Jonathan Dollimore : biography
Jonathan G Dollimore (born 1948 in Leighton Buzzardhttp://www.findmypast.co.uk/search/all/results?recordCount=-1&forenames=Jonathan&_includeForenamesVariants=on&surname=Dollimore&_includeSurnameVariants=on&fromYear=1948&toYear=1948®ion=&county=&mothersMaidenName=&_useMothersMaidenNameAsSurname=on&sortOrder=RK%3Atrue&_performExactSearch=on&event=B&recordType=ALL&route=) is an English sociologist and social theorist in the fields of Renaissance literature (especially drama), gender studies, queer theory (queer studies), art, censorship, history of ideas, death studies, decadence, and cultural theory.
After leaving school at fifteen he took various jobs, before returning, as a mature student, to Keele University, where he achieved his BA, and the University of London, which awarded him his Ph.D.
As a Reader at the University of Sussex, he co-founded with Alan Sinfield the Centre for the Study of Sexual Dissidence, which, as he remembers in Sex, Literature and Censorship, 'attracted some notoriety for being the first of its kind in the country' (3). He later became Professor of English and Related Literature at the University of York. Dollimore is credited with making major interventions in debates on sexuality and desire; Renaissance literary culture; art and censorship, and; cultural theory.
Radical Tragedy (1984, 2nd edition 1989, 3rd edition 2004)
In his first book, Dollimore argues that the humanist critical tradition has distorted for modern readers the actual radical function of Early Modern English drama, which had to do with 'a critique of ideology, the demystification of political and power relations and the decentring of “man”' (4).
Political Shakespeare: Essays in Cultural Materialism, edited with Alan Sinfield (1985, 2nd edition 1994)
Treading the same path as Radical Tragedy, this compendium of essays by leading writers on Shakespeare has as its goal to replace our idea of a timeless, humane and civilising Shakespeare with a Shakespeare anchored in the social, political and ideological conflicts of his historical moment. Included are essays by Stephen Greenblatt and Kathleen McLuskie.
Sexual Dissidence (1991)
In Sexual Dissidence, Dollimore sets out “to retrieve lost histories of perversion”, in part by tracing the term “perverse” back to its etymological origins in Latin and its epistemological origins in Augustine. A second theoretical section places Freud and Foucault in dialogue on the subject of perversion, followed by a second historical section, this time, on homophobia.
Death, Desire, and Loss (1998)
In a wide-ranging survey from Anaximander to Aids, Dollimore presses his case that the drive to relinquish the self has always lurked within Western notions of identity and can be found above all, ‘perversely, lethally, ecstatically’ in sexuality.
Sex, Literature, and Censorship (2001)
Dollimore explores the relationship between ethics and aesthetics, centring his discussion on literature’s “dangerous knowledge”. He calls for a shift in critical values from theoretical learning to experiential knowledge, endorsing a criticism capable of “being historically imaginative inside a perspective which one is also critically resisting” (p. 45).
The “the perverse dynamic”, is one of Dollimore’s most crucial theoretical concepts, first described in Sexual Dissidence, and later applied in Sex, Literature, and Censorship. The “perverse dynamic” is the production of perversion from within the very social structures that are offended by it and often enforce against it. The perverse “other” turns out not to be the remote alien thing it is supposed to be, enabling a “tracking-back of the ‘other’ into the ‘same’” (33). This return of the suppressed via the proximate Dollimore calls “transgressive reinscription.”
Dollimore’s essay "On Leaving" (2011) is biographical, dealing with its author’s teenage years, his arrival at university, then his departure from that place later in his life, but it also includes a more abstract discussion of the modern university and its function in society. Dollimore discusses the modern professionalised academy, and argues that it promotes mediocrity: 'the professionally defended arts academic is only half alive'; 'professional success – the successful career – is one of the most compromised, complicit and corrupt kinds of success available today.' Dollimore claims that, even if it has always been true that 'you have to find your way through or around formal education in search for what really matters,' it is also true that '[n]ever before… has the project of creating value inside of, and against, educational institutions been so necessary.'
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