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Instances of "galactic cannibalism"—mergers in which large galaxies completely consume smaller ones—may be fairly common. Tidal forces produced by the Milky Way's powerful gravity, for example, appear to be dismantling and engulfing a dwarf galaxy in the constellation Sagittarius, producing large clumps and streamers of stars connecting the two galaxies. Astronomers have also observed two dense clusters of stars and gas at the heart of the Andromeda galaxy, an apparent "double nucleus" that may contain the remnant of a cannibalized dwarf galaxy. But this twin-lobed appearance could also be created by two parts of a single nucleus bisected by a lane of dust. Scientists believe that only about 25 percent of such apparent double nuclei actually represent galactic cannibalism. Many of the rest result from the illusion of proximity that occurs when objects at different distances appear along the same line of sight: others consist of debris from galactic "collisions." in which one galaxy has passed through another without merging, causing waves of new star formation.
The primary purpose of the passage is to
The poet Paul Laurence Dunbar (1872-1906) was the premier Black writer of poetry that used the dialect of rural African Americans of the southern United States. Although Dunbar's works were both popular with readers am! acclaimed by literary critics during his lifetime, after the First World War a radical shift occurred, at least in critical opinion of his poetry, and twentieth-century critical evaluation of his work has been generally negative. Some critics attacked his work on social grounds for failing to challenge plantation stereotypes of African Americans. Other critics, such as the poet James Weldon Johnson, argued from aesthetic grounds that dialect poetry in general was too limited as an artistic medium, and capable of producing only two effects: pathos and humor. The negative critical trend only began to reverse itself in the 1970s, when scholars began to emphasize the importance of mythic, psyclwlogical. and historical dimensions of Dunbar's works, focusing on the interior and exterior realities of African American life after the Civil War.
Which of the following can be inferred from the passage concerning Litrary critics’ evaluations of Dunbar's poetry?
