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“... Gridlock is a great leveller. It immobilises the fastest roadster as surely as the slowest truck. It reminds us that the car is an indispensable part of what we are, but also a threat to us. Without it we couldn’t live at the pace we do; with it we’re grinding to a halt. Once the symbol and instrument of progress, now it drives us to gridlock and road rage ...”

“... On my way to kill myself one hot day in July 1991, I stopped to fill up with the petrol necessary to see the job through. An old woman with heavy shopping bags was trying to cross the road. She was staggering and in danger of being run down. I offered help. She asked me to call a taxi to take her home. There was no phone so I offered to take her myself ...”

“... never ‘write “I” any more,’ for ‘in art, don’t you see, there is no first person.’ Jonathan Dollimore sees in the conflict between Gide’s courageous ‘essentialist ethic’ and Wilde’s uncompromising ‘transgressive aesthetic’ a paradigm of the internal contradictions of homosexual theory and a preamble to ‘the modern history of ...”

“... curiosities as Renaissance cross-dressing and the like. Among his colleagues on the board are Jonathan Goldberg, author, among other adventurous works, of Sodometrics: Renaissance Texts, Modern Sexualities, Marjorie Garber, a celebrated, good-humoured and energetic advocate of bisexuality, and ...”

“... or sample demonstrations of theoretical routines cried up as novelties. The series edited by Jonathan Dollimore and Alan Sinfield under the title ‘Cultural Polities’ has some twenty volumes in store already, covering popular fiction and music as well as canonical literature. Of these, the first four published titles present a mixed impression in ...”

“... but rarely glance sideways at the historical context of their own attraction to desire. Jonathan Dollimore’s Death, Desire and Loss in Western Culture manages to pack no less than three resonant negations into its title, an emphasis on depletion at odds with the ambitiousness of his project. In a remarkably wide-ranging survey from ...”

“... side or another of the quarrel – such as Bradshaw variously detects in both E M W. Tillyard and Jonathan Dollimore. ‘The “Tragedy” is located in that radically sceptical perspectivism, and the play’s thinking about man and Nature is irreducibly experiential, a process we live through.’ It is an attractive approach: yet not all will like the ...”

“... are much more suspicious of ‘high culture’. In his introduction to Political Shakespeare, Jonathan Dollimore analyses a tripartite pattern in ideological conflicts of consolidation, subversion and containment. In certain circumstances, drama may subvert the ruling ideology, but the probability is that these challenges will eventually serve to ...”

“... story but that scarcely renders it safe, for Venus is the active party, Adonis the pursued. As Jonathan Bate says, the poem is partly about a woman who wishes to rape a man and is frustrated by physiological difference. The magisterial Jonson, in his play Poetaster, drew the moral conclusion: if that is what Ovid is really like, then Ovid must go, and ...”

“... post-dualist tradition of aesthetic theory – a missing link between Kierkegaard and Adorno. For Jonathan Dollimore and Alan Sinfield, he’s the original Queer wit, who would today have been the toast of Sussex University and Old Compton Street. Oscar Wilde, posing as a Post-Modernist. Like the most obliging of renters, Wilde will be anything you want ...”

“... echo of this imperfectly acknowledged transformation in the more avowedly Marxist work of Jonathan Dollimore. In his absorbing book Radical Tragedy Dollimore made free use of the term ‘essentialism’, meaning the ascription of a permanent, necessary form to reality. He wrote, in a way which still seems ...”

“... studies in the politics of literature by British literary historians such as David Norbrook and Jonathan Dollimore. These essays, which originated as lectures, are certainly dazzling performances. To historians like myself, what is most impressive about them is not the attention to historical context, which we have been trained to expect, but the ...”

“... and, in the playwright’s name, deploy a considered programme of anti-Jacobin propaganda. As Jonathan Bate has pointed out in an incisive study of the cultural politics of the period,* Hazlitt stands as the Radical to Coleridge’s Conservative in terms of a struggle for possession of Shakespeare that was a feature of British ideology between Waterloo ...”

“... blips in an otherwise divinely sanctioned hierarchical order is one that was fading even before Jonathan Dollimore published Radical Tragedy (1984), one of few major relevant studies absent from Lewis’s bibliography. But Lewis is at full erudite cry as he pursues the traces of hunting imagery through every level of the play’s text. Even the ...”

“... involve Shakespeare’s writing in the politics of his time. Contemporary critics, Greenblatt and Jonathan Dollimore at their head, draw bold inferences from it. In widely influential works they describe the performance at the Globe as a ‘famous attempt to use the theatre to subvert authority’; as a move ‘to wrest legitimation from the established ...”