
Freud, Sigmund.An Outline of Psychoanalysis” (1940), in Strachey, James, ed., The Standard Edition of the Complete Psychological Works of Sigmund Freud, vol. 23 (London: Hogarth, 1961), pp. 144–208.
Fuchs, Georg. Der Tanz (Stuttgart: Strecker and Schöder, 1906).
Fuchs, Georg. Sturm und Drang in München um die Jahrhundertwende (Munich: Georg D. W. Callwey, 1936).
Fuller, Loïe. Fifteen Years of a Dancer’s Life (Boston: Small, Maynard, 1913).
Gautier, Theophile.Fanny Elssler in ‘La Tempête,’” in Copeland, Roger and Cohen, Marshall, eds., What Is Dance?: Readings in Theory and Criticism (Oxford: Oxford University Press, 1983), pp. 431–438.
Gener, Pompeyo.Tortola Valencia,” Mundial 2 (1912): 527–531.
Gert, Valeska. Mein Weg (Leipzig: A. F. Devrient, 1931).
Gert, Valeska. Ich bin eine Hexe: Kaleidoskop meines Lebens (Munich: Schneekluth, 1968).
Giese, Fritz. Girlkultur: Vergleiche zwischen amerikanischem und europäischem Rythmus und Lebensgefühl (Munich: Delphin, 1925).
Ginner, Ruby. The Revived Greek Dance: Its Art and Technique (London: Methuen, 1933).
Gitelman, Claudia. Liebe Hanya: Mary Wigman’s Letters to Hanya Holm (Madison: University of Wisconsin Press, 2003).
Gomez-Carrillo, Enrique. “El teatro en Paris,” Mundial 3 (1913): 384-388, 474–477.
Saler, Michael. El misterio de la vida y de la muerte de Mata Hari (Madrid: Renaciemento, 1923).
Graham, Martha.Seeking an American Art of the Dance,” in Sayler, Oliver M., ed., Revolt in the Arts: A Survey of the Creation, Distribution, and Appreciation of Art in America (New York: Brentano, 1930), pp. 249–255.
Graham, Martha.The American Dance,” in Virginia Stewart, , ed., Modern Dance (New York: Dance Horizons, 1970 [1935]), pp. 53–58.
Graham, Martha. “A Modern Dancer’s Primer for Action” (1941), in Selma Jeanne Cohen, ed., Dance as a Theater Art (New York: Dodd, Mean, 1974), pp. 136–141.
Grete Wiesenthal in Amor und Psyche und Das Fremde Mädchen: Szenen von Hugo von Hofmannsthal (Berlin: S. Fischer, 1911).
Gumplowicz, Ladislas.Ehe und freie Liebe,” Sozialistische Monatshefte 6 (1900): 255–267.
Guttzeit, Johannes. Schamgefühl, Sittlichkeit und Anstand (Dresden: Berthold Sturm, 1908).
The Habits of Good Society: A Handbook for Ladies and Gentlemen (New York: Carleton, 1872).
Haeckel, Ernst. Die Welträthsel: Gemeinverständliche Studien über Monistische Philosophie (Bonn: Emil Strauss, 1903 [1899]).
Halbe, Max. Jahrhundertwende: Geschichte meines Lebens 1893–1914 (Danzig: Kasemann, 1935).
Heitmann, Ludwig. Grossstadt und Religion (Hamburg: C. Boysen, 1913).
Heppenstall, Rayner.Apology for Dancing” (1936), in Copeland, Roger and Cohen, Marshall, eds., What Is Dance? (Oxford: Oxford University Press, 1983), pp. 267–288.
Hitler, Adolf. Mein Kampf (Boston: Houghton Mifflin, 1943).
Hofmannsthal, Hugo von.Die unvergleichliche Tänzerin,” Gesammelte Werke: Prosa, vol. 2 (Frankfurt: S. Fischer, 1951), pp. 256–263.
Hofmannsthal, Hugo von. Hugo von Hofmannsthal/Harry Graf Kessler: Briefwechsel 1898–1929, ed. Burger, Hilde (Frankfurt: Insel, 1968).
Hofmannsthal, Hugo von. Hugo von Hofmannsthal, Briefwechsel mit Alfred Walter Heymel, ed. Vole, Werner (Freiburg: Rombach, 1998).
Holgers, Maria.Isadora Duncan – Eine Erlösung,” Die Schönheit: Erster Luxusband (1902/1903): 536–538.
Holley, Horace.To Maud Allan,” Maud Allan and Her Art (London: n.p., n.d.).
Huber-Wiesenthal, Rudolf. Die Schwestern Wiesenthal: Ein Buch eigenen Erlebens (Vienna: Saturn, 1934).
Humphrey, Doris. “What Shall We Dance About?,” Trend: A Quarterly of the Seven Arts 1 (1932): 46–48.
Hofmannsthal, Hugo von. Doris Humphrey: An Artist First – An Autobiography, ed. Cohen, Selma Jeanne (Middletown, CT: Wesleyan University Press, 1972).
Hofmannsthal, Hugo von.What a Dancer Thinks About,” in Brown, Jean Morrison, ed., The Vision of Modern Dance (Princeton, NJ: Princeton Book Co., 1979), pp. 55–64.
Ibel, Rudolf.Die deutsche Tänzerin,” Der Kreis 9 (1932): 692–696.
Impekoven, Niddy. Die Geschichte eines Wunderkindes (Zürich: Rotapfel, 1955).
Kant, Immanuel. Immanuel Kant’s sämmtliche Werke, vol. 5, ed. Hartenstein, G. (Leipzig: Leopold Voss, 1867).
Kant, Immanuel. Critik der Urtheilskraft (London: Routledge, 1994 [1790]).
Kessler, Harry Graf. Harry Graf Kessler: Das Tagebuch, Dritter Band 1897–1905, eds. Schäfer, Carina and Biedermann, Gabriele (Stuttgart: Cotta, 2004).
Saler, Michael. Harry Graf Kessler: Das Tagebuch, Vierter Band 1906-1914, ed. Jörg Schuster (Stuttgart: Cotta, 2004).
Key, Ellen. Liebe und Ethik (Berlin: Pan, 1905).
Key, Ellen. Der Lebensglaube: Betrachtungen über Gott, Welt, und Seele (Berlin: Fischer, 1906).
Key, Ellen. Über Liebe und Ehe (Berlin: S. Fischer Verlag, 1911).
Kraus, Karl.Der Schmock und die Bajadere,” in Lüders, Christine, ed., Apropos Mata Hari (Frankfurt: Neue Kritik, 1997), pp. 85–90.
Laban, Rudolf von. Die Welt des Tänzers (Stuttgart: Walter Seifert, 1920).
Laban, Rudolf von. “Die deutsche Tanzbühne: Vorgeschichte und Ausblick,” in Die tänzerische Situation unserer Zeit: Ein Querschnitt (Dresden: Reissner, 1936), pp. 3–7.
Laban, Rudolf von. A Life for Dance: Reminiscences (New York: Theater Arts, 1975).
Lämmel, Rudolf. Der Moderne Tanz: Eine allgemeinverständliche Einführung in das Gebiet der Rhythmischen Gymnastik und des Neuen Tanzes (Berlin: Oestergaard, 1928).
Lang, Marie.Offenbarung,” Dokumente der Frauen 6 (1902): 637.
Lenin, Vladimir. The State and Revolution, excerpt in Socialist Thought: A Documentary History, eds. Fried, Albert and Sanders, Ronald (Garden City, NY: Anchor, 1964).
Lennartz, Ernst. Duncan – She – Desmond: Beiträge zur Beurteilung und Geschichte der Nackt-Kultur (Cologne: Benziger, 1908).
Levinson, André.Technik und Geist: Bemerkungen zum ‘klassischen’ Tanz,” in Stefan, Paul, ed., Tanz in dieser Zeit (Vienna: Universal-Edition, 1926), pp. 36–39.
Levinson, André.The Modern Dance in Germany” (1929), in Acocella, Joan and Garafola, Lynn, eds., Andre Levinson on Dance: Writings from Paris in the Twenties (London: Wesleyan University Press/University Press of New England, 1991), pp. 100–109.
Lifar, Serge. Serge Diaghilev: His Life, His Work, His Legend – An Intimate Biography (New York: Putnam, 1940).
Marinetti, Filippo.The Futurist Manifesto,” in Lyttleton, Adrian, ed., Italian Fascism (New York: Harper, 1973), pp. 209–215.
Martin, John. “The Dance: A Futile Congress,” New York Times, July 20, 1930, p. X6.
Martin, John. “The Dance: Mary Wigman’s Art,” New York Times, August 3, 1930, p. 101.
Martin, John. “The Dance: Plans for the New Season,” New York Times, September 21, 1930, P. 6.
Martin, John. “Martha Graham, Dancer, Is Cheered,” New York Times, December 7, 1931, p. 23
Martin, John. “The Dance: Artist and Audience,” New York Times, December 27, 1931, p. 94.
Martin, John. The Modern Dance (New York: Dance Horizons, 1965 [1933]).
Martin, John. “The Dance: On Bringing Back Yesterday’s Beauty,” New York Times, February 19, 1933, p. X2.
Martin, John. America Dancing: The Background and Personalities of the Modern Dance (New York: Dodge, 1936).
Mary Wigman: Die Tänzerin, die Schule, die Tanzgruppe (Überlingen: Seebote, 1927).
Mausbach, Joseph.Der Kampf gegen die moderne Sittenlosigkeit–eine Kulturaufgabe des deutschen Volkes,” Volkswart 5 (1912): 129–136.
Mérode, Cléo de. Le ballet de ma vie (Paris: Horay, 1985 [1955]).
Merz, Max.Die Ziele und die Organisation der Elizabeth Duncan-Schule,” in Elizabeth Duncan-Schule, Marienhöhe/Darmstadt (Jena: Eugen Diederichs, 1912), pp. 9–17.
Meyer, Bruno.Etwas von positiver Sexualreform,” Sexual-Probleme 4 (1908): 703–722, 790–811.
Meyer, Bruno. "Muss man nackt tanzen?" Die Schönheit 9, no 11 (1911): 564–574.
Michel, Artur.The Development of the New German Dance,” in Stewart, Virginia, ed., Modern Dance (New York: Dance Horizons, 1970 [1935]), pp. 3–18.
Möckel, Gustav.Isadora Duncan,” Kraft und Schönheit 1 (1902/1903): 137–138.
Moeller-Bruck, Arthur. Das Varieté (Berlin: Julius Bard, 1942).
Murias Vila, Carlos.La magicienne aux yeux d’abîme,” Danser 103 (1992): 24–27.
Mussolini, Benito. Fascism: Doctrine and Institutions (Rome: Ardita, 1935).
Oertzen, Dietrich von.Sittlichkeit und Standesehre,” in Verhandlungen der Halle’schen Konferenz der deutschen Sittlichkeits-Vereine vom 8. und 9. Mai 1890 (Berlin: Berliner Stadtmission, 1890).
Osborn, Max. Der bunte Spiegel; Erinnerungen aus dem Kunst-, Kultur-, und Geistesleben der Jahre 1890 bis 1933 (New York: F. Krause, 1945).
Osborn, Max.Grete Wiesenthal,” in Fiedler, Leonhard M. and Lang, Martin, eds., Grete Wiesenthal: Die Schönheit der Sprache des Körpers in Bewegung (Salzburg: Residenz, 1985), pp. 72–74.
O’Sheel, Shaemas.To Maud Allan,” Maud Allan and Her Art (London: n.p., n.d.).
Otero, La Belle/Otero, Caroline. My Story (London: Philpot, 1927).
Palkow, Hannelore, and Marchand, André, Liebeslexikon von A-Z (Vienna: Verlag für Kulturforschung, 1932).
Perugini, Mark E.Sketches of the Dance and Ballet,” The Dancing Times 3 (1912–1913): 74–78.
Perugini, Mark Edward. A Pageant of the Dance and Ballet (London: Jarrolds, 1935).
Poiret, Paul. My First Fifty Years, trans. Stephen Haden Guest (London: Gollancz, 1931).
Rambert, Marie. Quicksilver (London: Macmillan, 1972).
Richardson, Lady Constance Stewart. Dancing, Beauty and Games (London: Arthur L. Humphreys, 1913).
Sacharoff, Alexander.Clotilde,” in Peter, Frank-Manuel and Stamm, Rainer, eds., Die Sacharoffs: Zwei Tänzer aus dem Umkreis des Blauen Reiters (Cologne: Wienand, 2005), pp. 153–156.
Sacharoff, Clotilde. “La vie que nous avons dansée,” in Frank-Manuel Peter and Rainer Stamm, eds., Die Sacharoffs (Cologne: Wienand, 2002), pp. 156-165.
Schelley, Peter.Tänzerkongress 1928,” reprinted in Tanzdrama 4 (1987): 1617.
Schikowski, John. Geschichte des Tanzes (Berlin: Büchergilde Gutenberg, 1926).
Schur, Ernst.Über das Erotische,” Die Neue Generation 4 (1908): 47–50.
Saler, Michael. Der moderne Tanz (Munich: Gustav Lammers, 1910).
Selden, Elizabeth. The Dancer’s Quest: Essays on the Aesthetic of the Contemporary Dance (Berkeley: University of California Press, 1935).
Shawn, Ted. The American Ballet (New York: Henry Holt, 1926).
Shawn, Ted. Fundamentals of a Dance Education (Girard, KS: Haldeman-Julius, 1937).
Shawn, Ted. One Thousand and One Night Stands (Garden City, NY: Doubleday, 1960).
Sherman, Jane. Soaring: The Diary and Letters of a Denishawn Dancer in the Far East, 1925–1926 (Middletown, CT: Wesleyan University Press, 1976).
Simmel, Georg.Zur Ästhetik der Alpen,” Gesamtausgabe (Frankfurt: Suhrkamp, 1989), pp. 162–169.
Skoronel, Vera.Mary Wigman’s Führertum,” Tanzgemeinschaft 2 (1930): 4, on the compact disk Die Akte Wigman, ed. Heide Lazarus (Cologne: Olms/Deutsches Tanz-Archiv, 2006).
Sokolova, Lydia. Dancing for Diaghilev: The Memoirs of Lydia Sokolova, ed. Buckle, Richard (New York: Macmillan, 1961).
Spier, J.Lulucharaktere!,” Sexual-Probleme 9 (1913): 676–688.
St. Denis, Ruth. An Unfinished Life (New York: Harper and Brothers, 1939).
St. Denis, Ruth.Religious Manifestations in the Dance,” in Sorrell, Walter, ed., The Dance Has Many Faces (New York: Columbia University Press, 1966), pp. 12–18.
St. Denis, Ruth.The Dance as Life Experience,” in Brown, Jean Morrison, ed., The Vision of Modern Dance (Princeton, NJ: Princeton Book Co., 1979), pp. 21–25.
St. Denis, Ruth. Wisdom Comes Dancing: Selected Writings of Ruth St. Denis on Dance, Spirituality, and the Body, ed. Miller, Kamae A. (Seattle: PeaceWorks, 1997).
Stanislavski, Konstantin. My Life in Art, trans. J. J. Robbins (Boston: Little, Brown, 1929).
Stanislavski, Konstantin. An Actor’s Work (New York: Routledge, 2008).
Stebbins, Genevieve. Delsarte System of Expression (New York: Edgar S. Werner, 1902).
Stenographische Berichte über die Verhandlungen des preussischen Hauses der Abgeordneten, 13. session, January 13, 1909, columns 937–968.
Stöcker, Helene. Bund für Mutterschutz (Berlin: Pan, 1905).
Storck, Karl.Ganz ohne Cancan,” Tanzdrama 1 (1987): 24.
Symons, Arthur. “The World as Ballet,” in Studies in Seven Arts (London: Archibald Constable, 1906), pp. 387–391.
Török, Alphons. Tanzabende: Kritische Monographien (Vienna: Merker, 1918).
Urlin, Ethel. Dancing Ancient and Modern (London: Simkin, Marshall, Hamilton, Kent & Co., 1912).
Vaihinger, Hans. The Philosophy of As If (London: Routledge & Kegan Paul, 1968 [1924]).
Vaihinger, Hans. Die Philosophie des Als-Ob (Berlin: Reuther and Reichard, 1911).
Valencia, Tórtola.Mis danzas,” Nuevo Mundo, January 16, 1913.
Valois, Ninette de.The Future of the Ballet” (1933), in Ninette de Valois: Adventurous Traditionalist (Alton, UK: Dance Books, 2012), pp. 149–152.
Vechten, Carl van. The Dance Writings of Carl van Vechten, ed. Padgette, Paul (New York: Dance Horizons, 1974).
Vechten, Carl van.Duncan Concerts in New York,” in Magriel, Paul, ed., Nijinsky, Pavlova, Duncan: Three Lives in Dance (New York: Da Capo, 1977).
Vechten, Carl van. “The New Isadora,” in Paul Padgette, ed., The Dance Writings of Carl van Vechten (New York: Dance Horizons, 1977), pp. 22–27.
Villany, Adorée-Via.Muss man nackt tanzen? Eine Antwort,” Berliner Tageblatt 628, December 10, 1911, p. 1.
Villany, Adorée-Via. Tanz-Reform und Pseudo-Moral: Kritisch-satyrische Gedanken aus meinem Bühnen- und Privatleben, trans. Mirjam David (Paris: Villany, 1912).
Saler, Michael. Phryné moderne devant l’Areopage (Munich: Bruckmann, 1913).
Vischer, Friedrich Theodor. Aesthetik, oder die Wissenschaft des Schönen, part 3, section 2 (Stuttgart: Mäcken, 1857).
Weigl, F.Das gegenwärtige Hervordringen des Nackten in die Öffentlichkeit,” Volkswart 1 (1908): 18–22.
Wells, H. G. The Discovery of the Future (New York: B. W. Huebsch, 1913).
Wells, H. G., and Huxley, Julian, The Science of Life (London: London Amalgamated Press, 1929).
Werefkin, Marianne. “Über die Sacharoffs,” in Frank-ManuelPeter and Rainer Stamm, Die Sacharoffs(Cologne: Wienand, 2000), p. 48.
Wiesenthal, Grete. Der Aufstieg (Berlin: Rowohlt, 1919).
Wiesenthal, Grete.Unsere Tänze,” in Fiedler, Leonhard M. and Lang, Martin, eds., Grete Wiesenthal (Salzburg: Residenz, 1985), pp. 55–57.
Wigman, Mary.Tänzerisches Schaffen der Gegenwart,” in Stefan, Paul, ed., Tanz in dieser Zeit (Vienna: Universal-Edition, 1926), pp. 5–7.
Wigman, Mary.Die Schule,” in Bach, Rudolf, ed., Das Mary Wigman-Werk (Dresden: Reissnerl 1933), pp. 32–34.
Wigman, Mary. “Gruppentanz/Regie,” in Rudolph Bach, ed., Das Mary Wigman-Werk (Dresden: Reissner, 1933), pp. 45–47.
Wigman, Mary. Deutsche Tanzkunst (Dresden: Reissner, 1935).
Wigman, Mary. Die tänzerische Situation unserer Zeit: Ein Querschnitt (Dresden: Reissner, 1936).
Wigman, Mary.The New German Dance,” in Stewart, Virginia, eds., Modern Dance (New York: Dance Horizons, 1970 [1935]), pp. 19–23.
Wigman, Mary. “The Philosophy of Modern Dance” (1933), in Selma Jeanne Cohen, ed., Dance as a Theater Art (New York: Dodd, Mean, 1974), pp. 149–153.
Wigman, Mary.Stage Dance – Stage Dancer,” in Brown, Jean Morrison, ed., The Vision of Modern Dance (Princeton, NJ: Princeton Book Co., 1979), pp. 33–40.
Wigman, Mary.Das Land ohne Tanz,” Tanzgemeinschaft 1 (1929): 12, on the compact disk Die Akte Wigman, ed. Heide Lazarus (Cologne: Olms/Deutsches Tanz-Archiv, 2006).
Wilde, Oscar.Phrases and Philosophies for the Use of the Young” (1894), in The First Collected Edition of the Works of Oscar Wilde, 1908–1922, ed. Ross, Robert (London: Dawsons, 1969), pp. 176–178.
Wilhelm, II, “Die Wahre Kunst. 18. Dezember 1901,” in Penzler, Johannes, ed., Die Reden Kaiser Wilhelms II (Leipzig: Philipp Reclam, 1913), pp. 57–63.
Wilson, Margery. The New Etiquette: The Modern Code of Social Behavior (New York: Frederick Stokes, 1937).
Woody, Regina. Dancing for Joy (New York: Dutton, 1959).
Zepler, Margarete.Der Tanz und seine neueste Priesterin Isadora Duncan,” Frauen-Rundschau 1 (1902): 189190.
Zude, Waldemar.Nacktkultur und Vita sexualis,” Zeitschrift für Sexualwissenchaft 3, no. 1 (1916): 37–45, 80–89.