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A divide between aesthetic and technical considerations has played a crucial role in mapmaking and cartographic scholarship. Some nineteenth-century cartographers, for instance, understood themselves as technicians who did not care about visual effects, while others saw themselves as landscape painters. That dichotomy structured the discipline of the history of cartography. Until the 1980s, in what Blakemore and Harley called "the 'Old is Beautiful' paradigm.* scholars largely focused on maps made before 1800. marveling at their beauty and sometimes regretting the decline of the pre-technical age. Early mapmaking was considered art while modem cartography was located within the realm of engineering utility. Alpers. however, has argued that this boundary would have puzzled mapmakers in the seventeenth century, because they considered themselves to be visual engineers.

According to the passage. Alpers would say that the assumptions underlying the "paradigm" were

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?