Books, articles and unpublished theses
Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton University Press, 1991.
Abbate, Carolyn In Search of Opera. Princeton University Press, 2001.
Abbate, Carolyn ‘Music: Drastic or Gnostic?’, Critical Inquiry, 30/3 (2004), pp. 505–36.
Abbate, Carolyn ‘Cipher and Performance in Sternberg’s Dishonored’, in Karol Berger and Anthony Newcomb (eds.), Music and the Aesthetics of Modernity. Cambridge, MA: Harvard University Press, 2005, pp. 357–92.
Abel, Richard (ed.), French Film Theory and Criticism, 1907–1939. Princeton University Press, 1988.
Agathocleous, Tanya, Urban Realism and the Cosmopolitan Imagination in the Nineteenth Century. Cambridge University Press, 2010.
Albright, Ann Cooper, Choreographing Difference: The Body and Identity in Contemporary Dance. Middletown, CT: Wesleyan University Press, 1997.
Albright, Ann Cooper Traces of Light: Absence and Presence in the Work of Loïe Fuller. Middletown, CT: Wesleyan University Press, 2007.
Albright, Daniel, Stravinsky: The Music Box and the Nightingale. London: Gordon and Breach, 1989.
Albright, Daniel Untwisting the Serpent: Modernism in Music, Literature, and the Other Arts. University of Chicago Press, 2000.
Albright, Daniel ‘Golden Calves: The Role of Dance in Opera’, The Opera Quarterly, 22/1 (2006), pp. 22–37.
Alda, Frances, Men, Women and Tenors. Boston, MA: Houghton Mifflin, 1937.
Allanbrook, Wye, Rhythmic Gesture in Mozart: ‘Le Nozze di Figaro’ and ‘Don Giovanni’. University of Chicago Press, 1983.
Anthony, James R., ‘The French Opéra-Ballet in the Early Eighteenth Century: Problems of Definition and Classification’, Journal of the American Musicological Society, 18/2 (1965), pp. 197–20.
Antliff, Mark and Patricia Leighten, Cubism and Culture. London: Thames and Hudson, 2001.
Apollinaire, Guillaume, Apollinaire on Art, ed. LeRoy C. Breunig, trans. Susan Suleiman. New York: Viking Press, 1972.
Appia, Adolphe, Œuvres complètes, ed. Marie L. Bablet-Hahn, 4 vols. Lausanne: L’Âge d’Homme, 1988.
Armstrong, Isobel, The Radical Aesthetic. Oxford: Blackwell, 2000.
Armstrong, Tim, Modernism, Technology and the Body: A Cultural Study. Cambridge University Press, 1998.
Atlas, Allan W., ‘Mimi’s Death: Mourning in Puccini and Leoncavallo’, Journal of Musicology, 14/1 (1996), pp. 52–79.
Audubert, Jules, L’Art du chant, suivi d’un traité de maintien théâtral. Paris: Brandus et Cie, 1876.
Austin, William W. (ed.), Claude Debussy: Prelude to ‘The Afternoon of a Faun’, Norton Critical Score. London: Norton, 1970.
d’Avenel, Georges, Le Nivellement des jouissances. Paris: Flammarion, 1913.
Baer, Nancy Van Norman (ed.), The Art of Enchantment: Diaghilev’s Ballets Russes. San Francisco, CA: Universe Books, 1989.
Bailey, Peter, Popular Culture and Performance in the Victorian City. Cambridge University Press, 1998.
Barish, Jonas, The Antitheatrical Prejudice. Berkeley and Los Angeles: University of California Press, 1981.
Barnes, Clives, ‘The Russians Have Come, the Russians Have Come’, Dance Magazine, 72/2 (1998), p. 162.
Barrès, Maurice, Contre les étrangers: étude pour la protection des ouvriers français. Paris: Grande Imprimerie Parisienne, 1893.
Barrès, Maurice Scènes et doctrines du nationalisme. Paris: F. Juven, 1902.
Barthes, Roland, Image-Music-Text, trans. and ed. Stephen Heath. London: Fontana, 1977.
Batson, Charles, Dance, Desire, and Anxiety in Early Twentieth-Century French Theater. Aldershot: Ashgate, 2005.
Bazaillas, Albert, Musique et inconscience: introduction à la psychologie de l’inconscient. Paris: Félix Alcan, 1908.
Beacham, Richard C., Adolphe Appia: Artist and Visionary of the Modern Theatre. London: Routledge, 1994.
Benedetti, Jean, Stanislavski: An Introduction. London: Methuen, 1982.
Benedetti, Jean Stanislavski and the Actor. London: Methuen, 1998.
Benjamin, Roger, Orientalist Aesthetics: Art, Colonialism and French North Africa, 1880–1930. Berkeley and Los Angeles: University of California Press, 2003.
Benois, Alexandre, Reminiscences of the Russian Ballet, trans. Mary Britnieva. London: Putnam, 1941.
Berchtold, Alfred, ‘Émile Jaques-Dalcroze et son temps’, in Frank Martin (ed.), Émile Jaques-Dalcroze: l’homme, le compositeur, le créateur de la rythmique. Neuchâtel: Éditions de la Baconnière, 1965, pp. 27–158.
Berghaus, Günther, Futurism and Politics: Between Anarchist Rebellion and Fascist Reaction, 1909–1944. Oxford University Press, 1996.
Berghaus, Günther Italian Futurist Theatre, 1909–1944. Oxford University Press, 1998.
Berlanstein, Lenard R., Daughters of Eve: A Cultural History of French Theater Women from the Old Regime to the Fin de Siècle. Cambridge, MA: Harvard University Press, 2001.
Berlanstein, Lenard R. ‘Historicizing and Gendering Celebrity Culture: Famous Women in Nineteenth-Century France’, Journal of Women’s History, 16/4 (2004), pp. 65–91.
Berman, Jennifer Schiff, Modernist Fiction, Cosmopolitanism, and the Politics of Community. Cambridge University Press, 2001.
Berman, Marshall, All That is Solid Melts into Air: The Experience of Modernity. New York: Simon and Schuster, 1982.
Bhabha, Homi, The Location of Culture. 1994; repr. London: Routledge, 2005.
Bhogal, Gurminder Kaur, ‘Debussy’s Arabesque and Ravel’s Daphnis et Chloé (1912)’, Twentieth-Century Music, 3/2 (2006), pp. 171–99.
Bielecki, Emma, ‘Faking It: Representations of Art Forgery from the Second Empire to the Belle Époque’, in Louis Hardwick (ed.), New Approaches to Crime in French Literature, Culture and Film. New York: Peter Lang, 2009, pp. 35–50.
Blackmer, Corrine E. and Patricia Juliana Smith (eds.), En Travesti: Women, Gender Subversion, Opera. New York: Columbia University Press, 1995.
Bohn, Willard, The Aesthetics of Visual Poetry, 1914–1928. Cambridge University Press, 1986.
Bourneville, Désiré-Magloire and Paul Régnard, Iconographie photographique de la Salpêtrière, 3 vols. Paris: Progrès Médical/Delahaye et Lecrosnier, 1875–1880.
Bowlt, John E., ‘Diaghilev and the Eighteenth Century’, in Sjeng Scheijen (ed.), Working for Diaghilev. Groninger Museum, 2004, pp. 38–48.
Braun, Marta, Picturing Time: The Work of Étienne-Jules Marey (1830–1904). University of Chicago Press, 1994.
Breckenridge, Carol A., Sheldon Pollock and Homi Bhabha (eds.), Cosmopolitanism. Durham, NC: Duke University Press, 2002.
Bretell, Richard R., Modern Art, 1851–1929: Capitalism and Representation. Oxford University Press, 1999.
Brillant, Maurice, Problèmes de la danse. 1953; repr. Paris: Librairie Théâtrale, 1979.
Bronfen, Elisabeth, The Knotted Subject: Hysteria and its Discontents. Princeton University Press, 1998.
Brown, Julia Prewitt, Cosmopolitan Criticism: Oscar Wilde’s Philosophy of Art. Charlottesville: University of Virginia Press, 1997.
Bruneau, Alfred, Musiques d’hier et de demain. Paris: Bibliothèque Charpentier, 1900.
Bruneau, Alfred Musiques de Russie et musiciens de France. Paris: Charpentier, 1903.
Buci-Glucksmann, Christine, ‘Catastrophic Utopia: The Feminine as Allegory of the Modern’, Representations, 14 (1986), pp. 220–9.
Buckle, Richard, Nijinsky. London: Weidenfeld and Nicolson, 1971.
Buckle, Richard Diaghilev. London: Weidenfeld and Nicolson, 1979.
Bullard, Truman C., ‘The First Performance of Igor Stravinsky’s Sacre du printemps’, PhD thesis, University of Rochester, 1971.
Caballero, Carlo, Fauré and French Musical Aesthetics. Cambridge University Press, 2001.
Cabanès, Jean-Louis, Les Frères Goncourt: art et écriture. Presses Universitaires de Bordeaux, 1997.
Calvé, Emma, My Life. London: Appleton, 1922.
Camard, Jean-Pierre, Paul Ricard and Lynne Thornton, L’Art et la vie en France à la belle époque. Paris: Paul Ricard, 1971.
Canudo, Ricciotto, Le Livre de l’évolution de l’homme: psychologie musicale des civilisations. Paris: E. Sansot et Cie, 1907.
Carter, Alexandra and Janet O’Shea (eds.), The Routledge Dance Studies Reader. 1998; rev. edn London: Routledge, 2010.
Chaliapin, Fyodor, Man and Mask: Forty Years in the Life of a Singer, trans. Phyllis Mégroz. London: Victor Gollancz, 1932.
Charbonnier, Georges, Le Monologue du peintre. Paris: Éditions Julliard, 1960.
Charcot, Jean Martin, Œuvres complètes, 9 vols. Paris: Progrès Médical/Lecrosnier et Babé, 1886–9.
Charcot, Jean Martin and Paul Richer, ‘Note on Certain Facts of Cerebral Automatism Observed in Hysteria during the Cataleptic Period of Hypnotism’, Journal of Nervous and Mental Disease, 10 (1883), pp. 1–13.
Charle, Christophe, Paris fin de siècle: culture et politique. Paris: Éditions du Seuil, 1998.
Chu, Petra ten-Doesschate and Gabriel P. Weisberg (eds.), The Popularization of Images: Visual Culture under the July Monarchy. Princeton University Press, 1994.
Clark, Maribeth, ‘Understanding French Grand Opéra through Dance’, PhD thesis, University of Pennsylvania, 1998.
Clark, Maribeth ‘The Quadrille as Embodied Musical Experience in 19th-Century Paris’, Journal of Musicology, 19/3 (2002), pp. 503–26.
Clark, Maribeth ‘The Body and the Voice in La Muette de Portici’, 19th-Century Music, 27/2 (2003), pp. 116–31.
Clark, Maribeth ‘The Role of Gustave, ou le bal masqué in Restraining the Bourgeois Body of the July Monarchy’, Musical Quarterly, 88/2 (2005), pp. 204–31.
Clark, T. J. The Painting of Modern Life: Paris in the Art of Manet and his Followers. New York: Knopf, 1984.
Clark, T. J. Farewell to an Idea: Episodes from a History of Modernism. New Haven, CT, and London: Yale University Press, 1999.
Code, David J., ‘Hearing Debussy Reading Mallarmé: Music après Wagner in the Prélude à l’après-midi d’un faune’, Journal of the American Musicological Society, 54/3 (2001), pp. 493–554.
Copeland, Roger and Marshall Cohen (eds.), What is Dance? Readings in Theory and Criticism. Oxford University Press, 1983.
Cottington, David, Cubism and its Histories. Manchester University Press, 2004.
Counsell, Colin, Signs of Performance. London: Routledge, 1996.
Crary, Jonathan, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: The MIT Press, 1992.
Crary, Jonathan Suspensions of Perception: Attention, Spectacle and Modern Culture. Cambridge, MA: The MIT Press, 1999.
Cui, César, La Musique en Russie. Paris: Fischbacher, 1880.
Current, Richard Nelson and Marcia Ewing Current, Loie Fuller: Goddess of Light. Boston, MA: Northeastern University Press, 1997.
Curtis, Michael, Three Against the Third Republic: Sorrel, Barrès and Maurras. Princeton University Press, 1959.
Dagognet, François, Étienne-Jules Marey: A Passion for the Trace, trans. Robert Galeta. Cambridge, MA: The MIT Press, 1992.
Daly, Ann, Done into Dance: Isadora Duncan in America. Bloomington: Indiana University Press, 1995.
Daly, Ann ‘The Natural Body’, in Ann Dils and Ann Cooper Albright (eds.), Moving History/Dancing Cultures. Middletown, CT: Wesleyan University Press, 2001, pp. 288–99.
Daudet, Léon, Hors du joug allemand. Paris: Nouvelle Librairie Nationale, 1915.
Daudet, Léon L’Entre-deux-guerres. Paris: Nouvelle Librairie Nationale, 1915.
Davies, James Q., ‘Dancing the Symphonic: Beethoven-Bochsa’s Symphonie Pastorale, 1829’, 19th-Century Music, 27/1 (2003), pp. 25–47.
Davis, Mary E., Classic Chic: Music, Fashion, and Modernism. Berkeley and Los Angeles: University of California Press, 2006.
Davis, Mary E. Erik Satie. London: Reaktion Books, 2007.
Davis, Mary E. Ballets Russes Style: Diaghilev’s Dancers and Paris Fashion. London: Reaktion Books, 2010.
Deak, Frantisek, Symbolist Theatre: The Formation of an Avant-Garde. Baltimore, MD, and London: The Johns Hopkins University Press, 1993.
Deane, Basil, Albert Roussel. London: Barrie and Rockliff, 1961.
Debon, Claude, ‘Calligrammes’ de Guillaume Apollinaire. Paris: Gallimard, 2004.
Denby, Edwin, Dance Writings. New York: Knopf, 1986.
Denis, Maurice, Journal, 3 vols. Paris: Éditions du Vieux Colombier, 1957.
Desmond, Jane C. (ed.), Meaning in Motion: New Cultural Studies of Dance. Durham, NC: Duke University Press, 1997.
Doane, Mary Ann, ‘The Voice in the Cinema: The Articulation of Body and Space’, Yale French Studies, 60/1 (1980), pp. 33–50.
Dobie, Madeleine, Foreign Bodies: Gender, Language and Culture in French Orientalism. Stanford University Press, 2001.
Drain, Richard (ed.), Twentieth-Century Theatre: A Sourcebook. London: Routledge, 1995.
Driault, Édouard, Plus rien d’allemand. Paris: Tenin, 1918.
Duchamp, Marcel, The Writings of Marcel Duchamp, ed. Michel Sanouillet and Elmer Peterson. Oxford University Press, 1973.
Duncan, Isadora, Écrits sur la danse. Paris: Éditions du Grenier, 1927.
Duncan, Isadora My Life. 1928; repr. London: Gollancz, 1996.
Eksteins, Modris, Rites of Spring: The Great War and the Birth of the Modern Age. Boston, MA: Houghton Mifflin, 1989.
Ellis, Katharine, Interpreting the Musical Past: Early Music in Nineteenth-Century France. Oxford University Press, 2005.
Esslin, Martin, Theatre of the Absurd. Garden City, NY: Doubleday, 1961.
Evans, David and Kate Griffiths (eds.), Pleasure and Pain in Nineteenth-Century French Literature and Culture. New York: Rodopi, 2008.
Fauser, Annegret, ‘Visual Pleasures–Musical Signs: Dance at the Paris Opéra’, South Atlantic Quarterly, 104/1 (2005), pp. 99–121.
Fauser, Annegret (ed.), Dossier de presse parisienne: Jules Massenet, ‘Esclarmonde’ (1889). Heilbronn: Édition Lucie Galland, 2001.
Fauser, Annegret and Mark Everist (eds.), Music, Theatre, and Cultural Transfer: Paris, 1830–1914. University of Chicago Press, 2009.
Fédorovski, Vladimir, L’Histoire secrète des Ballets Russes. Paris: Éditions du Rocher, 2002.
Féré, Charles, Sensation et mouvement. Paris: Félix Alcan, 1887.
Ferguson, Priscilla Parkhurst, Paris as Revolution: Writing the 19th-Century City. Berkeley and Los Angeles: University of California Press, 1994.
Fine, Robert, Cosmopolitanism. London: Routledge, 2007.
Flam, Jack, Matisse: The Dance. Washington, DC: National Gallery of Art, 1993.
Flam, Jack (ed.), Matisse on Art. 1978; rev. edn Berkeley and Los Angeles: University of California Press, 1995.
Fleischer, Mary, Embodied Texts: Symbolist Playwright-Dancer Collaborations. New York: Rodopi, 2007.
Fokine, Michel, Memoirs of a Ballet Master, ed. Anatole Chujoy, trans. Vitale Fokine. London: Constable, 1961.
Foster, Hal, ‘The “Primitive” Unconscious of Modern Art’, October, 34 (1985), pp. 45–70.
Foster, Susan Leigh (ed.), Choreographing History. Bloomington: Indiana University Press, 1995.
Francastel, Pierre, La Création du musée historique de Versailles et la transformation du palais, 1832–1848. Paris: Les Presses Modernes, 1930.
Franko, Mark, Dancing Modernism/Performing Politics. Bloomington: Indiana University Press, 1995.
Frolova-Walker, Marina, ‘Russian Opera: Between Modernism and Romanticism’, in Mervyn Cooke (ed.), The Cambridge Companion to Twentieth-Century Opera. Cambridge University Press, 2005, pp. 181–96.
Fuchs, Elinor, The Death of Character: Perspectives on Theatre after Modernism. Bloomington: Indiana University Press, 1996.
Fulcher, Jane, French Cultural Politics and Music: From the Dreyfus Affair to the First World War. Oxford University Press, 1999.
Fulcher, Jane The Composer as Intellectual: Music and Ideology in France. Oxford University Press, 2005.
Fuller, Loie, Fifteen Years of a Dancer’s Life. 1913; repr. New York: Dance Horizons, 1977.
Garafola, Lynn, Diaghilev’s Ballets Russes. 1989; repr. New York: Da Capo, 1998.
Garafola, Lynn Legacies of Twentieth-Century Dance. Middletown, CT: Wesleyan University Press, 2005.
Garafola, Lynn, (ed.), Rethinking the Sylph: New Perspectives on the Romantic Ballet. Hanover, NH: University Press of New England, 1997.
Garden, Mary and Louis Biancolli, Mary Garden’s Story. London: Michael Joseph, 1952.
Garelick, Rhonda, Electric Salome: Loie Fuller’s Performance of Modernism. Princeton University Press, 2007.
Geminiani, Francesco, Treatise of Good Taste in the Art of Music. London: n.p., 1749; facsimile Wyton: King’s Music, 1988.
Genrich, Tom, Authentic Fictions: Cosmopolitan Writing of the Troisième République, 1908–1940. New York: Peter Lang, 2004.
Gillis, Patrick, ‘Thaïs dans tous ses états: genèse et remaniements’, L’Avant-scène opéra: ‘Thaïs’, 109 (1988), pp. 66–74.
Gillis, Patrick ‘Thaïs à l’Opéra: du roman à la comédie lyrique, pertes et profits’, in Marie-Claire Bancquart and Jean Dérens (eds.), Anatole France: humanisme et actualité. Paris: Bibliothèque Historique de la Ville de Paris, 1994, pp. 107–34.
Goehr, Lydia, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. 1992; rev. edn Oxford University Press, 2007.
Goetz, Christopher G., Charcot the Clinician: The Tuesday Lessons. New York: Raven Press, 1987.
Goetz, Christopher G., Michel Bonduelle and Toby Gelfand, Charcot: Constructing Neurology. Oxford University Press, 1995.
Goncourt, Edmond de and Jules de Goncourt, Journal: mémoires de la vie littéraire, 9 vols. Paris: Charpentier, 1887–96.
Gorce, Jérôme de la, ‘De l’opéra-ballet aux fragments’, XVIIe siècle, 198 (1998), pp. 37–50.
Gosling, Nigel, Paris, 1900–1914: The Miraculous Years. London: Weidenfeld and Nicolson, 1978.
Gradmann, Christoph, ‘Invisible Enemies: Bacteriology and the Language of Politics in Imperial Germany’, Science in Context, 13 (2000), pp. 9–30.
Greskovic, Robert, Ballet 101: A Complete Guide to Learning and Loving the Ballet. 1998; rev. edn Milwaukee, WI: Limelight Editions, 2005.
Grey, Thomas S. (ed.), Richard Wagner and his World. Princeton University Press, 2009.
Gritten, Anthony and Elaine King (eds.), Music and Gesture. Aldershot: Ashgate, 2006.
Gritten, Anthony and Elaine King New Perspectives on Music and Gesture. Aldershot: Ashgate, 2010.
Groberg, Kristi A., ‘The Shade of Lucifer’s Dark Wing: Satanism in Silver Age Russia’, in Bernice Glatzer Rosenthal (ed.), The Occult in Russian and Soviet Culture. Ithaca, NY: Cornell University Press, 1997, pp. 99–133.
Groos, Arthur and Roger Parker (eds.), Giacomo Puccini, ‘La bohème’. Cambridge University Press, 1986.
Guest, Anne Hutchinson and Claudia Jeschke, Nijinsky’s ‘Faune’ Restored. Philadelphia, PA: Gordon and Breach, 1991.
Guest, Igor, Le Ballet de l’Opéra de Paris: trois siècles d’histoire et de tradition. 1976; repr. Paris: Flammarion, 2001.
Guichard, Léon, La Musique et les lettres en France au temps du wagnérisme. Paris: Presses Universitaires de France, 1963.
Guillain, Georges, J.-M. Charcot (1825–1893): sa vie, son œuvre. Paris: Masson, 1955.
Gumbrecht, Hans Ulrich, The Production of Presence: What Meaning Cannot Convey. Stanford University Press, 2004.
Gumbrecht, Hans Ulrich ‘Production of Presence, Interspersed with Absence: A Modernist View on Music, Libretti, and Staging’, trans. Matthew Tiews, in Karol Berger and Anthony Newcomb (eds.), Music and the Aesthetics of Modernity. Cambridge, MA: Harvard University Press, 2005, pp. 343–55.
Gumbrecht, Hans Ulrich In Praise of Athletic Beauty. Cambridge, MA: Harvard University Press, 2006.
Hahn, Reynaldo, Du Chant (1920), in On Singers and Singing, trans. Leopold Simoneau. London: Christopher Helm, 1990.
Haldey, Olga, Mamontov’s Private Opera: The Search for Modernism in Russian Theater. Bloomington: Indiana University Press, 2010.
Hamon, Philippe and Alexandrine Viboud, Dictionnaire thématique du roman de mœurs, 1850–1914. Paris: Presses de la Sorbonne Nouvelle, 2003.
Harris, Jonathan P., Writing Back to Modern Art. London: Routledge, 2005.
Hart, Brian, ‘“Le Cas Debussy”: Reviews and Polemics about the Composer’s “New Manner”’, in Jane F. Fulcher (ed.), Debussy and His World. Princeton University Press, 2001, pp. 363–82.
Harvey, David, Paris: Capital of Modernity. London: Routledge, 2003.
Heisler, Wayne, The Ballet Collaborations of Richard Strauss. University of Rochester Press, 2009.
Hemmings, F. J., The Russian Novel in France, 1884–1914. Oxford University Press, 1950.
Henson, Karen, ‘In the House of Disillusion: Augusta Holmès and La Montagne noire’, Cambridge Opera Journal, 9/3 (1997), pp. 233–62.
Henson, Karen ‘Verdi, Victor Maurel and Fin-de-Siècle Operatic Performance’, Cambridge Opera Journal, 19/1 (2007), pp. 59–84.
Hepokoski, James, Giuseppe Verdi: ‘Otello’. Cambridge University Press, 1987.
Herbert, Robert L. (ed.), Modern Artists on Art. 1964; rev. edn Mineola, NY: Dover, 2000.
Hibberd, Sarah (ed.), Melodramatic Voices: Understanding Music Drama. Aldershot: Ashgate, 2011.
Higgonet, Patrice, Paris, Capital of the World. Cambridge, MA: Harvard University Press, 2002.
Hindson, Catherine, Female Performance Practice on the Fin-de-Siècle Popular Stages of London and Paris. Manchester University Press, 2007.
Hodson, Millicent, Nijinsky’s Crime Against Grace: Reconstruction of the Original Choreography for ‘Le Sacre du printemps’. Hillsdale, NY: Pendragon, 1995.
Holford-Strevens, Leofranc, ‘Sirens in Antiquity and the Middle Ages’, in Lynda Phyllis Austern and Inna Naroditskaya (eds.), Music of the Sirens. Bloomington: Indiana University Press, 2006, pp. 16–51.
Honigwachs, L., ‘The Edwardian Discovery of Russia, 1900–1917’, PhD thesis, Columbia University, 1977.
Hoobler, Dorothy and Thomas Hoobler, The Crimes of Paris: A True Story of Murder, Theft, and Detection. Boston, MA: Little, Brown and Company, 2009.
Horne, Alistair, Seven Ages of Paris: Portrait of a City. London: Macmillan, 2002.
Howard, Kathleen, Confessions of an Opera Singer. London: Kegan Paul, 1920.
Huebner, Steven, French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style. Oxford University Press, 1999.
Hutcheon, Linda and Michael Hutcheon, Bodily Charm, Living Opera. Lincoln: University of Nebraska Press, 2000.
Huyssen, Andreas, After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana University Press, 1986.
Järvinen, Hanna, ‘Dancing without Space: On Nijinsky’s L’Après-midi d’un faune (1912)’, Dance Research, 27/1 (2009), pp. 28–64.
Järvinen, Hanna ‘Failed Impressions: Diaghilev’s Ballets Russes in America, 1916’, Dance Research Journal, 42/2 (2010), pp. 76–108.
Jones, Colin, Paris: Biography of a City. London: Allen Lane, 2004.
Jordan, Stephanie, ‘Debussy, the Dance, and the Faune’, in James Briscoe (ed.), Debussy in Performance. New Haven, CT, and London: Yale University Press, 1999, pp. 119–34.
Jordan, Stephanie Stravinsky Dances: Re-Visions Across a Century. London: Dance Books, 2007.
Joseph, Charles, Stravinsky and Balanchine: A Journey of Invention. New Haven, CT, and London: Yale University Press, 2002.
Jowitt, Deborah, ‘The Ballets Russes Revolution’, Dance Magazine, 83/2 (2009), pp. 26–9.
Kahane, Martine and Nicole Wild (eds.), Wagner et la France. Paris: Bibliothèque Nationale de France, 1983.
Kelkel, Manfred (ed.), Albert Roussel: musique et esthétique. Paris: Vrin, 1989.
Kendall, Elizabeth, ‘1900, A Doorway to Revolution’, Dance Magazine, 73/1 (1999), pp. 80–3.
Kennan, George F., The Decline of Bismarck’s European Order: Franco-Russian Relations 1875–1890. Princeton University Press, 1979.
Kennan, George F. The Fateful Alliance: France, Russia, and the Coming of the First World War. New York: Pantheon, 1984.
Kern, Stephen, The Culture of Time and Space: 1880–1918. Cambridge, MA: Harvard University Press, 1983.
Kirby, Michael, Futurist Performance. New York: E. P. Dutton, 1971.
Knapp, Bettina L., The Reign of the Theatrical Director: French Theatre, 1887–1924. New York: Whitston, 1988.
Kochno, Boris, Diaghilev and the Ballets Russes, trans. Adrienne Foulke. London: The Penguin Press, 1971.
Kopelson, Kevin, The Queer Afterlife of Vaslav Nijinsky. Stanford University Press, 1997.
Kregor, Jonathan, Liszt as Transcriber. Cambridge University Press, 2010.
Kreuzer, Gundula, Verdi and the Germans: From Unification to Third Reich. Cambridge University Press, 2010.
Kurth, Peter, Isadora: A Sensational Life. Boston, MA: Little, Brown and Company, 2001.
Landels, John G., Music in Ancient Greece and Rome. London: Routledge, 1999.
Launay, Elisabeth, Les Frères Goncourt, collectionneurs de dessins. Paris: Arthena, 1991.
Leader, Darian, Stealing the Mona Lisa: What Art Stops Us From Seeing. New York: Counterpoint, 2002.
Lecoq, Jacques, Le Théâtre du geste (1987), in Theatre of Movement and Gesture, trans. David Bradby. London: Routledge, 2006.
Le Guin, Elizabeth, Boccherini’s Body: An Essay in Carnal Musicology. Berkeley and Los Angeles: University of California Press, 2005.
Leopold, Silke (ed.), Musikalische Metamorphosen: Formen und Geschichte der Bearbeitung. Kassel: Bärenreiter, 1992.
Lepecki, André, Exhausting Dance: Performance and the Politics of Movement. London: Routledge, 2006.
Lepecki, André (ed.), Of the Presence of the Body: Essays on Dance and Performance Theory. Middletown, CT: Wesleyan University Press, 2004.
Levitz, Tamara, ‘In the Footsteps of Eurydice: Gluck’s Orpheus und Eurydice in Hellerau, 1913’, Echo, 3/2 (2001), no page numbers.
Levitz, Tamara ‘Syvilla Fort’s Africanist Modernism and John Cage’s Gestic Music: The Story of Bacchanale’, The South Atlantic Quarterly, 104/1 (2005), pp. 123–49.
Lista, Giovanni, Loïe Fuller: danseuse de la belle époque. Paris: Somogy, 1995.
Lowenthal, Lillian, The Search for Isadora: The Legend and Legacy of Isadora Duncan. Pennington, NJ: Dance Horizons, 1993.
MacMillan, James F., Twentieth-Century France: Politics and Society. New York and London: Edward Arnold, 1992.
Maehder, Jürgen, ‘Paris-Bilder: Zur Transformation von Henry Murgers Roman in den Bohème-Opern Puccinis und Leoncavallos’, Jahrbuch für Opernforschung, 2 (1986), pp. 109–76.
Mallarmé, Stéphane, Œuvres complètes, ed. G. Jean-Aubry and Henri Mondor. Paris: Gallimard, 1945.
Marchesi, Mathilde, Marchesi and Music: Passages from the Life of a Famous Singing Teacher. New York: Harper, 1897.
Marks, Steven G., How Russia Shaped the Modern World: From Art to Anti-Semitism, Ballet to Bolshevism. Princeton University Press, 2003.
Marrinan, Michael, Painting Politics for Louis-Philippe: Art and Ideology in Orleanist France. New Haven, CT, and London: Yale University Press, 1988.
Massenet, Jules, Mes souvenirs. Paris: Lafitte, 1912.
Mauclair, Camille, Trois crises de l’art actuel. Paris: Fasquelle, 1906.
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