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).
Read more about this topic: Jonathan Dollimore
Other articles related to "work, works":
... Weorc or Work (Anglo-Saxon leader), who gave his name to Workington or 'Weorc-inga-tun', meaning the 'tun' (settlement) of the 'Weorcingas' (the people of ...
... His work led to the discovery of the first evidence for the use by Palaeolithic man in the Caves of the Mendip Hills ... Balch continued the work from 1904 to 1914, where he led excavations of the entrance passage (1904–15), Witch's Kitchen (Chamber 1) and Hell's ... The 1911 work found a 4 to 7 feet (1.2–2.1 m) of stratification, mostly dating from the Iron age and sealed into place by Romano-British artefacts ...
... a language unknown to him would be brought in to work with Pike ... He pointed out that sometimes he did more of the work of a horse, other times he did more of the work of a donkey, but he was always both (Headland 2001508) ...
... His most famous work, the De re metallica libri xii long remained a standard work, and marks its author as one of the most accomplished chemists of his time ... The work is a complete and systematic treatise on mining and extractive metallurgy, illustrated with many fine and interesting woodcuts which illustrate every conceivable ... Until that time, Pliny's work Historia Naturalis was the main source of information on metals and mining techniques, and Agricola made numerous references to the Roman encyclopedia ...
... in 1527, and was chosen as town physician at Joachimsthal, a centre of mining and smelting works, his object being partly "to fill in the gaps in the art ... to scientific order the knowledge won by practical work, brought Agricola into notice it contained an approving letter from Erasmus at the beginning of the book ... theological and historical subjects, his chief historical work being the Dominatores Saxonici a prima origine ad hanc aetatem, published at Freiberg ...
Famous quotes containing the word work:
“If we notice a few errors in the work of a proven master, we may and even will often be correct; if we believe, however, that he is completely and utterly mistaken, we are in danger of missing his entire concept.”
—Franz Grillparzer (17911872)
“Those who work their minds rule; those who work with their backs are ruled.”
“A work of art is one through which the consciousness of the artist is able to give its emotions to anyone who is prepared to receive them. There is no such thing as bad art.”
—Muriel Rukeyser (19131980)