however, how this distinction between primary and secondary genres would apply in such quotidian comments as "I don't trust Joe's opinion, he has such a strange way of looking at things" or "Mary forwarded that recipe from the vegan website, so you need to be into that stuff to try it." While Bakhtinian dialogization may weaken the monological composition of secondary speech genres, it does not preclude a dominant theme, ideology, or cultural meaning from arising out of interplay of the "various transformed primary genres" (98) that make up a secondary work (although, Bakhtin admitted, this dominant ideology is difficult to isolate in complex works, and is, to a certain extent, left open to the interpretation of individual readers). In Bakhtin's view, primary genres undergo a more or less thorough process of contestation and resolution within the secondary work they constitute and "enter into actual reality only via the [work] as a whole, that is, as a literary-artistic event and not as everyday life" (62). "As a rule, these secondary genres of complex cultural communication play out various forms of primary speech communication" (Bakhtin 98). Even as a work permits and enacts dialogization between characters, conventional forms, and semantic content, it resolves or "finalizes" that content into a "wholeness" of utterance, which is intelligible to readers, and therefore "guarantee[s] the possibility of response (or of responsive understanding)" (76). Through the finalization of disparate conventional and thematic strands, a work achieves the fullness of what Bakhtin called its "specific authorial intent," Milton's "speech plan" or "speech will" for his work, and readies itself for responsive understanding (reception, interpretation) on the part of readers (77). Despite its internal dialogization, the work delivers itself to readers as a semantically exhaustive whole, and in this way uses its internal drama to respond ideologically to its genre: "other works connected with it in the overall processes of speech communication in [its] particular cultural sphere" (75). These include "works of predecessors on whom the author relies," "other works of the same school," and "works of opposing schools with which the author is contending" (75). In this way the work forms a crucial "link the chain of speech communion" of its genre (76). See also Computer and video game genres Film genre Formula fiction Genre fiction Literary genre Music genre Plot device Stock character Genre criticism Notes References Charaudeau, P.; Maingueneau, D. & Adam, J. Dictionnaire d'analyse