By Janet Wolff
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Extra resources for Aesthetics and the Sociology of Art
See Hess, 1973, p. 45; on the reassessment of the work after this discovery, see Greer, 1979,p. 142;ParkerandPollock,1981,p. ) Women's art is generally assessed, implicitly and perhaps unconsciously, in different terms from works by men (see Pollock, 1979). ature, the guardians of aesthetic standards insist that everything must be evaluated by the same universal criteria (see, for example, Hoggart, 1980/1, pp. 27-8, on the taxi-driver writer, who 'needed to be introduced to the disciplines of the draft'), on the other hand we find that in the case of women's, and particularly feminist, art, differential criteria are for some reason deployed.
To accept Habermas' s conception of truth, we need first to-accept his idea of the nature of the rational society, for this idea cannot be supported with empirical evidence or a priori argument. More serious is the fact that this theory throws very little light on Political and Aesthetic Value 57 the problem of the truth-content of contemporary science; will all the statements of science become transformed into 'true' ones in the rational society, and are they (necessarily) false now? Habermas would no doubt object to Keat that the very criteria of objectivity which he adopts are part of the scientistic ideology, and thus partial and ideological.
P. , p. 39). He emphatically rejects Habermas's conclusions, that the truth or falsity of statements in social science is a function of their emancipatory power or success, or of their acceptance by those whom they concern. ) Keat quite rightly points to a number of illogicalities and weaknesses in this new criterion for objectivity, not least the danger that if success is the touchstone of validity, then potentially any social theory (for example, a fascist one) may turn out to be 'true' (Keat, 56 Aesthetics and the Sociology of Art 1981, p.
Aesthetics and the Sociology of Art by Janet Wolff