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Firstly, pick what you consider to be an essential passage—one or two key passages—in Charles Dickens’s Bleak House and begin to untangle it through the discussion of form available in Levine’s Forms: Whole, Rhythm, Hierarchy, Network (2015). How is the passage an example of “wholes,” “rhythm,” “hierarchy” and “network”? After selecting a passage and form, start describing and quoting Levine’s argument about the form you’ve chosen, and make it a point of departure for your analysis. Work out how the form(s) you’ve chosen affords meaning in the key passage(s) you chose. ? You do not have to limit yourself to one key passage, but it is perfectly fine to stay with only one passage for your analysis. Secondly, try to move to the extended abstract level of the SOLO taxonomy mentioned above. Do this by referencing what Levine calls a “political reading.” Here is how Levine expresses it: ? “Is this what critics do? Do we spin out implied stories in which new forms take shape beyond a narrative’s end? This probably does not sound like our usual account of literary reading, but I want to suggest, in closing, that most politically minded critics do precisely this. They attend to the political forms within the text in order to generalize them beyond the text’s own example, extending the political ordering principles that are at work in the text to understand its implied rules for ordering the extra-textual world. It is the portability of political form that permits these readings to happen at all, and it is our own ideas about how these forms operate in the world that guide or govern our assessment of the politics of literary texts. This means that acts of political reading routinely rely on implicit models of the plausible unfolding of forms. (110)” Here you have a chance to provide your own informed opinion about the political, social, or cultural relevance of the passage you have been working on. All sources and materials provided in attachments


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