The book tackles the experience of being faced with an arduous mountainous environment where time and distances are flimsy notions and where the body itself becomes the basic tool to understand, capture, dialogize
whatever sits inside and outside.
Townshend's character is, for me, as a writing researcher and instructor, a reminder: every male student writer can dialogize
words, but will he see the opportunities?
As avatars, respectively, of the forces and events that would "dialogize
" their hitherto autotelic and unitary worlds, Elle and the bear woman share a uniquely modern fate.
In Chapter 1 Link's effort to dialogize
the analytical criteria of the American naturalist genre begins by undermining Zola's critical omnipotence for defining the genre in terms 'generally dire in outlook, deterministic in philosophy, and aesthetically aligned with literary realism' (p.
Our approach is a "cinematographic" one that permits the creation of context and dialogize
as to this identity.
The narrative shifts in this short story are intended to show different versions of talk-stories, which together dialogize
the monologic mainstream literature and cultural history.
We can negate a previous, assumed ideology (any imposition of the Symbolic Order) in the name of a counter concept, but until we negate our negating maneuver--the dialectic act of negating itself, which keeps us a safe distance from the consequences of our negative "act" and still in the realm of conventional thought processes--we can't effectively dialogize
our position and experience a "true," "[self]decentering," negative critical act (77).
If neither vision is invalidated, neither is privileged; like the reflecting mirrors of the novel and the play, the two perspectives explore and dialogize
each other's limitations and possibilities in the process of reaching for a new perspective that denies nothing but the dualities embedded in the inadequate words--"tragicomic," "empathetic distance"--we use to describe it.
[I]n each of the new contexts that dialogize
it, this discourse is able to reveal ever newer ways to mean" (DI 346, emphasis in original.) The child begins by appropriating the trope imaginatively, first for herself "I am a Temple of the Holy Ghost" (CW 199), then for the pathetic Miss Kirby ("and she's a Temple of the Holy Ghost, too" (200), then for all humanity by having the hermaphrodite preach: "You are God's temple, don't you know?" (207).
Because it is created through assimilation, "[t]he semantic structure of an internally persuasive discourse is not finite, it is open; in each of the new contexts that dialogize
it, this disclosure is able to reveal even newer ways to mean" (346).
[...] The semantic structure of an internally persuasive discourse is not finite, it is open; in each of the new contexts that dialogize
it, this discourse is able to reveal ever newer ways to mean.
(35) On the other hand, despite the mystic's radical passivity in front of the divinity, Angela da Foligno cannot but dialogize
. In fact, she does so first and foremost with the divinity, without whom no mystical experience would occur and no dialogizing could be initiated; second, she dialogues with her scribe, her disciples, and all readers.