J. Maulpoix, D. Lyrisme, J. Paris, and . Corti, , p.15, 2000.

, 34 "[L]e lyrisme semble avoir vocation aux lisières, p.349

D. Sibony, Le Corps et sa danse, op. cit, p.10

S. Mallarmé-;-oeuvres-complètes, T. Ii, . Marchal, . Paris, B. Gallimard et al., Elle te livre à travers le voile dernier qui toujours reste, la nudité de tes concepts et silencieusement écrira ta vision à la façon d'un Signe, qu'elle est" (Mallarmé, p.175, 1998.

M. Ruppli, S. Throel-cailleteau, L. Mallarmé, . Grammaire, and . Le-grimoire, , p.158, 2005.

, This term was used by Hugo Friedrich to evoke the movement towards impersonality in Mallarmé's works

. See-dominique-combe, Aimé Césaire et la 'quête dramatique de l'identité': le Cahier d'un retour au pays natal, Le Sujet lyrique en question, éd. Dominique Rabaté, Joëlle de Sermet and Yves Vadé, p.188, 1996.

S. J. Killingsworth, Whitman's Poetry of the Body, pp.19-23

T. Nathanson and . Whitman's-presence, , pp.102-106

M. Moon and D. Whitman, , pp.855-863

S. R. Faner, W. Opera, and C. Skaggs, Overtones of Opera in American Literature from Whitman to Wharton

, See also "The Old Bowery, The letter is dated August 17, 1885 and is available on the Walt Whitman Archive, pp.1185-1192

, html : We indulged in some impromptu quadrills, of which the "chassez" took each participant couple so far away from the other that they were like never to get back. We hopped like crows; we pivoted [pirouetted?] like Indian dervishes; we went through the trial dance of La Bayadere with wonderful vigor, n°38, available on the Walt Whitman Archive, 1862.

, The role of "La Bayadère" was created by Taglioni's daughter Marie on the Paris Opera stage. It was performed in New York City at the end of the 1830s in the Park running over with animation and ardor, all marked by herculean strength, suppleness, a clear complexion, and the rich results (which follow such causes) of a laughing voice, a merry song morn and night, a sparkling eye, and an ever-happy soul!, 1858.

K. According-to, Journeymen' signifies members of the working class, but a special breedskilled, accomplished workers, special companions for the sexual neophyte, from whom 'they hide nothing'" (Whitman's Poetry of the Body, pp.17-18

S. M. Foucault, Histoire de la folie à l'âge classique, 1976.

E. Showalter, ;. Paris, and L. Sycomore, By the latter part of the century the hysteria label was an attempt to pin down or arrest the upwardly mobile desires of various social outcasts. These marginalized elements come to include not only those perceived as inferior by sex or by class, but by race as well. (?) Typed as unsettled, undisciplined, and unstable, the unempowered classes and races are effeminized, Ventriloquized Bodies, Narratives of Hysteria in Ninetenth-century France, Ithaca, pp.1830-1980, 1984.

J. Burt, The Male Dancer, Bodies, Spectacle, Sexualities, op. cit, p.28