Gestural Imaginaries: Dance and Cultural Theory in the Early Twentieth Century (New York: Oxford University Press, 2019).

Reviews

German Studies Review 43/1 (2020), 181–183 (Wesley Lim)
Dance Research 39/1 (2021), 127–128 (Clare Lidbury)

Dances of the Self in Heinrich von Kleist, E. T. A. Hoffmann and Heinrich Heine (London: Routledge, 2006) Special Citation, de la Torre Bueno Prize, Dance Studies Association, USA.

Reviews

Heine Jahrbuch (2007), 267–269 (Simon Wortmann)
Dance Critics Association News Spring 2007 (Thomas F. DeFrantz)
Seminar 44/4 (2008), 477–479 (Jill Scott)
Dance Research 26/1 (2008), 63– 65 (Marion Kant)
MLR 103/3 (2008), 895–896 (James Hodkinson)
Germanistik 49/3,4 (2008), 785 (Anton Philipp Knittel)
KulturPoetik 8/2 (2008), 291–297 (Julia Stenzel)

 

Edited Collections

Handbuch Literatur & Performance (with Bettina Brandl-Risi), (Berlin: De Gruyter) (in preparation).

Speculations on the Queerness of Dance Modernism (with Mariama Diagne and Eike Wittrock), Special Issue, Dance Research Journal 54/2 (2022).

Towards an Ethics of Gesture, Special Section, Performance Philosophy 3/1 (2017).

New German Dance Studies (with Susan Manning), (Urbana: University of Illinois Press, 2012).

Reviews

H-German Book Review (2013) (Karl Toepfer)
Tanz (July 2013) (Annette von Wangenheim)
KulturPoetik 13/2 (2013), 276–278 (Peter M. Boenisch)
The German Quarterly 87/1 (2014), 144–145 (Wesley Lim)
Dance Research 32/3 (2014), 267–268 (Matthew Jefferies)
Dance Research Journal 46/1 (2014), 123–129 (Ana Isabel Keilson)

Cultural Pleasure (with Michael Minden), Special Issue, German Life & Letters 62/3 (2009).

Performance and Performativity in German Cultural Studies (with Carolin Duttlinger and Andrew Webber), (Oxford: Lang, 2003).

Review

MEDIENwissenschaft 1 (2005), 46–47 (Kirsten von Hagen)

 

Articles in Peer-Reviewed Journals and Book Chapters

‘Einleitung’ (with Bettina Brandl-Risi), in Handbuch Literatur & Performance, ed. by Bettina Brandl-Risi and Lucia Ruprecht (Berlin: De Gruyter, 2024).

‘Glossar’ (with Bettina Brandl-Risi), in Handbuch Literatur & Performance, ed. by Bettina Brandl-Risi and Lucia Ruprecht (Berlin: De Gruyter, 2024).

‘Tanz und Narration: Noé Soulier choreografiert Virginia Woolfs The Waves’, in Handbuch Literatur & Performance, ed. by Bettina Brandl-Risi and Lucia Ruprecht (Berlin: De Gruyter, 2024).

‘Tanzhistoriografie’, in Theater und Tanz. Handbuch für Wissenschaft und Studium, ed. by Beate Hochholdinger-Reiterer, Christina Thurner, and Julia Wehren (Freiburg: Rombach, 2023).

‘Geste’, in Theater und Tanz. Handbuch für Wissenschaft und Studium, ed. by Beate Hochholdinger-Reiterer, Christina Thurner, and Julia Wehren (Freiburg: Rombach, 2023).

‘Introduction: Noé Soulier’s Actions, Movements and Gestures’, in Noé Soulier, Actions, Movements and Gestures, trans. by Anna Pakes (Lanham: Rowman & Littlefields, 2023).

‘(Mis)memory: Transmissions of Gesture in Reenactment’, in The Oxford Handbook on Dance and Memory, ed. by Susanne Franco and Marina Nordera (New York: OUP, 2023).

‘Sexuality and Queer Sentiment in Mikhail Fokine’s Le Carnaval’, in Re-Writing Modernist Dance, ed. by Julia Hoczyk and Wojciech Klimczyk (Crakow: Jagiellonian University Press, 2023), 387–403.

‘Seksualność i.queerowa uczuciowość w.Karnawale Michaiła Fokina’, in Re-Writing Modernist Dance, ed. by Julia Hoczyk and Wojciech Klimczyk (Crakow: Jagiellonian University Press, 2023), 101–118.

‘Absolutes Substitut: Dora Kallmus’ fetischistische Fotografien in Anita Berbers und Sebastian Drostes Tänze des Lasters, des Grauens und der Ekstase (1923)’, in Tanz in Bildern: Plurale Konstellationen der Fotografie, ed. by Isa Wortelkamp (Bielefeld: transcript, 2022), 189–206.

‘Witnessing Versus Belatedness: Representation, Reconstruction, and Reenactment’ (with Mark Franko), in On Reenactment: Concepts, Methodologies, Tools, ed. by Cristina Baldacci and Susanne Franco Franco (Mimesis Journal Books, Torino: Accademia University Press, 2022), 125–136.

‘Speculations on the Queerness of Dance Modernism: Editors’ Note’ (with Mariama Diagne and Eike Wittrock), Dance Research Journal 54/2 (2022), 1–9.

‘A Dancer’s Discourse: Noé Soulier Choreographs Virginia Woolf’, in Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, ed. by Laura Gianvittorio and Karin Schlapbach (Boston: Brill, 2021), 108–125.

‘“I as a Text”, I as a Dance. On the Relationship of Contemporary Dance and Contemporary Poetry with Reference to Anne Juren, Martina Hefter, Monika Rinck and Philipp Gehmacher’, in Dance and Modernism in Irish and German Literature and Culture: Connections in Motion ed. by Sabine Egger and Catherine Foley (Lanham: Lexington, 2020), 173–188.

‘Minor Gestures: Chantal Akerman’s Un jour Pina a demandé…’, Cinéma & Cie 35 (2020), 63–72.

‘Gesture, Energy, Critique: Robert Longo and Boris Charmatz’, in Energy and Forces as Aesthetic Interventions, ed. by Barbara Gronau and Sabine Huschka (Bielefeld: transcript, 2019), 121–136.

‘Carnaval: Max Pechsteins Maskentänze mit den Ballets Russes’, in Tanz! Max Pechstein: Bühne, Parkett, Manege, ed. by Nicole Fritz, Petra Lewey, and Annika Weise (Munich: Klinkhardt & Biermann, 2019), 53–58.

‘Afterword: Notes after the Fact’, in The Oxford Handbook of Dance and Reenactment, ed. by Mark Franko (New York: Oxford University Press, 2018), 607–620.

‘Introduction: Towards an Ethics of Gesture’, Performance Philosophy 3/1 (2017), 4–22.

‘In our Hands: An Ethics of Gestural Response-ability’, a Conversation with Rebecca Schneider, Performance Philosophy 3/1 (2017), 108–125.

‘“Je textuel”, Je dansé. Un essai sur le lien entre la danse et la poésie contemporaines vu à travers l’exemple d’Anne Juren, de Martina Hefter, de Monika Rinck et de Philipp Gehmacher’, trans. by Jenny Bussek, Allemagne d'Aujourd'hui 220 (2017), 127–136.

‘Gesture’, in Franz Kafka in Context, ed. by Carolin Duttlinger (Cambridge: Cambridge University Press, 2017), 91–99.

‘Vibrierende Körper in Dada und Ausdruckstanz’, in Monte Dada – Ausdruckstanz und Avantgarde, ed. by Mona De Weerdt and Andreas Schwab (Berne: Stämpfli, 2017), 123–134.

‘Corpi vibranti in dada e danza espressiva’, in Monte Dada – danza espressiva e avanguardia, trans. by Martin Kuder, ed. by Mona De Weerdt and Andreas Schwab (Berne: Stämpfli 2017), 121–131.

‘”Dance-Work” and the Art of Walking in Benjamin, Valéry, Rilke, Jensen, and Nijinsky’, in The Art of Dreams, ed. by Barbara Hahn and Meike G. Werner (Berlin: de Gruyter, 2016), 121–136.

‘“Ich als Text”, Ich als Tanz. Überlegungen zu Anne Juren, Martina Hefter, Monika Rinck und Philipp Gehmacher’, Sprache im Technischen Zeitalter 216 (2015) (Special Section Steptext, on dance and contemporary literature ed. by Gabriele Brandstetter and Sigrid Gareis), 405–416.

‘Gesture, Interruption, Vibration: Rethinking Early Twentieth-Century Gestural Theory and Practice in Walter Benjamin, Rudolf von Laban and Mary Wigman’, Dance Research Journal 47/2 (2015), 23–42.

‘Performanz’, in Robert Walser-Handbuch, ed. by Lucas Marco Gisi (Stuttgart: Metzler, 2015), 299–301.

‘Rezeption: Film’, in Robert Walser-Handbuch, ed. by Lucas Marco Gisi Stuttgart: Metzler, 2015), 385–387.

‘Anfangsszenen von Autorschaft in Franz Kafka’s Betrachtung’, in Franz Kafka’s ‘Betrachtung’: Neue Lektüren, ed. by Carolin Duttlinger (Freiburg: Rombach, 2014), 37–56.

‘Crossmapping Grief in William Forsythe’s Three Atmospheric Studies’, Forum for Modern Language Studies 50/3 (2014), 289–304.

‘The Imaginary Life of Nineteenth-Century Virtuosity’, DVjs 87/3 (2013), 323–355.

‘New Dance Studies/New German Cultural Studies’ (with Susan Manning), in New German Dance Studies, ed. by Susan Manning and Lucia Ruprecht (Urbana: University of Illinois Press, 2012), 1–16.

‘Virtuosität als blinde Bewegung in der Romantik’, in Genie–Virtuose–Dilettant: Konfigurationen Romantischer Schöpfungsästhetik, ed. by Gabriele Brandstetter and Gerhard Neumann (Würzburg: Königshausen & Neumann, 2011), 199–212.

‘Werthers Walzer. Tanz als kulturelle Codierung von Liebe und Intimität’, Goethe Jahrbuch 2011, 44–9.

‘Ambivalent Agency: Gestural Performances of Hands in Weimar Dance and Film’, Seminar 46/3 (2010), 255–275.

‘Virtuoso Servitude and (De)Mobilization in Robert Walser, W. G. Sebald and the Brothers Quay’, The German Quarterly 83/1 (2010), 58–76.

‘Pleasure and Affinity in W. G. Sebald and Robert Walser’, German Life & Letters 62/3 (2009), 311–326.

‘Cultural Pleasure: Introduction’ (with Michael Minden), German Life & Letters 62/3 (2009), 245–251.

‘On the Road with mnemonic nonstop’ (with Martin Nachbar and Jochen Roller), in Memory Culture and the Contemporary City: Building Sites, ed. by Uta Staiger, Henriette Steiner and Andrew Webber (Basingstoke: Palgrave Macmillan 2009), 223–233.

‘Der Virtuose geht. Waslaw Nijinskys L’Après-midi d’un faune’, Arcadia 43/2 (2008), 237–256.

‘Entstelltes Ideal. Choreographie und Fehlleistung bei Heinrich von Kleist’, Kleist Jahrbuch 2007,46–61.

‘Choreography and Trauma in Pina Bausch’s Bluebeard — While Listening to A Taped Recording of Béla Bartók’s Bluebeard’s Castle’, in The Shock of the Other: Situating Alterities, ed. by Silke Horstkotte and Esther Peeren (Amsterdam: Rodopi, 2007), 105–116.

‘The Romantic Ballet and its Critics: Dance Goes Public’, in The Cambridge Companion to Ballet, ed. by Marion Kant (Cambridge: CUP, 2007), 175–183.

‘“Elle danse, tout est dit” — die Metapher des Poetischen in der Kritik des Romantischen Balletts’, in Souvenirs de Taglioni, ed. by Gunhild Oberzaucher-Schüller (Munich: Kieser, 2007), 333–343.

‘Towards Discursive Discipline: Dance beyond Metaphor in Critical Writing’, in New Languages for Criticism: In(ter)discipline, ed. by Gillian Beer, Malcolm Bowie and Beate Perrey (Oxford: Legenda, 2007), 199–210.

‘Heinrich Heine’s “Florentinische Nächte”: a Tale of Transgression’, in Field Studies: German Language, Media and Culture (CUTG Proceedings 5), ed. by Holger Briel and Carol Fehringer (Oxford: Lang, 2005), 139–155.

‘Introduction’ (with Carolin Duttlinger), in Performance and Performativity in German Cultural Studies (Oxford: Lang, 2003), 9–19.

‘Körperbewegung — Sprachbewegung: Kleists Über das Marionettentheater aus tanzästhetischer Perspektive’, in Internationale Konferenz “Heinrich von Kleist”, ed. by Hans-Jochen Marquardt and Peter Ensberg (Stuttgart: Heinz, 2003), 143–158.

‘Tanz-Fiktionen gegen den Strich: Heinrich von Kleist, E. T. A. Hoffmann, Heinrich Heine’, Jahrbuch Tanzforschung 12 (Hamburg: Lit, 2002), 553–568.

‘Tanz und Text bei Stéphane Mallarmé’, Komparatistik 1998, 37–63.

Other Contributions

‘Réactiver la révérence’, in Déplier baroque. Exposition 17.11.-17.12. 2022, Centre nationale de la danse, Paris, ed. by Marina Nordera (CND Pantin, 2022), 17–19.

‘Aufforderung zur Tanzwissenschaft’, in Fest-Akte. Gabriele Brandstetter 60, ed. by Susanne Foellmer, Kirsten Maar, Christina Thurner, Isa Wortelkamp (Sophiensæle Berlin, 2014), 82–84.

‘Grace Lost and Found: Heinrich von Kleist, “On the Marionette Theatre”’, Animations in Print 3 (2009), 16–18.

‘Die Grazie ist tot. Es lebe die Grazie!’, Tanzjournal 1 (2005), 17–19.

Book Reviews

‘Edward Ross Dickinson, Dancing in the Blood (Cambridge: Cambridge University Press, 2017)’, Journal of Modern History 91/1 (2019), 162–163.

‘Jana Schuster, “Umkehr der Räume”. Rainer Maria Rilkes Poetik der Bewegung, (Freiburg: Rombach, 2011)’, Variations 24 (2016), 247–248.

‘Gerald Siegmund, Abwesenheit: Eine performative Ästhetik des Tanzes – William Forsythe, Jérôme Bel, Xavier Le Roy, Meg Stuart, (Bielefeld: transcript, 2006)’, Dance Research 28/1 (2010), 127–130.

‘Ann Cooper Albright, Traces of Light: Absence and Presence in the Work of Loïe Fuller (Middletown: Wesleyan University Press, 2007)/ Rhonda Garelick, Electric Salome: Loie Fuller’s Performance of Modernism (Princeton: Princeton University Press, 2007)’, H-France Book Review (2008).

‘Walter Salmen, Goethe und der Tanz (Hildesheim: Olms, 2006)’, Goethe Jahrbuch 2007, 302–303.

‘Catherine Mazellier-Grünbeck et al. (eds), Représentations du corps dans les arts du spectacle et la littérature des pays germanique’, Journal of European Studies 36/2 (2006), 230–232.