Edward Ross Dickinson. Dancing in the Blood: Modern Dance and European Culture on the Eve of the First World War.
Bibliographic record
Abstract
Between 1902 and 1914, a throng of slender, young, scantily dressed female dancers descended upon European stages to swirl, spin, and vault their audiences into aube-de-siècle modernity. In Dancing in the Blood: Modern Dance and European Culture on the Eve of the First World War, Edward Ross Dickinson shows how modern dance—formerly a topic confined to dance history—came to stand at the bleeding edge of European and, ultimately, global modernist culture, fusing gender politics, burgeoning avant-garde modernism in the arts, mass culture commercialism, and the spiritual aspirations of the age. Dickinson brings a variety of tools to this state-of-the-art cultural history, skillfully weaving together the historiography of gender and sexuality, the business history of mass culture, globalized spiritual movements, and artistic modernism to convincingly show how modern dance summed up the age. As an art form, modern dance differentiated itself from ballet, rejecting the European high artistic tradition and aligning itself with the avant-garde and its quest for new forms of expression outside of the genres, technical conventions, and state-sponsored institutions of the arts. High culture was “mechanical,” artificial, unfree, stifled by tradition; modern dance blazed a new form of honesty, sincerity, and above all, self-expression (2). “Freedom personified” was how some contemporaries described the iconic dancer Isadora Duncan (quoted on 73).
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.003 | 0.003 |
| Scholarly communication | 0.004 | 0.006 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.006 | 0.005 |
| Insufficient payload (model declined to judge) | 0.017 | 0.007 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".