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This passage dialogizes at once Wordsworthian imagination through the assertion that although the speaker's imagination was active, it "still enjoyed the present hour," thus creating an oblique opposition to the egoistical sublime, which compulsively strives for transcendence and immortality as is the case in "Tintern Abbey.
Hence in a general sense the valorization of simplicity dialogizes the Romantic aesthetic, which emphatically cultivates the sublime.
The principle of feminine bonding that is valorized at the end of the poem dialogizes at the same time the regret, the sense of inferiority and the implicit doubt about whether the speaker could have chosen differently in the passage which I have characterized as displaying the basic characteristics of hidden dialogue.
to dialogize the imaginative texts, essays, and theoretical discourses that form the materiality of the course (but not simply centrifugally--we try to work through to some provisional readings, which involve closures as well as openings); and
to dialogize the relations of pedagogical authority in relation to the study of literary texts: we aim to dramatize the power of dialogue--involving the mutual and voluntary questioning of our own authority/credibility--to enable levels and complexities of critical consciousness that are largely unavailable in the univocal, authoritarian classroom.
As a genre, rap dialogizes contemporary art and social reality relentlessly.
10) Initiating the self-conscious introspection that is one of the marks of Romantic discourse, the opening question dialogizes "sympathy.
The literal inscription of sentimental discourse at the end of the utterance is evidence of the tentativeness of the Romantic empowerment which dialogizes the sentimental in the very same utterance.
Ultimately, the hybrid structure created through the fusion of inverted "Sensibility" and "imagination" internally dialogizes both.
In A Modest Proposal, then, Swift internally dialogizes the discourse about man-eating by interweaving popular travel narratives, traces of European folklore, and classical myths.
This "Other" is supplemental to Wheatley, and this voice dialogizes Wheatley's text, making her an "Other" and subverting her authority.
Such intimacy is close because it exhibits a bond (a "demand") that dialogizes separateness, and threatening because the promise of mutuality is ultimately unable to overcome the "blinding enigma" of idiomatic sensibility, or the "singularity of resonance" we call experience ("Gloss" 92).