Adamson, Walter L. Embattled Avant-Gardes: Modernism’s Resistance to Commodity Culture in Europe (Berkeley: University of California Press, 2007).Google Scholar

Adelsbach, Karin, and Firmenich, Andrea, eds. Tanz in der Moderne. Von Matisse bis Schlemmer (Cologne: Wienand, 1996).Google Scholar

Anderson, Benedict. Imagined Communities: Reflections on the Origins and Spread of Nationalism (London: Verso, 1991).Google Scholar

Anderson, Jack. Art without Boundaries (Iowa City: University of Iowa Press, 1997).Google Scholar

Aston, Elaine. Sarah Bernhardt: A French Actress on the English Stage (New York: Berg, 1989).Google Scholar

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.Google Scholar

Bald, Vivek. Bengali Harlem and the Lost Histories of South Asian America (Cambridge, MA: Harvard University Press, 2013).Google Scholar

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.Google Scholar

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.Google Scholar

Bardsley, Kay. “Isadora Duncan’s First School,” Dance Research Annual 10 (1979): 219–249.Google Scholar

Baril, Jacques. La danse modern (Isadora Duncan a Twyla Tharp) (Paris: Vigot, 1977).Google Scholar

Batson, Charles R. Dance, Desire and Anxiety in Early Twentieth-Century French Theater: Playing Identities (Aldershot, UK: Ashgate, 2005).Google Scholar

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.Google Scholar

Bell, Michael. “The Metaphysics of Modernism,” in Levenson, Michael, ed., The Cambridge Companion to Modernism (Cambridge: Cambridge University Press, 1999), pp. 9–32.Google Scholar

Bellver, Catherine G. Bodies in Motion (Lewisburg, PA: Bucknell University Press, 2010).Google Scholar

Benedetti, Jean. Stanislavski (London: Methuen, 1988).Google Scholar

Bentivoglio, Leonetta. La danza moderna (Milan: Longanesi, 1977).Google Scholar

Bentley, Toni. Sisters of Salome (New Haven, CT: Yale University Press, 2002).CrossRefGoogle Scholar

Berg, Shelley C. “Sada Yacco: The American Tour, 1899–1900,” DC 16 (1993): 147–196.Google Scholar

Berg, Shelley C. “Sada Yacco in London and Paris, 1900: Le Rêve Réalisé,” DC 18 (1995): 343–404.Google Scholar

Betz, Thomas. “Dichten und Trachten: Hans Brandenburg und der Tanz,” Tanzdrama 55 (2000).Google Scholar

Betz, Thomas. “Der Russe und die Münchnerin,” Tanz-Journal 1, no. 1 (2003).Google Scholar

Betz, Thomas. “Die Duncan dichtet, die Sacchetto malt,” Tanz-Journal 1, no. 5 (2003).Google Scholar

Birken, Lawrence. Consuming Desire: Sexual Science and the Emergence of a Culture of Abundance, 1871–1914 (Ithaca, NY: Cornell University Press, 1988).Google Scholar

Blair, Fredrika. Isadora: Portrait of the Artist as a Woman (New York: McGraw-Hill, 1986).Google Scholar

Boes, Tobias. “Germany,” in Lewis, Pericles, ed., The Cambridge Companion to European Modernism (Cambridge: Cambridge University Press, 2011), pp. 33–51Google Scholar

Bonnet, Alastair. White Identities: Historical and International Perspectives (New York: Prentice Hall, 2000).Google Scholar

Bradshaw, David, ed. A Concise Companion to Modernism (Malden, MA: Blackwell, 2003).CrossRefGoogle Scholar

Brandon, Ruth. The Dollar Princesses: Sagas of Upward Nobility, 1870–1914 (New York: Alfred A. Knopf, 1980).Google Scholar

Brandstetter, Gabriele. “Tanzreform und Reformkleid: Zur Textilkunst von Mariano Fortuny,” Tanzdrama 14 (1991): 4–7.Google Scholar

Brandstetter, Gabriele. Tanz-Lektüren: Körperbilder und Raumfiguren der Avantgarde (Ph.D. diss., Frankfurt, 1995).Google Scholar

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.Google Scholar

Brandstetter, Gabriele and Oberzaucher-Schüler, Gunhild, eds., Mundart der Wiener Moderne: Der Tanz der Grete Wiesenthal (Munich: Kieser, 2009).Google Scholar

Brandstetter, Gabriele, and Ochaim, Brygida Maria. Loïe Fuller: Tanz–Licht-Spiel–Art Nouveau (Freiburg: Rombach, 1989).Google Scholar

Brenscheidt, Diana, Shiva Onstage: Uday Shankar's Company of hindu Dancers and Musicians in Europe and the United States, 1931-1938 (Zurich: Lit, 2011).Google Scholar

Buchholz, Kai, et al. Die Lebensreform (Darmstadt: Häusser, 2001).Google Scholar

Burger, Hildegard, ed. Hugo von Hofmannsthal/Harry Graf Kessler: Briefwechsel 1898–1929 (Frankfurt: Insel, 1968).Google Scholar

Burt, Ramsay. Alien Bodies: Representations of Modernity, ‘Race’ and Nation in Early Modern Dance (New York: Routledge, 1998).Google Scholar

Butler, Christopher. Early Modernism: Literature, Music, and Painting in Europe, 1900–1916 (Oxford: Oxford University Press, 1994).Google Scholar

Butler, Eliza Marion. The Tyranny of Greece over Germany (Cambridge: Cambridge University Press, 1935).Google Scholar

Caldwell, Helen. Michio Ito: The Dancer and His Times (Berkeley: University of California Press, 1977).Google Scholar

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.Google Scholar

Carandini, Silvia and Vaccarino, Elisa, eds. La Generazione Danzante: L’Arte del movimento in Europa nel primo Novecento (Rome: Di Giacomo, 1997).Google Scholar

Carter, Alexandra. “London, 1908: A Synchronic View of Dance History,” DRJ 23 (2005): 36–50.Google Scholar

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.CrossRefGoogle Scholar

Chakravorty, Pallabi. “Dancing into Modernity: Multiple Narratives of India’s Kathak Dance,” DRJ 38 (2006): 115–136.Google Scholar

Chakravorty, Pallabi. Bells of Change: Kathak Dance, Women and Modernity in India (Calcutta: Seagull, 2008).Google Scholar

Chavarría, Jesús. José Carlos Mariátegui and the Rise of Modern Peru, 1890–1930 (Albuquerque: University of New Mexico Press, 1979).Google Scholar

Cheng, Anne Anlin. Second Skin: Josephine Baker & the Modern Surface (New York: Oxford University Press, 2011).Google Scholar

Cherniavsky, Felix. “Maud Allan, Part I: The Early Years, 1873–1903,” DC 6 (1983): 1–36.Google Scholar

Cherniavsky, Felix. “Maud Allan, Part II: First Steps to a Dancing Career, 1904–1907,” DC 6 (1983): 189–227.Google Scholar

Cherniavsky, Felix. “Maud Allan, Part III: Two Years of Triumph, 1908–1909,” DC 7 (1984): 119–158.Google Scholar

“Maud Allan, Part IV: The Years of Touring, 1910–1915,” DC 8 (1985): 1–50.CrossRefGoogle Scholar

Cherniavsky, Felix. “Maud Allan, Part V: The Years of Decline, 1915–1956,” DC 9 (1986): 177–236.Google Scholar

Clark, Anna. Desire: A History of European Sexuality (New York: Routledge, 2012).Google Scholar

Clayton, Michelle. “Touring History: Tórtola Valencia between Europe and the Americas,” DRJ 44 (2012): 29–49.Google Scholar

Coe, Robert. Dance in America (New York: Dutton, 1985).Google Scholar

Cohen, Barbara Naomi. The Borrowed Art of Gertrude Hoffman (New York: Dance Horizons, 1977).Google Scholar

Conyers, Claude. “Courtesans in Dance History: Les Belles de la Belle Époque,” DC 26 (2003): 219–243.Google Scholar

Cook, James W. The Arts of Deception: Playing with Fraud in the Age of Barnum (Cambridge, MA: Harvard University Press, 2001).Google Scholar

Coorlawla, Uttara Asha. “Ruth St. Denis and India’s Dance Renaissance,” DC 15 (1992): 123–152.Google Scholar

Cowan, Michael. Technology’s Pulse: Essays on Rhythm in German Modernism (London: Institute of Germanic and Romance Studies, 2011).Google Scholar

Cranston, Sylvia. HPB (New York: Putnam, 1993).Google Scholar

Cresswell, Tim. On the Move: Mobility in the Modern Western World (New York: Routledge, 2006).Google Scholar

Current, Richard Nelson, and Current, Marcia Ewing. Loie Fuller: Goddess of Light (Boston: Northeastern University Press, 1997).Google Scholar

Dahms, Sibylle and Schroedter, Stephanie, eds. Der Tanz – Ein Leben: In Memoriam Friderica Derra de Moroda (Salzburg: Selke Verlag, 1997).Google Scholar

Daly, Ann. “Isadora Duncan’s Dance Theory,” DRJ 26 (1994): 24–31.Google Scholar

Daly, Ann. Done into Dance: Isadora Duncan in America (Bloomington: Indiana University Press, 1995).Google Scholar

Dawkins, Heather. The Nude in French Art and Culture 1870–1910 (New York: Cambridge University Press, 2002).Google Scholar

De Boer, Jacobien. Dans voluit, dat is leven: Gertrud Leistikow (1885–1948) (Wezep: Uitgeverij de Kunst, 2014).Google Scholar

De Cossart, Michael. Ida Rubinstein (1885–1960): A Theatrical Life (Liverpool, UK: Liverpool University Press, 1987).Google Scholar

Décoret-Ahiha, Anne. Les danses exotiques en France, 1880–1940 (Paris: Centre Nationale de la Danse, 2004).Google Scholar

Dekoven, Marianne. “Modernism and Gender,” in Michael Levenson, ed., The Cambridge Companion to Modernism (New York: Cambridge University Press, 2011), pp. 174–193.Google Scholar

Desmond, Jane. “Dancing Out the Difference: Cultural Imperialism and Ruth St. Denis’s ‘Radha’ of 1906,” Signs 17 (1991): 28–49.Google Scholar

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.Google Scholar

Dickinson, Edward Ross. “Altitude and Whiteness: Germanizing the Alps and Alpinizing the Germans, 1875–1935,” German Studies Review 33 (2010): 577–599.Google Scholar

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.Google Scholar

Betz, Thomas. Sex, Freedom and Power in Imperial Germany (New York: Cambridge University Press, 2014).Google Scholar

Diepveen, Leonard. The Difficulties of Modernism (New York: Routledge, 2003).Google Scholar

Doerr, Evelyn. Rudolf Laban: The Dancer of the Crystal (Lanham, MD: Scarecrow, 2008).Google Scholar

Dorf, Samuel N. “Dancing Greek Antiquity in Private and Public: Isadora Duncan’s Early Patronage in Paris,” DRJ 44 (2012): 5–27.Google Scholar

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.Google Scholar

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.Google Scholar

Easton, Laird McLeod. The Red Count: The Life and Times of Harry Kessler (Berkeley: University of California Press, 2002).Google Scholar

Ehrich, Karin. “Im Sauseschritt: Über das Leben von Gertrud Leistikow,” Tanzdrama 58 (2001): 8–11.Google Scholar

Elswit, Kate. Watching Weimar Dance (New York: Oxford University Press, 2014).Google Scholar

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.Google Scholar

Fabian, Reinhard. Christian von Ehrenfels: Leben und Werk (Amsterdam, The Netherlands: Rodopi 1986)Google Scholar

Facos, Michelle, and Hirsch, Sharon L., eds., Art, Culture, and Identity in Fin-de-Siecle Europe (New York: Cambridge University Press, 2003).Google Scholar

Farfan, Penny. Women, Modernism and Performance (New York: Cambridge University Press, 2004).Google Scholar

Faulk, Barry J. Music Hall and Modernity: The Late-Victorian Discovery of Popular Culture (Athens: Ohio University Press, 2004).Google Scholar

Fiedler, Leonhard M., and Lang, Martin, eds. Grete Wiesenthal: Die Schönheit der Sprache des Körpers in Bewegung (Salzburg: Residenz, 1985).Google Scholar

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.Google Scholar

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.Google Scholar

Finney, Gail. Women in Modern Drama (Ithaca, NY: Cornell University Press, 1989).Google Scholar

Fischer, Lothar. Tanz zwischen Rausch und Tod: Anita Berber 1918–1928 in Berlin (Berlin: Haude and Spener, 1984).Google Scholar

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.Google Scholar

Fisher, Jennifer. “The Swan Brand: Reframing the Legacy of Anna Pavlova,” DRJ 44 (2012): 50–67.Google Scholar

Fleischer, Mary. Embodied Texts: Symbolist Playwright-Dancer Collaborations (Amsterdam: Rodopi, 2007).Google Scholar

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.Google Scholar

Foellmer, Susanne. Valeska Gert: Fragmente einer Avantgardistin in Tanz un Schauspiel der 1920er Jahre (Bielefeld: Transcript, 2006).Google Scholar

Foulkes, Julia L. Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey (Chapel Hill: University of North Carolina Press, 2002).Google Scholar

Francis, Claude, and Gontier, Fernande. Creating Colette, vol. 1, From Ingenue to Libertine, 1873–1913 (South Royalton, VT: Steerforth Press, 1998).Google Scholar

Frank, Gustav, and Katja, Schneider. “Tanz-Technik: Körperdispositive in der Massenkommunikation der Moderne,” Tanzdrama 54 (2000): 6–15.Google Scholar

Frank, Gustav, and Schneider, Katja. “Tanz und Tanzdebatte in der Moderne: Voraussetzungen von Leni Riefenstahls Film Das blaue Licht,” Tanzdrama 63 (2002): 4–10.Google Scholar

Franko, Mark. Martha Graham in Love and War: The Life in the Work (New York: Oxford University Press, 2012).Google Scholar

Franks, A. H. “A Biographical Sketch,” in Pavlova: A Biography, ed. Franks (New York: Da Capo, 1979), pp. 11–52.Google Scholar

Fraser, Mariam, and Greco, Monica, eds. “Marcel Mauss: Techniques of the Body,” in The Body: A Reader (London: Routledge, 2005), pp. 73–77.Google Scholar

Freydank, Ruth, ed. Theater als Geschäft: Berlin und seine Privattheater um die Jahrhundertwende (Berlin: Hentrich, 1995).Google Scholar

Friedman, Susan Stanford. “Definitional Excursions: The Meanings of Modern/Modernity/Modernism,” Modernism/Modernity 8 (2001): 493–513.CrossRefGoogle Scholar

Fritsch-Vivié, Gabriele. Mary Wigman (Reinbek: Rowohlt, 1999).Google Scholar

Fritzsche, Peter. Reading Berlin 1900 (Cambridge, MA: Harvard University Press, 1996).Google Scholar

Funkenstein, Susan Laikin. “There’s Something About Mary Wigman: The Woman Dancer as Subject in German Expressionist Art,” Gender & History 17, no. 3 (2005): 826–859.Google Scholar

Garafola, Lynn. “The Travesty Dancer in Nineteenth-Century Ballet,” DRJ 18 (1985): 35–40.Google Scholar

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).Google Scholar

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.Google Scholar

Gardner, Howard. "Martha Graham: Discovering the Dance of America," Ballet Review 22, no. 1 (1994): 67–93.Google Scholar

Garland, Iris. “Early Modern Dance in Spain: Tórtola Valencia, Dancer of the Historical Intuition,” DRJ 29 (1997): 1–22.Google Scholar

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.Google Scholar

Garland, Iris. Tortola Valencia: Modernism and Exoticism in Early Twentieth Century Dance, ed. Fox, Mary (Vancouver, BC: Five/Cinq, 2013).Google Scholar

Gay, Peter. Modernism (New York: Norton, 2007).Google Scholar

Genné, Beth. The Making of a Choreographer: Ninette de Valois and Bar aux Folies-Bergère (Pennington, NJ: Society of Dance History Scholars, 2012).Google Scholar

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.Google Scholar

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.Google Scholar

Glenn, Susan A. Female Spectacle: The Theatrical Roots of Modern Feminism (Cambridge, MA: Harvard University Press, 2000).Google Scholar

Goodall, Jane R. Performance and Evolution in the Age of Darwin (New York: Routledge, 2002).CrossRefGoogle Scholar

Gopal, Ram. "Pavlova and the Indian Dance," in Pavlova: A Biography, ed. A. H. Franks (New York: Da Capo, 1979), pp. 98–110.Google Scholar

Gordon, Mel. The Seven Addictions and Five Professions of Anita Berber: Weimar Berlin’s Priestess of Depravity (Port Townsend, WA: Feral House, 2006).Google Scholar

Graff, Ellen. Stepping Left: Dance and Politics in New York City, 1928–1942 (Durham, NC: Duke University Press, 1997).Google Scholar

Green, Martin. Mountain of Truth (Hanover, NH: University Press of New England, 1986).Google Scholar

Guest, Ivor. The Romantic Ballet in Paris (Middleton: Wesleyan University Press, 1966).Google Scholar

Betz, Thomas. The Dancer’s Heritage: A Short History of Ballet (London: Dancing Times, 1977).Google Scholar

Guilbert, Laure. Danser avec le IIIe Reich (Paris: Editions Complexe, 2000).Google Scholar

Hammer, Les. "Michio Ito," Ballet Review 28, no. 1 (2001): 69–74.Google Scholar

Haney, Lynn. Naked at the Feast: A Biography of Josephine Baker (London: Robson, 1981).Google Scholar

Hardt, Yvonne. Politische Körper: Ausdruckstanz, Choreographien des Protests und die Arbeiterkulturbewegung in der Weimarer Republik (Münster: Lit, 2004).Google Scholar

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.Google Scholar

Harrison, Robert. “Archaeology on Trial,” Modernism/Modernity 11 (2004): 35–36.Google Scholar

Hastie, Jim. “Margaret Morris (1891–1980),” in Pidoux, Jean-Yves, ed., La danse: Art du XXe siècle? (Lausanne: Editions Payot, 1990), pp. 167–171.Google Scholar

Hastings, Baird. “The Denishawn Era,” in Magriel, Paul, ed., Chronicles of the American Dance (New York: Henry Holt, 1948), pp. 227–237.Google Scholar

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. 135–150.Google Scholar

Hawkins, Mike. Social Darwinism in European and American Thought, 1860–1945 (New York: Cambridge University Press, 1997).Google Scholar

Heath, Deana. Purifying Empire: Obscenity and the Politics of Moral Regulation in Britain, India and Australia (New York: Cambridge University Press, 2010).CrossRefGoogle Scholar

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.Google Scholar

Herzog, Dagmar. Sexuality in Europe: A Twentieth Century History (New York: Cambridge University Press, 2011).Google Scholar

Hindson, Catherine. Female Performance Practice on the Fin-de-Siècle Popular Stages of London and Paris (Manchester, UK: Manchester University Press, 2007).Google Scholar

Hoare, Philip. Wilde’s Last Stand (London: Duckworth, 1997).Google Scholar

Hobsbawm, E. J., and Ranger, Terence O.. The Invention of Tradition (Cambridge: Cambridge University Press, 1983).Google Scholar

Homans, Jennifer. Apollo’s Angels: A History of Ballet (New York: Random House, 2010).Google Scholar

Horosko, Marian. Martha Graham: The Evolution of Her Dance Theory and Training (Gainesville: University of Florida Press, 2002).Google Scholar

Horwood, Catherine. “‘Girls Who Arouse Dangerous Passions’: Women and Bathing, 1900–1939,” Women’s History Review 9 (2000): 653–673.Google Scholar

Howe, Dianne S. Individuality and Expression: The Aesthetics of the New German Dance, 1908–1936 (New York: Peter Lang, 1996).Google Scholar

Hughes, Russell Meriwether (La Meri). Dance Out the Answer (New York: Marcel Dekker, 1977).Google Scholar

Huschka, Sabine. Moderner Tanz: Konzepte – Stile – Utopien (Reinbek: Rowohlt, 2002).Google Scholar

Huschka, Sabine. “Bildgebungen tanzender Körper: Choreographierte Blickfänge 1880 bis 1920,” Fotogeschichte 101 (2006): 41–50.Google Scholar

Huxley, Michael. The Dancer’s World, 1920–1945: Modern Dancers and Their Practices Reconsidered (New York: Palgrave-MacMillan, 2015).Google Scholar

Innes, Christopher. “Modernism in Drama,” in Levenson, Michael, ed., The Cambridge Companion to Modernism (New York: Cambridge University Press, 2011), pp. 130–156.Google Scholar

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.Google Scholar

Järvinen, Hanna. Dancing Genius: The Stardom of Vaslav Nijinsky (New York: Palgrave MacMillan, 2014).Google Scholar

Jelavich, Peter. Berlin Cabaret (Cambridge, MA: Harvard University Press, 1993).Google Scholar

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.Google Scholar

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.Google Scholar

Jockel, Nils. “Aus dem Moment des Empfindens,” Tanzdrama 7 (1989): 18–23.Google Scholar

Jockel, Nils, and Stöckemann, Patricia. “Flugkraft in goldene Ferne”: Bühnentanz in Hamburg seit 1900 (Hamburg: Museum für Kunst und Gewerbe, 1989).Google Scholar

Jones, Susan. Literature, Modernism, and Dance (Oxford: Oxford University Press, 2013).Google Scholar

Jowitt, Deborah. “Images of Isadora : The Search for Motion,” DRJ 17 (1985): 21–29.Google Scholar

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).Google Scholar

Jowitt, Deborah. Time and the Dancing Image (New York: Morrow, 1988).Google Scholar

Kahan, Sylvia. Music’s Modern Muse: A Life of Winaretta Singer, Princesse de Polignac (Rochester, NY: University of Rochester Press, 2003).Google Scholar

Kant, Marion. “Mary Wigman – Die Suche nach der verlorenen Welt,” Tanzdrama 25 (1994): 16–21.Google Scholar

Kant, Marion. “Annäherung und Kollaboration: Tanz und Weltanschauung im ‘Dritten Reich,’” Tanzjournal 3 (2003): 13–23.Google Scholar

Kant, Marion. “Mittel zur Transzendenz,” Tanz-Journal 1, no. 6 (2003): 15–22.Google Scholar

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.Google Scholar

Karina, Lillian, and Kant, Marion. Hitler’s Dancers: German Modern Dance and the Third Reich, trans. Jonathan Steinberg (Oxford: Berghahn, 2003).Google Scholar

Karthas, Ilyana. When Ballet Became French: Modern Ballet and the Cultural Politics of France, 1909–1939 (Montreal: McGill-Queen’s University Press, 2015).Google Scholar

Keay, Julia. The Spy Who Never Was: The Life and Loves of Mata Hari (London: Joseph, 1987).Google Scholar

Kelly, Alfred. The Descent of Darwin: The Popularization of Darwinism in Germany, 1860–1914 (Chapel Hill: University of North Carolina Press, 1981).Google Scholar

Kendall, Elizabeth. Where She Danced (New York: Knopf, 1979).Google Scholar

Kerensky, Oleg. Anna Pavlova (London: Hamilton, 1973).Google Scholar

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.Google Scholar

Kew, Carole. “Mary Wigman’s London Performances: A New Dance in Search of a New Audience,” Dance Research 30 (2012): 1–21.Google Scholar

Khan, Inayat. Biography of Pir-o-Murshid Inayat Khan (London: East-West, 1979).Google Scholar

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.Google Scholar

Koegler, Horst. “A Single Being and a Single Soul with Two Bodies,” DC 26, no. 2 (2003): 253–259.Google Scholar

Kolb, Alexandra. Performing Femininity: Dance and Literature in German Modernism (New York: Peter Lang, 2009).Google Scholar

Koritz, Amy. Gendering Bodies/Performing Art: Dance and Literature in Early Twentieth-Century British Culture (Ann Arbor: University of Michigan Press, 1995).Google Scholar

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): 63–78Google Scholar

Krauze, Enrique. Mexico: Biography of Power (New York: HarperCollins, 1997).Google Scholar

Kurth, Peter. Isadora: A Sensational Life (Boston: Little, Brown 2001).Google Scholar

LaMothe, Kimerer. Nietzsche’s Dancers (New York: Palgrave MacMillan, 2006).Google Scholar

Lewis, Pericles. “Introduction,” in The Cambridge Companion to European Modernism (New York: Cambridge University Press, 2011), pp. 1–11.Google Scholar

Lewis, Reina. Gendering Orientalism: Race, Femininity and Representation (London: Routledge, 1996).Google Scholar

Linse, Ulrich. “Säkularisierung oder Neue Religiösität? Zur religiösen Situation in Deutschland um 1900,” Recherches Germaniques 27 (1997): 117–141.Google Scholar

Linse, Ulrich. Barfüssige Propheten (Berlin: Siedler, 1983).Google Scholar

Lista, Giovani. Loïe Fuller: Danseuse de la Belle Époque (Paris: Somogy-Stock, 1995).Google Scholar

Litvak, Lily. España 1900 (Barcelona: Anthropos, 1990).Google Scholar

Lloyd, Jill. German Expressionism: Primitivism and Modernity (New Haven, CT: Yale University Press, 1991).Google Scholar

Loewenthal, Lillian. The Search for Isadora: The Legend & Legacy of Isadora Duncan (Pennington, NJ: Dance Horizons, 1993).Google Scholar

Lubkoll, Christine. “Rhythmus: Zum Komplex von Lebensphilosophie und ästhetischer Moderne,” in Christine Lubkoll, , ed., Das Imaginäre des Fin de siècle (Freiburg: Rombach, 2002), pp. 83–110.Google Scholar

Lüders, Christine. Apropos Mata Hari (Frankfurt: Verlag Neue Kritik, 1997).Google Scholar

Macdougall, Allan Ross. Isadora: A Revolutionary in Art and Love (Edinburgh: Thomas Nelson, 1960).Google Scholar

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.Google Scholar

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.Google Scholar

MacKenzie, John. Orientalism: History, Theory, and the Arts (Manchester, UK: Manchester University Press, 1995).Google Scholar

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.Google Scholar

Manning, Susan. “Mary Wigmans Erbe in Amerika,” Tanzdrama 3 (1987): 6–8.Google Scholar

Manning, Susan. “Isadora Duncan, Martha Graham und die lesbische Rezeption,” Tanzdrama 44/45 (1999): 18–25.Google Scholar

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.Google Scholar

Manning, Susan. “Ausdruckstanz across the Atlantic,” in Franco, Susanne and Nordera, Marina, eds., Dance Discourses (New York: Routledge, 2007), pp. 46–60.Google Scholar

Manning, Susan. Ecstasy and the Demon: Feminism and Nationalism in the Dances of Mary Wigman (Berkeley: University of California Press, 1993).Google Scholar

Mansfield, Janet. Louis Horst: Musician in a Dancer’s World (Durham, NC: Duke University Press, 1992).Google Scholar

Marcovitch, Heather. “Dance, Ritual, and Arthur Symons’s London Nights,” English Literature in Transition, 1880–1920 56 (2013), pp. 462–482.Google Scholar

Marwick, Arthur. IT: A History of Human Beauty (London: Hambledon Press, 2004).Google Scholar

Masuzawa, Tomoko. The Invention of World Religions (Chicago: University of Chicago Press, 2005).Google Scholar

Mayer, Charles S. “Ida Rubinstein: A Twentieth-Century Cleopatra,” DRJ 20 (1988): 33–51.Google Scholar

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.Google Scholar

Meinzenbach, Sandra. Neue alte Weiblichkeit: Frauenbilder und Kunstkonzepte im Freien Tanz (Marburg: Tectum, 2010).Google Scholar

Meinzenbach, Sandra. “Tanz ist eine Sprache und eine Schrift des Göttlichen”: Kunst und Leben der Ruth St. Denis (Wilhelmshaven: Florian Noetzel, 2013).Google Scholar

Mester, Terri A. Movement and Modernism: Yeats, Eliot, Lawrence, Williams, and Early Twentieth-Century Dance (Fayetteville: University of Arkansas Press, 1997).Google Scholar

Miller, Kamae A., ed. Wisdom Comes Dancing: Selected Writings of Ruth St. Denis on Dance, Spirituality, and the Body (Seattle: PeaceWorks, 1997).Google Scholar

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.Google Scholar

Möhring, Mahren. Marmorleiber. Körperbildung in der deutschen Nacktkultur (1890–1930) (Cologne: Böhlau, 2004).Google Scholar

Money, Keith. Anna Pavlova: Her Life and Art (London: Collins, 1982).Google Scholar

Mosse, George L. Toward the Final Solution: A History of European Racism (New York: Fertig, 1978).Google Scholar

Müller, Hedwig. Mary Wigman: Leben und Werk der grossen Tänzerin (Weinheim: Quadriga, 1986).Google Scholar

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.Google Scholar

Nead, Lynda. The Female Nude: Art, Obscenity and Sexuality (New York: Routledge, 1992).Google Scholar

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).Google Scholar

Nicholas, Larraine. Dancing in Utopia: Dartington Hall and its Dancers (Alton, UK: Dance Books, 2007).Google Scholar

Oberzaucher, Alfred, and Oberzaucher, Gunhild. “Wer waren die Lehrer von Gertrud Bodenwieser,” Tanzdrama 33 (1996): 15–22.Google Scholar

Oberzaucher-Schüller, Gunhild. “Das bislang verschattete Leben der Miss Gertrude,” Tanzdrama 50 (2000): 6–11.Google Scholar

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.Google Scholar

Ochaim, Brygida Maria. “Die getanzten Bilder der Rita Sacchetto,” Tanzdrama 14 (1991): 22–25.Google Scholar

Ochaim, Brygida. “Miss Saharet,” Tanzdrama 16 (1991): 34–36.Google Scholar

Ochaim, Brygida. “Die Barfusstänzerin Olga Desmond,” Tanzdrama 39 (1997): 19–21.Google Scholar

Ochaim, Brygida. “Biographien,” in Brygida Ochaim and Claudia Balk, eds., Varieté-Tänzerinnen um 1900 (Frankfurt: Stroemfeld/Roter Stern, 1998), pp. 117–143.Google Scholar

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.Google Scholar

Ochaim, Brygida and Balk, Claudia, eds., Varieté-Tänzerinnen um 1900 (Frankfurt: Stroemfeld/Roter Stern, 1998).Google Scholar

Oosterhuis, Harry. Stepchildren of Nature: Krafft-Ebing, Psychiatry, and the Making of Sexual Identity (Chicago: University of Chicago Press, 2000).Google Scholar

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.Google Scholar

Paret, Peter. The Berlin Secession (Cambridge, MA: Harvard University Press, 1980).Google Scholar

Paret, Peter. “The Tschudi Affair,” Journal of Modern History 53 (1981): 589–618.Google Scholar

Parker, Henry Taylor. Motion Arrested: Dance Reviews of H. T. Parker, ed. Olive Holmes (Middletown, CT: Wesleyan University Press, 1982).Google Scholar

Passmore, Kevin. “Politics,” in Jackson, Julian, ed., Europe, 1900–1945 (Oxford: Oxford University Press, 2002), pp. 77–115.Google Scholar

Pastori, Jean-Pierre. A corps perdu: La dance nue au XXe siècle (Lausanne: Favre, 1983).Google Scholar

Peppis, Paul. Sciences of Modernism: Ethnography, Sexology, and Psychology (New York: Cambridge University Press, 2014).Google Scholar

Peri, Paolo. “La trama della sua vita,” in Fumi, Leonardo, ed., Fortuny nella belle époque (Milan: Electa, 1984), pp. 62–64.Google Scholar

Peter, Frank-Manuel. Valeska Gert: Tänzerin, Schauspielerin, Kabarettistin (Berlin: Frölich and Kaufmann, 1985).Google Scholar

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.Google Scholar

Peter, Frank-Manuel, and Stamm, Rainer, eds. Die Sacharoffs – zwei Tänzer aus dem Umkreis des Blauen Reiters (Cologne: Wienand, 2002).Google Scholar

Peypach, Irene. Tórtola Valencia (Barcelona: Edicions de Nou Art Thor, no year).Google Scholar

Postuwka, Gabriele. “Aufbruch in die Moderne: Konzeptionen von Tanzerziehung und Tanzausbildung in Europa und den USA,” Tanzdrama 38 (1997): 8–11.Google Scholar

Preston, Carrie J. “The Motor in the Soul: Isadora Duncan and Modernist Performance,” Modernism/Modernity 12 (2005): 273–289.Google Scholar

Preston, Carrie J. Modernism’s Mythic Pose: Gender, Genre, Solo Performance (New York: Oxford University Press, 2011).Google Scholar

Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life (London: Dance, 1998).Google Scholar

Purkayastha, Prathana. “Dancing Otherness: Nationalism, Transnationalism, and the Work of Uday Shankar,” DRJ 44, no. 1 (2012): 69–92.Google Scholar

Queralt, Maria Pilar. Tórtola Valencia (Barcelona: Lumen, 2005).Google Scholar

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).Google Scholar

Reynolds, Dee. “Dancing as a Woman: Mary Wigman and ‘Absolute Dance,’” Forum for Modern Language Studies 35 (1999): 297–310.Google Scholar

Reynolds, Nancy, and McCormick, Malcolm. No Fixed Points: Dance in the Twentieth Century (New Haven, CT: Yale University Press, 2003).Google Scholar

Ricci, Fabio. Ritter, Tod & Eros: Die Kunst Elisar von Kupffers (1872–1942) (Cologne: Böhlau, 2007).Google Scholar

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.Google Scholar

Robinson, Jacqueline. Modern Dance in France (London: Harwood, 1997).Google Scholar

Rodriguez, Suzanne. Wild Heart (New York: HarperCollins, 2002).Google Scholar

Roseman, Janet Lynn. Dance Was Her Religion: The Sacred Choreography of Isadora Duncan, Ruth St. Denis, and Martha Graham (Prescott, AZ: Hohm, 2004).Google Scholar

Roseman, Mark. A Past in Hiding (New York: Metropolitan, 2001).Google Scholar

Roseman, Mark. “Ein Mensch in Bewegung: Dore Jacobs (1894–1978),” Essener Beiträge 114 (Essen: Klartext, 2002): 73–108.Google Scholar

Runge, Jörn. Olga Desmond: Preussens nackte Venus (Friedland/Mecklenburg: Steffen, 2009).Google Scholar

Ruyter, Nancy Chalfa. “American Delsartism: Precursor of an American Dance Art,” Educational Theater Journal 25, no. 4 (1973): 421–435.Google Scholar

Saler, Michael. Reformers and Visionaries: The Americanization of the Art of Dance (New York: Dance Horizons, 1979).Google Scholar

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.Google Scholar

Said, Edward. Orientalism (London: Penguin, 1985 [1978]).Google Scholar

Saler, Michael. As If: Modern Enchantment and the Literary Prehistory of Virtual Reality (Oxford: Oxford University Press, 2013).Google Scholar

Saler, Michael. “Introduction,” in Michael Saler, ed., The Fin-de-siècle World (New York: Routledge, 2015), pp. 1–8.Google Scholar

Samuels, Maurice. “France,” in Lewis, Pericles, ed., The Cambridge Companion to European Modernism (New York: Cambridge, 2011), pp. 13–32.Google Scholar

Scheub, Ute. Verrückt nach Leben: Berliner Szenen in den zwanziger Jahren (Reinbek: Rowohlt, 2000).Google Scholar

Schmidt, Jochen. Tanzgeschichte des 20. Jahrhunderts in einem Band (Berlin: Henschel, 2002).Google Scholar

Schnapp, Jeffrey, Shanks, Michael, and Tiews, Matthew. “Archaeology, Modernism, Modernity,” Modernism/Modernity 11 (2004): 1–16.Google Scholar

Schneider, Ilya Ilyich. Isadora Duncan: The Russian Years (London: MacDonald, 1968).Google Scholar

Schneider, Katja. “Schlank, biegsam, grazil: Das Körperbild im klassischen Tanz des 20. Jahrhunderts,” Tanzdrama 36 (1997): 11–15.Google Scholar

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.Google Scholar

Shedel, James. “Aesthetics and Modernity: Art and the Amelioration of Change in Fin de Siècle Austria,” Austrian History Yearbook 19, no. 1 (1983): 135–142.Google Scholar

Shelton, Suzanne. Ruth St. Denis: A Biography of the Divine Dancer (Austin: University of Texas, 1981).Google Scholar

Sheppard, Richard. “The Problematics of European Modernism,” in Giles, Steve, ed., Theorizing Modernism (New York: Routledge, 1993), pp. 1–50.Google Scholar

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.Google Scholar

Simonson, Mary. Body Knowledge (New York: Oxford University Press, 2013).Google Scholar

Skidmore, Thomas E. and Smith, Peter H.. Modern Latin America (New York: Oxford University Press, 1989).Google Scholar

Smith, Anthony D. National Identity (Reno: University of Nevada Press, 1991).Google Scholar

Soares, Janet Mansfield. Louis Horst: Musician in A Dancer’s World (Durham, NC: Duke University Press, 1992).Google Scholar

Solrac, Odelotte. Tórtola Valencia and Her Legacy (New York: Vintage, 1982).Google Scholar

Sorell, Walter. Mary Wigman: Ein Vermächtnis (Wilhelmshaven: Noetzel, 1986).Google Scholar

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.Google Scholar

Soyka, Amelie. Tanzen und tanzen und nichts als tanzen (Berlin: Aviva, 2004).Google Scholar

Spector, Irwin. Rhythm and Life: The Work of Emile Jaques-Dalcroze (Stuyvesant, NY: Pendragon, 1990).Google Scholar

Srinivasan, Amrit. “Reform and Revival: The Devadasi and Her Dance,” Economic and Political Weekly 20, no. 44 (1985): 1869–1876.Google Scholar

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).Google Scholar

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.Google Scholar

Stearns, Peter N. Fat History: Bodies and Beauty in the Modern West (New York: New York University Press, 2002).Google Scholar

Steegmuller, Francis. Your Isadora: The Love Story of Isadora Duncan & Gordon Craig (New York: Random House, 1974).Google Scholar

Stewart, Mary Lynn. For Health and Beauty: Physical Culture for Frenchwomen, 1880s–1930s (Baltimore, MD: Johns Hopkins University Press, 2001).Google Scholar

Stüdemann, Natalia. Dionysos in Sparta: Isadora Duncan in Russland (Bielefeld: Transcript, 2008).Google Scholar

Studlar, Gaylyn. Visions of the East: Orientalism in Film (New Brunswick, NJ: Rutgers University Press, 1997).Google Scholar

Suquet, Annie. L’Eveil des modernités: Une histoire culturelle de la danse (1870–1945) (Paris: Pantin/Centre national de la danse, 2012).Google Scholar

Sweeney, Carole. From Fetish to Subject: Race, Modernism, and Primitivism, 1919–1935 (Westport, CT: Praeger, 2004).Google Scholar

Takeishi, Midori. Japanese Elements in Michio Ito’s Early Period (1915–1924), ed. Pacun, David (Los Angeles: California Institute of the Arts, 2006).Google Scholar

Taper, Bernard. Balanchine: A Biography (Berkeley: University of California Press, 1984).Google Scholar

Taylor, George and Whyman, Rose, “François Delsarte, Prince Sergei Volkonsky and Mikhail Chekhov,” Mime Journal 23 (2005): 97–111.Google Scholar

Terry, Walter. Miss Ruth: The “More Living Life” of Ruth St. Denis (New York: Dodd, Mead, 1969).Google Scholar

Thomas, Helen. Dance, Modernity and Culture: Explorations in the Sociology of Dance (London: Routledge, 1995).Google Scholar

Thomas, Julian. “Archaeology’s Place in Modernity,” Modernism/Modernity 11 (2004): 17–34.Google Scholar

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.Google Scholar

Thorun, Claudia. Sarah Bernhardt: Inszenierungen von Weiblichkeit im fin de siècle (Hildesheim: Olms, 2006).Google Scholar

Thurman, Judith. Secrets of the Flesh: A Life of Colette (New York: Alfred A. Knopf, 1979).Google Scholar

Tickner, Lisa. The Spectacle of Women: Imagery of the Suffrage Campaign, 1907–1914 (London: Chatto and Windus, 1987).Google Scholar

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.Google Scholar

Toepfer, Karl. Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910–1935 (Berkeley: University of California Press, 1997).Google Scholar

Toepfer, Karl. “One Hundred Years of Nakedness in German Performance,” Drama Review 47 (2003): 144–188.Google Scholar

Tomko, Linda J. Dancing Class: Gender, Ethnicity, and Social Divides in American Dance, 1890–1920 (Bloomington: Indiana University Press, 1999).Google Scholar

Traub, Ulrike. Theater der Nacktheit: Zum Bedeutungswandel entblösster Körper auf der Bühne seit 1900 (Bielefeld: Transcript, 2010).Google Scholar

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.Google Scholar

Van Os, Henk, et al., Femmes Fatales, 1860–1910 (Antwerp: Groninger Museum, 2002).Google Scholar

Veroli, Patrizia. “Auf der Suche nach der Ekstase,” Tanzdrama 20 (1992): 20–27.Google Scholar

Veroli, Patrizia. Baccante e dive dell’aria: Donne danza e società in Italia, 1900–1945 (Castello: Edimond, 2001).Google Scholar

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).Google Scholar

Voskuil, Lynn M. Acting Naturally (Charlottesville: University of Virginia Press, 2004).Google Scholar

Waagenaar, Sam. The Murder of Mata Hari (London: Arthur Barker, 1964).Google Scholar

Wagner, Ann. Adversaries of Dance: From the Puritans to the Present (Urbana: University of Illinois Press, 1997).Google Scholar

Walkowitz, Judith R. City of Dreadful Delight (Chicago: University of Chicago Press, 1992).Google Scholar

Walkowitz, Judith R. “The ‘Vision of Salomé: Cosmopolitanism and Erotic Dancing in Central London, 1908–1918,” American Historical Review 108 (2003): 337–376.Google Scholar

Walkowitz, Judith R. Nights Out: Life in Cosmopolitan London (New Haven, CT: Yale University Press, 2012).Google Scholar

Walther, Suzanne K. The Dance of Death: Kurt Jooss and the Weimar Years (Chur: Harwood Academic, 1994).Google Scholar

Weeks, Jeffrey. The World We Have Won: The Remaking of Erotic and Intimate Life (New York: Routledge, 2007).Google Scholar

Wheelwright, Julie. The Fatal Lover: Mata Hari and the Myth of Women in Espionage (London: Collins and Brown, 1992).Google Scholar

Wilhelm, Hermann. Die Münchener Bohème (Munich: Buchendorfer, 1993).Google Scholar

Wohl, Anthony. “Heart of Darkness: Modernism and Its Historians,” Journal of Modern History 74 (2002): 573–621.Google Scholar

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).Google Scholar

Wollen, Peter. “Fashion/Orientalism/The Body,” New Formations 1 (1987): 5–33.Google Scholar

Woolf, Vicki. Dancing in the Vortex: The Story of Ida Rubinstein (Amsterdam, The Netherlands: Harwood, 2000).Google Scholar

Wouters, Cas. “Etiquette Books and Emotional Management in the 20th Century: Part Two – The Integration of the Sexes,” Journal of Social History 29 (1995): 325–339.Google Scholar

Saler, Michael. Informalization: Manners and Emotions Since 1890 (Los Angeles: SAGE, 2007).Google Scholar

Acosta, Mercedes de. Here Lies the Heart (New York: Reynal, 1960).Google Scholar

Allan, Maud. My Life and Dancing (London: Everett, 1908).Google Scholar

Altenberg, Peter. “Greek Art,” in Maud Allan and Her Art (London: n.p., n.d.), p. 1.Google Scholar

Altenberg, Peter. “My Aims and Ideals,” Maud Allan and Her Art (London: n.p., n.d.), pp. 2–3.Google Scholar

Altenberg, Peter. Das grosse Peter Altenberg Buch, ed. Schweiger, Werner J. (Vienna: Paul Zsolnay, 1977).Google Scholar

Altenberg, Peter. “Mata Hari im Apollotheater,” in Christine Lüders, ed., Apropos Mata Hari (Frankfurt: Neue Kritik, 1997), p. 91.Google Scholar

Armitage, Merle, ed. Martha Graham (New York: Dance Horizons, 1966 [original 1937]).Google Scholar

Aubel, Hermann and Marianne, . Der künstlerische Tanz unserer Zeit (Königstein/Ts: Langewiesche, 1930).Google Scholar

Baars, Ernst. Sexuelle Ethik (Berlin: Akademischer Bund Ethos, 1908).Google Scholar

Bach, Rudolf, ed. Das Mary Wigman-Werk (Dresden: Reissnerl 1933).Google Scholar

Baudelaire, Charles. The Painter of Modern Life and Other Essays (London: Phaidon, 1964 [1863]).Google Scholar

Becker, Marie Luise. Der Tanz (Leipzig: Seemann, 1901).Google Scholar

Becker, Marie Luise. “Tanz,” Schönheit 1 (1903): 277–290.Google Scholar

Becker, Marie Luise. “Die Sezession in der Tanzkunst,” Bühne und Welt 12 (1910): 27–43.Google Scholar

Belasco, David. The Theatre through Its Stage Door (New York: Harper and Brothers, 1919).Google Scholar

Benois, Alexandre. Reminiscences of the Russian Ballet (London: Putnam, 1947).Google Scholar

Bie, Oskar. Der Tanz (Berlin: Julius Bard, 1919).Google Scholar

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.Google Scholar

Blass, Ernst. Das Wesen der neuen Tanzkunst (Weimar: Lichtenstein, 1922).Google Scholar

Blavatsky, H. P. The Secret Doctrine: The Synthesis of Science, Religion and Philosophy (Adyar: Theosophical Publishing House, 1962).Google Scholar

Bloch, Iwan. Beiträge zur Aetiologie der Psychopathia sexualis (Dresden: Dohrn, 1902).Google Scholar

Boehn, Max von. Der Tanz (Berlin: Wegweiser, 1925).Google Scholar

Böhme, Fritz. Der Tanz der Zukunft (Dresden: Reissner, 1926).Google Scholar

Böhme, Fritz. Tanzkunst (Dessau: Dünnhaupt, 1926).Google Scholar

Brandenburg, Hans. Der modern Tanz (Munich: Georg Müller, 1921).Google Scholar

Brandenburg, Hans. “Von deutscher Tanzkunst: Rückblick und Ausblick,” in Die tänzerische Situation unserer Zeit: Ein Querschnitt (Dresden: Reissner, 1936), pp. 50–58.Google Scholar

Saler, Michael. München leuchtete: Jugenderinnerungen (Munich: Herbert Neuner, 1953).Google Scholar

Saler, Michael. “Drei Walzer und die Schwestern Wiesenthal,” in Fiedler, Leonhard M. and Lang, Martin, eds., Gertrude Wiesenthal (Salzburg: Residenz, 1985).Google Scholar

Browne, Junius H. “The Ballet as a Social Evil,” The Northern Review 2 (1868): 522–538.Google Scholar

Caffin, Caroline and Charles, H. Dancing and Dancers of Today (New York: Dodd, Mead and Company, 1912).Google Scholar

Carpenter, Edward. Wenn die Menschen reif zur Liebe werden, trans. Karl Federn (Leipzig: Hermann Seemann, 1902).Google Scholar

Cohen, Selma Jeanne, ed. Dance as a Theater Art (New York: Dodd, Mean, 1974).Google Scholar

Cooper, Diana. The Rainbow Comes and Goes (Boston: Houghton Mifflin, 1958).Google Scholar

Coote, William Alexander, ed. A Romance of Philanthropy (London: National Vigilance Association, 1916).Google Scholar

Craig, Gordon. Gordon Craig on Movement and Dance, ed. Rood, Arnold (New York: Dance Horizons, 1977).Google Scholar

Croce, Benedetto. Aesthetik als Wissenschaft des Ausdrucks und allgemeine Linguistik, trans. Karl Federn (Leipzig: E. A. Seemann, 1905).Google Scholar

Delius, Rudolf von. Die Philosophie der Liebe (Darmstadt: Reichl, 1922).Google Scholar

Delius, Rudolf von. Mary Wigman (Dresden: Carl Reissner, 1925).Google Scholar

Delius, Rudolf von. “Clotilde von Derp (1910),” in Peter, Frank-Manuel and Stamm, Rainer, eds., Die Sacharoffs (Cologne: Wienand, 2000).Google Scholar

dell’Era, Antonietta. “Muss man nackt tanzen?,” Berliner Tageblatt 628, December 3, 1911.Google Scholar

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.Google Scholar

Denby, Edwin. Dance Writings & Poetry, ed. Cornfield, Robert (New Haven, CT: Yale University Press, 1998).Google Scholar

Desmond, Olga. Mein Weg zur Schönheit (Berlin: Bücherzentrale, n.d.).Google Scholar

Döblin, Alfred. “Tänzerinnen,” Alfred Döblin, Kleine Schriften, vol. I (Freiburg: Walter, 1985), pp. 128–130.Google Scholar

Dörr, Evelyn. Also, die Damen voran! Rudolf Laban in Briefen an Tänzer, Choreographen und Tanzpädagogen, vol. 1, 1912–1918 (Norderstedt: Books on Demand, 2013).Google Scholar

Dransfeld, Hedwig. “Die Teilnahme des katholischen Frauenbundes an der Bekämpfung gefährlicher und unsittlicher Bestrebungen,” Die christliche Frau 12 (1914): 109–114.Google Scholar

Duncan, Irma. Duncan Dancer: An Autobiography (Middletown, CT: Wesleyan University Press, 1965).Google Scholar

Duncan, Isadora. Der Tanz der Zukunft (The Dance of the Future): Eine Vorlesung, trans. Karl Federn (Leipzig: Diederichs, 1903).Google Scholar

Duncan, Isadora. The Art of the Dance (New York: Theatre Arts, 1928).Google Scholar

Duncan, Isadora. “A Child Dancing” (1906), in Sheldon Cheney, ed., The Art of the Dance (New York: Theatre Arts, 1928), pp. 74–76.Google Scholar

Duncan, Isadora. “The Dancer and Nature,” in Cheney, Sheldon, ed., The Art of the Dance (New York: Theater Arts, 1928), pp. 66–70.Google Scholar

Duncan, Isadora. “Depth,” in Sheldon Cheney, ed., The Art of the Dance (New York: Theater Arts, 1928), pp. 99–100.Google Scholar

Duncan, Isadora. “Movement Is Life,” in Sheldon Cheney, ed., The Art of the Dance (New York: Theater Arts, 1928), pp. 77–79.Google Scholar

Duncan, Isadora. “The Parthenon,” in Duncan,The Art of the Dance, ed. Sheldon Cheney (New York: Theatre Arts, 1928), pp. 64–65.Google Scholar

Duncan, Isadora. My Life (New York: Liveright, 1955 [1927]).Google Scholar

Duncan, Isadora. “Come, Children, Let’s Dance,” in Franklin Rosemont, ed., Isadora Speaks (San Francisco: City Lights, 1981), pp. 81–84.Google Scholar

Duncan, Isadora. “I Have a Will of My Own,” Isadora Speaks, ed. Rosemont, Franklin (San Francisco: City Lights, 1981), p. 33.Google Scholar

Duncan, Isadora. Isadora Speaks, ed. Rosemont, Franklin (San Francisco: City Lights, 1981).Google Scholar

Duncan, Margherita. “Isadora,” in Cheney, Sheldon, ed., The Art of the Dance (New York: Theatre Arts, 1928), pp. 16–23.Google Scholar

Duncan, Raymond. “Isadora’s Last Dance,” in Sheldon Cheney, ed., The Art of the Dance (New York: Theater Arts, 1928), pp. 13–15.Google Scholar

Einstein, Carl. “Lettre a la danseuse Napierkowska,” La Phalange 12 (1912): 73-76.Google Scholar

Elberskirchen, Johanna. Die Sexualempfindung bei Weib und Mann, betrachtet vom physiologisch-soziologischen Standpunkte (Leipzig: Jacques Hegner, 1903).Google Scholar

Ellis, Havelock. “The Philosophy of Dancing,” Atlantic Monthly, February 1914, at https://www.unz.org/Pub/AtlanticMonthly-1914feb-00197.Google Scholar

Ellis, Havelock. The Dance of Life (Boston: Houghton Mifflin, 1923).Google Scholar

Erlbach, Otto von (Armin Kausen). “Das Nackte auf der Bühne,” Allgemeine Rundschau 4, no. 5 (1907): 215.Google Scholar

Erlbach, Otto von “Bühne und Neuheidentum,” Allegemeine Rundschau 9, no. 12 (1912): 613.Google Scholar

Ernst, Clara. Der feine Ton im gesellschaftlichen und öffentlichen Leben (Mülheim: Bagel, 1885).Google Scholar

Ernst, Clara. Was sich schickt–Was sich nicht schickt (Mülheim: Bagel, 1900).Google Scholar

Ettlinger, Karl. “Sent M’ahesa,” Tanzdrama 14 (1991): 32–34.Google Scholar

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.Google Scholar

Federn, Karl. “Einleitung,” in Isadora Duncan, Der Tanz der Zukunft (Leipzig: Eugen Diederichs, 1903), pp. 5–10.Google Scholar

Felder, Erich. “Münchner Keuschheitsgelüste,” Der Turm 1, no. 1 (December 1911): 18.Google Scholar

Flitch, J. E. Crawford. Modern Dancing and Dancers (Philadelphia: Lippincott, 1912).Google Scholar

Foerster, Friedrich Wilhelm. Sexualethik und Sexualpädagogik (Kempten: Josef Kösel, 1907).Google Scholar

Fokine, Vitale. Fokine: Memoirs of a Ballet Master (Toronto: Little, Brown, 1961).Google Scholar

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.Google Scholar

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.Google Scholar

Fuchs, Georg. Der Tanz (Stuttgart: Strecker and Schöder, 1906).Google Scholar

Fuchs, Georg. Sturm und Drang in München um die Jahrhundertwende (Munich: Georg D. W. Callwey, 1936).Google Scholar

Fuller, Loïe. Fifteen Years of a Dancer’s Life (Boston: Small, Maynard, 1913).Google Scholar

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.Google Scholar

Gener, Pompeyo. “Tortola Valencia,” Mundial 2 (1912): 527–531.Google Scholar

Gert, Valeska. Mein Weg (Leipzig: A. F. Devrient, 1931).Google Scholar

Gert, Valeska. Ich bin eine Hexe: Kaleidoskop meines Lebens (Munich: Schneekluth, 1968).Google Scholar

Giese, Fritz. Girlkultur: Vergleiche zwischen amerikanischem und europäischem Rythmus und Lebensgefühl (Munich: Delphin, 1925).Google Scholar

Ginner, Ruby. The Revived Greek Dance: Its Art and Technique (London: Methuen, 1933).Google Scholar

Gitelman, Claudia. Liebe Hanya: Mary Wigman’s Letters to Hanya Holm (Madison: University of Wisconsin Press, 2003).Google Scholar

Gomez-Carrillo, Enrique. “El teatro en Paris,” Mundial 3 (1913): 384-388, 474–477.Google Scholar

Saler, Michael. El misterio de la vida y de la muerte de Mata Hari (Madrid: Renaciemento, 1923).Google Scholar

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.Google Scholar

Graham, Martha. “The American Dance,” in Virginia Stewart, , ed., Modern Dance (New York: Dance Horizons, 1970 [1935]), pp. 53–58.Google Scholar

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.Google Scholar

Grete Wiesenthal in Amor und Psyche und Das Fremde Mädchen: Szenen von Hugo von Hofmannsthal (Berlin: S. Fischer, 1911).Google Scholar

Gumplowicz, Ladislas. “Ehe und freie Liebe,” Sozialistische Monatshefte 6 (1900): 255–267.Google Scholar

Guttzeit, Johannes. Schamgefühl, Sittlichkeit und Anstand (Dresden: Berthold Sturm, 1908).Google Scholar

The Habits of Good Society: A Handbook for Ladies and Gentlemen (New York: Carleton, 1872).Google Scholar

Haeckel, Ernst. Die Welträthsel: Gemeinverständliche Studien über Monistische Philosophie (Bonn: Emil Strauss, 1903 [1899]).Google Scholar

Halbe, Max. Jahrhundertwende: Geschichte meines Lebens 1893–1914 (Danzig: Kasemann, 1935).Google Scholar

Heitmann, Ludwig. Grossstadt und Religion (Hamburg: C. Boysen, 1913).Google Scholar

Heppenstall, Rayner. “Apology for Dancing” (1936), in Copeland, Roger and Cohen, Marshall, eds., What Is Dance? (Oxford: Oxford University Press, 1983), pp. 267–288.Google Scholar

Hitler, Adolf. Mein Kampf (Boston: Houghton Mifflin, 1943).Google Scholar

Hofmannsthal, Hugo von. “Die unvergleichliche Tänzerin,” Gesammelte Werke: Prosa, vol. 2 (Frankfurt: S. Fischer, 1951), pp. 256–263.Google Scholar

Hofmannsthal, Hugo von. Hugo von Hofmannsthal/Harry Graf Kessler: Briefwechsel 1898–1929, ed. Burger, Hilde (Frankfurt: Insel, 1968).Google Scholar

Hofmannsthal, Hugo von. Hugo von Hofmannsthal, Briefwechsel mit Alfred Walter Heymel, ed. Vole, Werner (Freiburg: Rombach, 1998).Google Scholar

Holgers, Maria. “Isadora Duncan – Eine Erlösung,” Die Schönheit: Erster Luxusband (1902/1903): 536–538.Google Scholar

Holley, Horace. “To Maud Allan,” Maud Allan and Her Art (London: n.p., n.d.).Google Scholar

Huber-Wiesenthal, Rudolf. Die Schwestern Wiesenthal: Ein Buch eigenen Erlebens (Vienna: Saturn, 1934).Google Scholar

Humphrey, Doris. “What Shall We Dance About?,” Trend: A Quarterly of the Seven Arts 1 (1932): 46–48.Google Scholar

Hofmannsthal, Hugo von. Doris Humphrey: An Artist First – An Autobiography, ed. Cohen, Selma Jeanne (Middletown, CT: Wesleyan University Press, 1972).Google Scholar

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.Google Scholar

Ibel, Rudolf. “Die deutsche Tänzerin,” Der Kreis 9 (1932): 692–696.Google Scholar

Impekoven, Niddy. Die Geschichte eines Wunderkindes (Zürich: Rotapfel, 1955).Google Scholar

Kant, Immanuel. Immanuel Kant’s sämmtliche Werke, vol. 5, ed. Hartenstein, G. (Leipzig: Leopold Voss, 1867).Google Scholar

Kant, Immanuel. Critik der Urtheilskraft (London: Routledge, 1994 [1790]).Google Scholar

Kessler, Harry Graf. Harry Graf Kessler: Das Tagebuch, Dritter Band 1897–1905, eds. Schäfer, Carina and Biedermann, Gabriele (Stuttgart: Cotta, 2004).Google Scholar

Saler, Michael. Harry Graf Kessler: Das Tagebuch, Vierter Band 1906-1914, ed. Jörg Schuster (Stuttgart: Cotta, 2004).Google Scholar

Key, Ellen. Liebe und Ethik (Berlin: Pan, 1905).Google Scholar

Key, Ellen. Der Lebensglaube: Betrachtungen über Gott, Welt, und Seele (Berlin: Fischer, 1906).Google Scholar

Key, Ellen. Über Liebe und Ehe (Berlin: S. Fischer Verlag, 1911).Google Scholar

Kraus, Karl. “Der Schmock und die Bajadere,” in Lüders, Christine, ed., Apropos Mata Hari (Frankfurt: Neue Kritik, 1997), pp. 85–90.Google Scholar

Laban, Rudolf von. Die Welt des Tänzers (Stuttgart: Walter Seifert, 1920).Google Scholar

Laban, Rudolf von. “Die deutsche Tanzbühne: Vorgeschichte und Ausblick,” in Die tänzerische Situation unserer Zeit: Ein Querschnitt (Dresden: Reissner, 1936), pp. 3–7.Google Scholar

Laban, Rudolf von. A Life for Dance: Reminiscences (New York: Theater Arts, 1975).Google Scholar

Lämmel, Rudolf. Der Moderne Tanz: Eine allgemeinverständliche Einführung in das Gebiet der Rhythmischen Gymnastik und des Neuen Tanzes (Berlin: Oestergaard, 1928).Google Scholar

Lang, Marie. “Offenbarung,” Dokumente der Frauen 6 (1902): 637.Google Scholar

Lenin, Vladimir. The State and Revolution, excerpt in Socialist Thought: A Documentary History, eds. Fried, Albert and Sanders, Ronald (Garden City, NY: Anchor, 1964).Google Scholar

Lennartz, Ernst. Duncan – She – Desmond: Beiträge zur Beurteilung und Geschichte der Nackt-Kultur (Cologne: Benziger, 1908).Google Scholar

Levinson, André. “Technik und Geist: Bemerkungen zum ‘klassischen’ Tanz,” in Stefan, Paul, ed., Tanz in dieser Zeit (Vienna: Universal-Edition, 1926), pp. 36–39.Google Scholar

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.Google Scholar

Lifar, Serge. Serge Diaghilev: His Life, His Work, His Legend – An Intimate Biography (New York: Putnam, 1940).Google Scholar

Marinetti, Filippo. “The Futurist Manifesto,” in Lyttleton, Adrian, ed., Italian Fascism (New York: Harper, 1973), pp. 209–215.Google Scholar

Martin, John. “The Dance: A Futile Congress,” New York Times, July 20, 1930, p. X6.Google Scholar

Martin, John. “The Dance: Mary Wigman’s Art,” New York Times, August 3, 1930, p. 101.Google Scholar

Martin, John. “The Dance: Plans for the New Season,” New York Times, September 21, 1930, P. 6.Google Scholar

Martin, John. “Martha Graham, Dancer, Is Cheered,” New York Times, December 7, 1931, p. 23Google Scholar

Martin, John. “The Dance: Artist and Audience,” New York Times, December 27, 1931, p. 94.Google Scholar

Martin, John. The Modern Dance (New York: Dance Horizons, 1965 [1933]).Google Scholar

Martin, John. “The Dance: On Bringing Back Yesterday’s Beauty,” New York Times, February 19, 1933, p. X2.Google Scholar

Martin, John. America Dancing: The Background and Personalities of the Modern Dance (New York: Dodge, 1936).Google Scholar

Mary Wigman: Die Tänzerin, die Schule, die Tanzgruppe (Überlingen: Seebote, 1927).Google Scholar

Mausbach, Joseph. “Der Kampf gegen die moderne Sittenlosigkeit–eine Kulturaufgabe des deutschen Volkes,” Volkswart 5 (1912): 129–136.Google Scholar

Mérode, Cléo de. Le ballet de ma vie (Paris: Horay, 1985 [1955]).Google Scholar

Merz, Max. “Die Ziele und die Organisation der Elizabeth Duncan-Schule,” in Elizabeth Duncan-Schule, Marienhöhe/Darmstadt (Jena: Eugen Diederichs, 1912), pp. 9–17.Google Scholar

Meyer, Bruno. “Etwas von positiver Sexualreform,” Sexual-Probleme 4 (1908): 703–722, 790–811.Google Scholar

Meyer, Bruno. "Muss man nackt tanzen?" Die Schönheit 9, no 11 (1911): 564–574.Google Scholar

Michel, Artur. “The Development of the New German Dance,” in Stewart, Virginia, ed., Modern Dance (New York: Dance Horizons, 1970 [1935]), pp. 3–18.Google Scholar

Möckel, Gustav. “Isadora Duncan,” Kraft und Schönheit 1 (1902/1903): 137–138.Google Scholar

Moeller-Bruck, Arthur. Das Varieté (Berlin: Julius Bard, 1942).Google Scholar

Murias Vila, Carlos. “La magicienne aux yeux d’abîme,” Danser 103 (1992): 24–27.Google Scholar

Mussolini, Benito. Fascism: Doctrine and Institutions (Rome: Ardita, 1935).Google Scholar

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).Google Scholar

Osborn, Max. Der bunte Spiegel; Erinnerungen aus dem Kunst-, Kultur-, und Geistesleben der Jahre 1890 bis 1933 (New York: F. Krause, 1945).Google Scholar

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.Google Scholar

O’Sheel, Shaemas. “To Maud Allan,” Maud Allan and Her Art (London: n.p., n.d.).Google Scholar

Otero, La Belle/Otero, Caroline. My Story (London: Philpot, 1927).Google Scholar

Palkow, Hannelore, and Marchand, André, Liebeslexikon von A-Z (Vienna: Verlag für Kulturforschung, 1932).Google Scholar

Perugini, Mark E. “Sketches of the Dance and Ballet,” The Dancing Times 3 (1912–1913): 74–78.Google Scholar

Perugini, Mark Edward. A Pageant of the Dance and Ballet (London: Jarrolds, 1935).Google Scholar

Poiret, Paul. My First Fifty Years, trans. Stephen Haden Guest (London: Gollancz, 1931).Google Scholar

Rambert, Marie. Quicksilver (London: Macmillan, 1972).Google Scholar

Richardson, Lady Constance Stewart. Dancing, Beauty and Games (London: Arthur L. Humphreys, 1913).Google Scholar

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.Google Scholar

Sacharoff, Clotilde. “La vie que nous avons dansée,” in Frank-Manuel Peter and Rainer Stamm, eds., Die Sacharoffs (Cologne: Wienand, 2002), pp. 156-165.Google Scholar

Schelley, Peter. “Tänzerkongress 1928,” reprinted in Tanzdrama 4 (1987): 16–17.Google Scholar

Schikowski, John. Geschichte des Tanzes (Berlin: Büchergilde Gutenberg, 1926).Google Scholar

Schur, Ernst. “Über das Erotische,” Die Neue Generation 4 (1908): 47–50.Google Scholar

Saler, Michael. Der moderne Tanz (Munich: Gustav Lammers, 1910).Google Scholar

Selden, Elizabeth. The Dancer’s Quest: Essays on the Aesthetic of the Contemporary Dance (Berkeley: University of California Press, 1935).Google Scholar

Shawn, Ted. The American Ballet (New York: Henry Holt, 1926).Google Scholar

Shawn, Ted. Fundamentals of a Dance Education (Girard, KS: Haldeman-Julius, 1937).Google Scholar

Shawn, Ted. One Thousand and One Night Stands (Garden City, NY: Doubleday, 1960).Google Scholar

Sherman, Jane. Soaring: The Diary and Letters of a Denishawn Dancer in the Far East, 1925–1926 (Middletown, CT: Wesleyan University Press, 1976).Google Scholar

Simmel, Georg. “Zur Ästhetik der Alpen,” Gesamtausgabe (Frankfurt: Suhrkamp, 1989), pp. 162–169.Google Scholar

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).Google Scholar

Sokolova, Lydia. Dancing for Diaghilev: The Memoirs of Lydia Sokolova, ed. Buckle, Richard (New York: Macmillan, 1961).Google Scholar

Spier, J. “Lulucharaktere!,” Sexual-Probleme 9 (1913): 676–688.Google Scholar

St. Denis, Ruth. An Unfinished Life (New York: Harper and Brothers, 1939).Google Scholar

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.Google Scholar

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.Google Scholar

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).Google Scholar

Stanislavski, Konstantin. My Life in Art, trans. J. J. Robbins (Boston: Little, Brown, 1929).Google Scholar

Stanislavski, Konstantin. An Actor’s Work (New York: Routledge, 2008).Google Scholar

Stebbins, Genevieve. Delsarte System of Expression (New York: Edgar S. Werner, 1902).Google Scholar

Stenographische Berichte über die Verhandlungen des preussischen Hauses der Abgeordneten, 13. session, January 13, 1909, columns 937–968.Google Scholar

Stöcker, Helene. Bund für Mutterschutz (Berlin: Pan, 1905).Google Scholar

Storck, Karl. “Ganz ohne Cancan,” Tanzdrama 1 (1987): 24.Google Scholar

Symons, Arthur. “The World as Ballet,” in Studies in Seven Arts (London: Archibald Constable, 1906), pp. 387–391.Google Scholar

Török, Alphons. Tanzabende: Kritische Monographien (Vienna: Merker, 1918).Google Scholar

Urlin, Ethel. Dancing Ancient and Modern (London: Simkin, Marshall, Hamilton, Kent & Co., 1912).Google Scholar

Vaihinger, Hans. The Philosophy of As If (London: Routledge & Kegan Paul, 1968 [1924]).Google Scholar

Vaihinger, Hans. Die Philosophie des Als-Ob (Berlin: Reuther and Reichard, 1911).Google Scholar

Valencia, Tórtola. “Mis danzas,” Nuevo Mundo, January 16, 1913.Google Scholar

Valois, Ninette de. “The Future of the Ballet” (1933), in Ninette de Valois: Adventurous Traditionalist (Alton, UK: Dance Books, 2012), pp. 149–152.Google Scholar

Vechten, Carl van. The Dance Writings of Carl van Vechten, ed. Padgette, Paul (New York: Dance Horizons, 1974).Google Scholar

Vechten, Carl van. “Duncan Concerts in New York,” in Magriel, Paul, ed., Nijinsky, Pavlova, Duncan: Three Lives in Dance (New York: Da Capo, 1977).Google Scholar

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.Google Scholar

Villany, Adorée-Via. “Muss man nackt tanzen? Eine Antwort,” Berliner Tageblatt 628, December 10, 1911, p. 1.Google Scholar

Villany, Adorée-Via. Tanz-Reform und Pseudo-Moral: Kritisch-satyrische Gedanken aus meinem Bühnen- und Privatleben, trans. Mirjam David (Paris: Villany, 1912).Google Scholar

Saler, Michael. Phryné moderne devant l’Areopage (Munich: Bruckmann, 1913).Google Scholar

Vischer, Friedrich Theodor. Aesthetik, oder die Wissenschaft des Schönen, part 3, section 2 (Stuttgart: Mäcken, 1857).Google Scholar

Weigl, F. “Das gegenwärtige Hervordringen des Nackten in die Öffentlichkeit,” Volkswart 1 (1908): 18–22.Google Scholar

Wells, H. G. The Discovery of the Future (New York: B. W. Huebsch, 1913).Google Scholar

Wells, H. G., and Huxley, Julian, The Science of Life (London: London Amalgamated Press, 1929).Google Scholar

Werefkin, Marianne. “Über die Sacharoffs,” in Frank-ManuelPeter and Rainer Stamm, Die Sacharoffs(Cologne: Wienand, 2000), p. 48.Google Scholar

Wiesenthal, Grete. Der Aufstieg (Berlin: Rowohlt, 1919).Google Scholar

Wiesenthal, Grete. “Unsere Tänze,” in Fiedler, Leonhard M. and Lang, Martin, eds., Grete Wiesenthal (Salzburg: Residenz, 1985), pp. 55–57.Google Scholar

Wigman, Mary. “Tänzerisches Schaffen der Gegenwart,” in Stefan, Paul, ed., Tanz in dieser Zeit (Vienna: Universal-Edition, 1926), pp. 5–7.Google Scholar

Wigman, Mary. “Die Schule,” in Bach, Rudolf, ed., Das Mary Wigman-Werk (Dresden: Reissnerl 1933), pp. 32–34.Google Scholar

Wigman, Mary. “Gruppentanz/Regie,” in Rudolph Bach, ed., Das Mary Wigman-Werk (Dresden: Reissner, 1933), pp. 45–47.Google Scholar

Wigman, Mary. Deutsche Tanzkunst (Dresden: Reissner, 1935).Google Scholar

Wigman, Mary. Die tänzerische Situation unserer Zeit: Ein Querschnitt (Dresden: Reissner, 1936).Google Scholar

Wigman, Mary. “The New German Dance,” in Stewart, Virginia, eds., Modern Dance (New York: Dance Horizons, 1970 [1935]), pp. 19–23.Google Scholar

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.Google Scholar

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.Google Scholar

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).Google Scholar

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.Google Scholar