The issue of women, art, and feminism has been most urgently raised by

Question

The issue of women, art, and feminism has been most urgently raised by a number of women artists. Several approaches to the problem of defining feminist art have evolved and are being discussed and developed within the feminist art movement. One particular approach has suggested that some sort of female aesthetic or sensibility exists, involving an  imagery and formal style specific to women . Proponents insist that an authentic artistic language is being created, corresponding to the distinct social experience of women, independent of “male-defined” art, and essentially liberating. Others argue that the theory of a female aesthetic really restricts women in that it limits them to certain “feminine” shapes, colors, forms, and images. In other words, the female aesthetic seems possibly to be no more than a  rehabilitated artistic ghetto , furbished with less than satisfactory answers to the hard question of how to define feminist art. Moreover, some see the rise of a trendy “feminine sensibility“ as clearly opportunist. They point, for example, to the odd coincidence that the so-called female aesthetic is strangely reminiscent of the conventions of much currently fashionable art, and they predict further shifts in the aesthetic as art-world fashions change.

The theory of a female sensibility seems to be based on two equally extreme premises, implicit and not explicit. First, it assumes that an individual’s experience is primarily and perhaps completely determined by gender. Women and men are held to inhabit utterly separate worlds, and variations of social or ethnic experience are considered clearly subordinate to gender distinctions. Its second assumption is that whatever exists today must be essentially unchangeable as the battle of the sexes is eternal and historical. It follows, then, that the only way women artists can operate is to accept these terms and develop their own artistic strengths, autonomously and in opposition to men.

Another approach, both balanced and sensible, would argue for a more transcendental view of social experience and of art. Such a point of view corresponds to the opinion within some sectors of the women’s movement that the meaning of one’s personhood and the nature of relationships between the sexes are an evolving phenomena that can be grasped and acted upon. Pat Mainardi has outlined one interpretation of what this might mean for women artists:  “The only feminine aesthetic worthy of the name is that women artists must be free to explore the entire range of art possibilities. We who have been labeled, stereotyped, and gerrymandered out of the very definition of art must be free to define art, not to pick up the crumbs from the Man’s table ... We must begin to define women’s art as what women (artists) do, not try to slip and squeeze ourselves through the loophole of the male art world.”     1 
 1. Which of the following titles best describes the content of the passage?

(A) The Impact of the Women's Art Movement on Aesthetic Theory
(B) The Female Aesthetic: It’s Impact on Artistic Conventions
(C) An Examination of the Principles and Assumptions of the Theory of a Female Aesthetic
(D) Feminism, Women's Liberation, and Aesthetic Theory : Social Change and Women's Art
(E) The Uniqueness of Women's Art in the Male Art World

2 
 2. According to the author, proponents of the theory of a female sensibility would be most likely to agree with which of the following statements about the “imagery and formal style specific to women” mentioned in lines 8-9 ( Highlighted )?

(A) They are expressions of dissent from prevailing theories of aesthetics in the women's art movement.
(B) They exist because the female aesthetic has enabled women artists to become part of the traditional, male—defined art world.
(C) Their use of color and shape is demonstrably superior to those styles associated with the male—dominated tradition in art.
(D) Their connection with feminism obscures their centrality as the basis of an aesthetic theory.
(E) They have evolved because the experiences of female artists are radically different from those of male artist.

3 
 3. The primary purpose of the passage is to

(A) initiate a debate
(B) summarize related points of view
(C) define terms and illustrate their applications
(D) criticize an approach and suggest an alternative one
(E) criticize competing theories

4 
 4. The phrase 'rehabilitated artistic ghetto' in lines 18-19 ( Highlighted ) suggests that the author believes that one consequence of the female aesthetic might be to

(A) continue to deny women artists access to the' whole realm of artistic choices
(B) restrict women artists' opportunities to
influence male opinions of women's art
(C) emphasize the difficult questions feminist artists pose about male definitions of art
(D) produce a series of shifting trends in the form and style of art produced by women
(E) weaken the influence of artistic fashion on pictorial 'conventions

5 
 5. It can be inferred from the passage that the author would most probably agree with which of the following statements about relationships between men and women?

(A) Women can develop their own talents most successfully by working completely independently of men.
(B) Women and men share no common ground of personal experience.
(C) The contemporary relationships between men and women should not affect the work of women artists.
(D) Relationships between men and women are not static and can be influenced by new ideas about women's identities.
(E) A consequence of the nature of relationships between men and women is that women can develop their art only by seeing men as opponents.

6 
 6. According to the passage, objections that have been raised by opponents of a theory of a female sensibility include which of the following?

I. The theory restricts women artists' full exploration of artistic ideas.
II. The theory is over influenced by popular (rends in art.
III. The theory overemphasizes both gender and social distinctions.

(A) I only
(B) III only
(C) I and II only
(D) I and III only
(E) I, II, and III

7 
 7. The author's attitude toward proponents of the theory of a female sensibility can be best described as

(A) ambivalent
(B) indignant
(C) disappointed
(D) exasperated
(E) critical

8 
 8. According to the passage theorists who believe that a female aesthetic exists would agree with all of the following statements EXCEPT:

(A) Women artists must accept the fact that the current state of male—female relationships is permanent.
(B) Women creating a feminist art use images in a way no male artist would.
(C) Women who create works illustrative of the female aesthetic must conform to current conventions of art—world fashions.
(0) Complete independence from the influence of male artists and the male experience is essential to the creation of women's art.
(E) Establishment of a specifically female style may free women artists from the restrictions inherent in an art world dominated by male definitions of experience.

9 
 9. The author quotes Pat Mainardi (lines 54-64)  (Text in Red)  in order to

(A) amplify the arguments of the proponents of a female aesthetic
(B) elaborate on another approach to the problem of defining feminist art
(C) show how women artists themselves view the impact of relationships between men and women on their art.
(D) explain the current interpretation within the women's movement of a female aesthetic
(E) compare Mainardi's interpretation of the significance of an artist's gender with that of proponents of a female aesthetic

desertEagle · Accepted Answer

Para 1 - Discusses women in art. Two views. 1st-> Feminist sensitivity, 2nd --> opposers of femininst sensitivity 
Para 2 - Discusses opposers of Feminist sensitivity
Para 3 - Balanced Approach -> Transcends feminism and evolving in nature

1. Which of the following the best describes the content of the passage?

A) The Impact of the Women’s Art Movement on Aesthetic Theory. -  Impact has not been discussed --> INCORRECT 
B) The Female Aesthetic: Its impact on Artistic Conventions. -->  Impact has not been discussed --> INCORRECT 
C) An Examination of the Principles and Assumptions of the Theory of a Female Aesthetic. -->  CORRECT 
D) Feminism, Women’s Liberation, and Aesthetic Theory: Social Change and Women’s Art. -->  Social Change has not been discussed --> INCORRECT 
E) The Uniqueness of Women’s Art in the Male Art World. -->  Uniqueness comprises just one part of argument by female sensitivist --> INCORRECT

2. The primary purpose of the passage is to

A) Initiate a debate. -->  No such thing has been discussed --> INCORRECT 
B) Summarize related points of view. -->  Summary has been given. All points relate to female artistic expression -->CORRECT 
C) Define terms and illustrate their applications. -->  No terms have been defined and their application has not been discussed --> INCORRECT 
D) Criticize an approach and suggest an alternative one -->  Three approaches has been given. One (female sensitivity) has been criticised. Other opposing view has been discussed. Third approach (balanced and sensible) has been also discussed. --> Suggestion that this alternative approach should be adopted is not given. --> INCORRECT 
E) Criticize competing theories. -->  Not true --> INCORRECT

3. It can be inferred from the passage that the author would most probably agree with which of the following statements about relationships between men and women?

A) Women can develop their own talents most successfully by working completely independent of men. -->  First two para criticises it. First sentence of 2nd para is "The theory of a female sensibility seems to be based on  two equally extreme premises , implicit and not explicit." This shows that author does not support it. --> incorrect 
B) Women and men share no common ground of personal experience.-->  Incorrect based on first 2 para --> INCORRECT 
C) The contemporary relationships between men and women should not affect the work of women artists. -->  Not discussed --> INCORRECT 
D) Relationships between men and women are not static and can be influenced by new ideas about women’s identities. -->  Author endorses third approach in first line of third para --> "Another approach, both balanced and sensible, would argue for a more transcendental view of social experience and of art." --> In the same para "one’s personhood and the nature of relationships between the sexes are an  evolving phenomena  that can be grasped and acted upon." --> Thus it supports this statement --> CORRECT 
E) A consequence of the nature of relationships between men and women is that women can develop their art only by seeing men as opponents. -->  Author supports balanced approach. --> INCORRECT

bellbell · Answer

(3/3, 5 min)
1. Which of the following the best describes the content of the passage?

A) The Impact of the Women’s Art Movement on Aesthetic Theory. => There's no "impact" mentioned in the paragraph
B) The Female Aesthetic: Its impact on Artistic Conventions. => again, no mention of any impact
C) An Examination of the Principles and Assumptions of the Theory of a Female Aesthetic. => Correct. The paragraph talks about different approaches/theories on the Feminist Art
D) Feminism, Women’s Liberation, and Aesthetic Theory: Social Change and Women’s Art. => there's no mention on the "social change"
E) The Uniqueness of Women’s Art in the Male Art World. => just no

2. The primary purpose of the passage is to

A) Initiate a debate. => easy elimination
B) Summarize related points of view. => Trap answer. Note that the 1st paragraph is actually describing 02 different views that will be explored further in Para 2 & 3. In Para 2 & 3, the author is not "summarizing" what each theory is about, but giving their own "remark" about each theory. 
C) Define terms and illustrate their applications. => there's no "applications" of the "terms" so this is out
D) Criticize an approach and suggest an alternative one => 
Approach 1: "The theory of a female sensibility seems to be based on two equally extreme premises, implicit and not explicit."
Approach 2: "Another approach, both balanced and sensible, would argue for a more transcendental view of social experience and of art."
=> The author criticizes Approach 1 and agrees with Approach 2 => correct
E) Criticize competing theories. => the author did not criticize both theories, so this is wrong

3. It can be inferred from the passage that the author would most probably agree with which of the following statements about relationships between men and women?

A) Women can develop their own talents most successfully by working completely independent of men.
B) Women and men share no common ground of personal experience.
C) The contemporary relationships between men and women should not affect the work of women artists.
D) Relationships between men and women are not static and can be influenced by new ideas about women’s identities. => Correct, as mentioned in Para 3. 
E) A consequence of the nature of relationships between men and women is that women can develop their art only by seeing men as opponents.

Sajjad1994 · Answer

Explanation

1. Which of the following titles best describes the content of the passage?

Difficulty Level:   700

Explanation

The best title that describes the content of the passage is  (C) "An Examination of the Principles and Assumptions of the Theory of a Female Aesthetic."

The passage primarily discusses the different approaches and perspectives within the feminist art movement regarding the theory of a female aesthetic. It presents contrasting viewpoints and debates about the concept, exploring its potential benefits and limitations. The passage also touches on the criticism of the theory as being opportunist and reminiscent of current art trends.

Option (A)  is not the best title because it doesn't fully capture the focus on the theory of a female aesthetic and its examination.

Option (B)  is not the best title because while the passage mentions the impact of the female aesthetic, it primarily focuses on the discussion and evaluation of the theory itself rather than its impact on artistic conventions.

Option (D)  is not the best title because although the passage touches upon feminism, women's liberation, and aesthetic theory, it doesn't extensively delve into the broader social change aspects. The main focus is on the examination of the principles and assumptions of the theory of a female aesthetic.

Option (E)  is not the best title because while the passage mentions the male-defined art world and the need for women to define their own art, it primarily centers around the theory of a female aesthetic and its evaluation rather than focusing on the uniqueness of women's art in the male art world.

Answer: C

Sajjad1994 · Answer

Explanation

2. According to the author, proponents of the theory of a female sensibility would be most likely to agree with which of the following statements about the “imagery and formal style specific to women” mentioned in lines 8-9 (Highlighted)?

Difficulty Level:   700

Explanation

According to the passage, proponents of the theory of a female sensibility would be most likely to agree with the statement  (E) "They have evolved because the experiences of female artists are radically different from those of male artists."

The passage discusses the theory of a female aesthetic or sensibility, which suggests that there is an imagery and formal style specific to women in art. Proponents of this theory argue that this female aesthetic is an authentic artistic language that corresponds to the distinct social experience of women, independent of the traditionally  "male-defined"  art. It is seen as liberating and reflective of the unique experiences of women.

The statement  (E)  aligns with the viewpoint of proponents of the theory of a female sensibility. It acknowledges that the experiences of female artists are radically different from those of male artists, which has led to the evolution of a specific imagery and formal style associated with women. The theory posits that this female aesthetic arises due to the need to express and represent the experiences and perspectives of women, which are distinct from those of men.

Option (A)  is not supported by the passage. While proponents of the theory of a female sensibility do express their viewpoint in opposition to certain aspects of the theory, the passage does not indicate that these expressions of dissent are specifically related to prevailing theories of aesthetics within the women's art movement.

Option (B)  is not supported by the passage. The passage discusses the theory of a female aesthetic as a separate and independent artistic language, not as a means for women artists to assimilate into the traditional art world.

Option (C)  is not mentioned in the passage. The passage presents differing views on the theory of a female aesthetic, but it does not make a comparative judgment on the superiority of color and shape between the female aesthetic and the male-dominated tradition in art.

Option (D)  is not mentioned in the passage. The passage discusses the theory of a female aesthetic and presents contrasting viewpoints about its implications, but it does not specifically address the connection between the female aesthetic and feminism obscuring its centrality.

Answer: E

Sajjad1994 · Answer

Explanation

3. The primary purpose of the passage is to

Difficulty Level:   750

Explanation

The primary purpose of the passage is to (D) criticize an approach and suggest an alternative one.

The passage explores the issue of women, art, and feminism, focusing on the different approaches and viewpoints within the feminist art movement. It begins by presenting the theory of a female aesthetic or sensibility, which suggests the existence of an artistic language specific to women that corresponds to their distinct social experience. Proponents of this theory argue that it is liberating and independent of  "male-defined"  art.

However, the passage goes on to discuss the criticisms of this theory. Some argue that the theory of a female aesthetic restricts women by confining them to certain "feminine" shapes, colors, forms, and images. Others view the rise of a trendy "feminine sensibility" as opportunistic, pointing out its resemblance to current fashionable art conventions. These criticisms imply that the theory of a female aesthetic is not satisfactory in defining feminist art and may limit women's artistic expression.

In response to these criticisms, the passage presents an alternative approach, described as balanced and sensible. This approach advocates for a transcendental view of social experience and art, emphasizing the evolving nature of personhood and relationships between the sexes. The passage includes a quote from Pat Mainardi, who argues that women artists should be free to explore the entire range of art possibilities and define art based on their own actions and creations.

By critiquing the theory of a female sensibility and proposing an alternative viewpoint, the passage aims to challenge the assumptions and limitations associated with the theory and suggests a more inclusive and expansive approach to defining women's art.

Option (A)  is not the primary purpose of the passage. While the passage presents different viewpoints and perspectives, it does not actively initiate a debate or encourage further discussion among readers.

Option (B)  is partially true since the passage does present contrasting viewpoints and arguments. However, the primary purpose is not solely to summarize these points of view but rather to critique one approach and propose an alternative.

Option (C)  is not the primary purpose of the passage. While the passage discusses the theory of a female aesthetic and its implications, it does not extensively define terms or provide detailed illustrations of their applications.

Option (E)  is partially true, as the passage critiques the theory of a female aesthetic and raises concerns about its limitations. However, the primary purpose is not solely to criticize competing theories but rather to suggest an alternative approach and challenge the assumptions of the theory being critiqued.

Answer: D

Sajjad1994 · Answer

Explanation

4. The phrase 'rehabilitated artistic ghetto' in lines 18-19 (Highlighted) suggests that the author believes that one consequence of the female aesthetic might be to

Difficulty Level:   700

Explanation

The passage discusses different perspectives on the theory of a female aesthetic. While proponents of the theory argue that it creates an authentic artistic language corresponding to the distinct social experience of women, others criticize it as potentially limiting and restrictive. The phrase " rehabilitated artistic ghetto"  indicates a negative view of the female aesthetic, suggesting that it might confine women artists to a restricted and marginalized space within the art world.

The term  "ghetto"  typically refers to a segregated area where a particular group, in this case, women artists, are confined. By describing the female aesthetic as a "rehabilitated artistic ghetto," the author implies that although there might be some attempts to elevate and validate women's art within this aesthetic framework, it ultimately restricts their artistic choices and confines them to a separate and limited space.

Option (A)  aligns with the interpretation of the phrase. It suggests that the female aesthetic, despite its claims of liberation and authenticity, ultimately denies women artists the opportunity to fully explore and engage with the entire range of artistic possibilities. This interpretation corresponds to the author's critical stance towards the theory of a female aesthetic and its potential limitations on women artists.

Option (B)  is not directly supported by the phrase. The phrase does not mention male opinions or the influence of women artists on them.

Option (C)  is also not directly supported by the phrase. While the passage discusses the challenging questions raised by feminist artists, the phrase does not specifically highlight these questions or their relationship to male definitions of art.

Option (D)  is not supported by the phrase. Although the passage mentions that some critics predict further shifts in the aesthetic as art-world fashions change, the phrase itself does not suggest that the female aesthetic would produce such shifts.

Option (E)  is not directly supported by the phrase. The phrase mentions the coincidence that the female aesthetic resembles current fashionable art conventions, suggesting a similarity rather than a weakening of influence.

Therefore, based on the passage and the interpretation of the phrase, the most accurate answer is  (A)  continue to deny women artists access to the whole realm of artistic choices.

Answer: A

Sajjad1994 · Answer

Explanation

5. It can be inferred from the passage that the author would most probably agree with which of the following statements about relationships between men and women?

Difficulty Level:   700

Explanation

Based on the information provided in the passage, the author would most probably agree with the statement  (D) "Relationships between men and women are not static and can be influenced by new ideas about women's identities."

The passage discusses different approaches to defining feminist art and explores the theory of a female aesthetic. While some argue for a female aesthetic that corresponds to the distinct social experience of women and operates independently of male-defined art, others criticize it as potentially limiting and reminiscent of current art-world fashions. The passage also introduces another approach that advocates for a more transcendental view of social experience and art, emphasizing that the meaning of one's personhood and the nature of relationships between the sexes are evolving phenomena that can be acted upon.

In the passage, Pat Mainardi outlines this interpretation, stating that women artists must be free to explore the entire range of art possibilities and define art based on what women artists do, rather than trying to fit within the confines of the male art world. This perspective suggests that the author agrees with the idea that relationships between men and women are not static and can be influenced by new ideas about women's identities.

Option (A)  is not directly supported by the passage. While the passage mentions developing artistic strengths autonomously and in opposition to men, it does not explicitly state that women must work completely independently of men to develop their talents.

Option (B)  is not supported by the passage. Although the passage mentions the theory of a female aesthetic and the distinct social experience of women, it does not imply that women and men have no common ground of personal experience.

Option (C)  is not supported by the passage. The passage emphasizes the evolving nature of relationships between men and women and suggests that these relationships can influence new ideas about women's identities, rather than being unaffected by them.

Option (E)  is not supported by the passage. While the passage mentions developing artistic strengths autonomously and in opposition to men, it does not suggest that women can only develop their art by seeing men as opponents.

Therefore, based on the passage, the most accurate inference is that the author would agree with statement  (D) "Relationships between men and women are not static and can be influenced by new ideas about women's identities."

Answer: D

Sajjad1994 · Answer

Explanation

6. According to the passage, objections that have been raised by opponents of a theory of a female sensibility include which of the following?

Difficulty Level:   750

Explanation

Based on the passage, objection I states that the theory restricts women artists' full exploration of artistic ideas by limiting them to certain  "feminine"  shapes, colors, forms, and images. This objection suggests that the theory may hinder women artists' creative freedom and restrict their artistic expression.

Objection II, which I did not mention earlier, argues that the theory of a female sensibility is overly influenced by popular trends in art. Some opponents believe that the so-called female aesthetic is reminiscent of the conventions of fashionable art, suggesting that it may be a trendy and opportunistic concept rather than an authentic expression of women's experiences. These opponents predict further shifts in the aesthetic as art-world fashions change.

Therefore, the correct answer is indeed  (C)  I and II only

Answer: C

Sajjad1994 · Answer

Explanation

7. The author's attitude toward proponents of the theory of a female sensibility can be best described as

Difficulty Level:   600-650

Explanation

To determine the author's attitude toward proponents of the theory of a female sensibility, we need to examine the tone and language used in the passage. Let's analyze the passage to identify the author's attitude.

The passage presents different perspectives on the theory of a female sensibility. It mentions that proponents of the theory insist on the existence of an authentic artistic language specific to women, corresponding to their distinct social experience and independent of  "male-defined"  art. However, the passage also highlights the objections and criticisms raised against this theory. Opponents argue that it restricts women by limiting them to certain  "feminine"  shapes, colors, forms, and images. They also view the rise of a trendy "feminine sensibility" as opportunist and suggest that it aligns with current fashionable art conventions.

The language used in the passage suggests a critical and skeptical tone toward the theory of a female sensibility. The author presents the theory as possibly no more than a rehabilitated artistic ghetto with unsatisfactory answers to defining feminist art. There is an implication that the theory may be misguided or misguided in its approach. The passage also highlights the objections and criticisms raised against the theory, which align with the author's perspective.

Considering the critical tone and the presentation of opposing viewpoints, the author's attitude toward proponents of the theory of a female sensibility can be best described as  (E) critical.  The author appears to question the validity and limitations of the theory, raising concerns about its potential restrictions on women artists and its alignment with art-world fashions.

It's important to note that the author's attitude is subjective and based on the interpretation of the passage. Different readers may have slightly different perspectives on the author's attitude, but a critical tone is most evident in the passage.

Answer: E

Sajjad1994 · Answer

Explanation

8. According to the passage theorists who believe that a female aesthetic exists would agree with all of the following statements EXCEPT:

Difficulty Level:   700

Explanation

(A) Women artists must accept the fact that the current state of male-female relationships is permanent. 
As discussed earlier, the passage does not explicitly address this statement in relation to the theory of a female aesthetic. It does mention the assumption that the battle of the sexes is eternal and historical, but it does not necessarily imply that theorists who believe in a female aesthetic advocate for accepting the current state as permanent. Therefore, it cannot be definitively determined if theorists who believe in a female aesthetic would agree or disagree with this statement.

(B) Women creating feminist art use images in a way no male artist would. 
This statement aligns with the perspective of proponents of the female aesthetic, who argue for an authentic artistic language specific to women. They believe in the existence of a female sensibility that involves imagery and formal style distinct from male-defined art. Therefore, theorists who believe in a female aesthetic would likely agree with this statement.

(C) Women who create works illustrative of the female aesthetic must conform to current conventions of art-world fashions.  
This statement suggests that women who create works illustrative of the female aesthetic must conform to current conventions of art-world fashions. However, the passage presents critics' objections to the female aesthetic, arguing that it resembles the conventions of fashionable art. These critics predict further shifts in the aesthetic as art-world fashions change. Based on this information, theorists who believe in a female aesthetic would likely disagree with this statement because they argue for an authentic artistic language independent of current art-world fashions. Therefore,  (C)  is the correct answer.

(D) Complete independence from the influence of male artists and the male experience is essential to the creation of women's art. 
This statement aligns with the perspective of proponents of the female aesthetic, who argue for an authentic artistic language independent of "male-defined" art. They seek to create a distinct social experience of women in their art. Therefore, theorists who believe in a female aesthetic would likely agree with this statement.

(E) Establishment of a specifically female style may free women artists from the restrictions inherent in an art world dominated by male definitions of experience. 
This statement aligns with the perspective of proponents of the female aesthetic. They argue that establishing a specifically female style would liberate women artists from the restrictions imposed by a male-dominated art world. Therefore, theorists who believe in a female aesthetic would likely agree with this statement.

In summary, the correct answer is  (C)  because theorists who believe in a female aesthetic would likely disagree with the statement that women who create works illustrative of the female aesthetic must conform to current conventions of art-world fashions.

Answer: C

Sajjad1994 · Answer

Explanation

9. The author quotes Pat Mainardi (lines 54-64) (Text in Red) in order to

Difficulty Level:   700

Explanation

In the passage, the author introduces the idea that several approaches to defining feminist art have emerged within the feminist art movement. One particular approach suggests the existence of a female aesthetic or sensibility specific to women. After discussing the arguments of proponents and critics of the female aesthetic, the author then quotes Pat Mainardi, who presents an alternative perspective on the issue.

Pat Mainardi's quote emphasizes the importance of women artists being free to explore the entire range of art possibilities. She argues that women should define art based on what women artists do, rather than conforming to the male-dominated art world. Mainardi's interpretation offers a different approach to defining feminist art, one that advocates for women's freedom to shape and define their own artistic practices.

Therefore, the purpose of quoting Pat Mainardi is to elaborate on another approach to the problem of defining feminist art, as stated in  option (B).  The quote adds another perspective to the discussion and highlights the idea that the meaning of art and the nature of relationships between the sexes are evolving phenomena that can be understood and acted upon within the women's movement.

Answer: B

AvinashSh · Answer

Hi, I have a doubt in Question 6 - Option II : How is "overinfluenced by popular trends" justified/inferrable from the location in the passage which just states that - The female aesthetic is just trendy and opportunistic

GMATNinja · Answer

Question 6

Describing the theory of a female sensibility as "trendy" and "opportunistic" has a negative or critical tone. Remember, this is the characterization made by OPPONENTS of the theory.

Those opponents might say: "Hey, you can't call this FEMALE aesthetic or FEMALE sensibility because it's just borrowing from stuff that's already popular in art. If this is a truly female (or femine) phenomenon, then it shouldn't be influenced so much by popular trends." In other words, in order to have a pure feminine sensibility, there shouldn't be so much non-female influence; the notion of female sensibility, as it currently exists, is OVERLY influenced by popular trends.

To be fair, that requires some inference, and the wording of II probably isn't ideal. Luckily, this question is super old and was presumably retired for a reason!

einstein801 · Answer

Why is 9 not D? Pat is introduced to give an interpretation. I dont see her as introducing another approach.

GMATNinja · Answer

Question 9  
 
The final paragraph begins with, " Another approach   , both balanced and sensible, would argue..." The entire paragraph, including the quote, elaborates on that approach.

Here's the second sentence of the final paragraph:

So the approach described in the final paragraph does not represent THE interpretation within the women's movement of a female aesthetic. Instead, we can infer that there are other opinions and points of view. There is no single "current interpretation within the women's movement of a female aesthetic" to explain, so (D) doesn't quite fit.

Also, Mainardi's quote represents "one interpretation of what this   might mean for women artists". The quote is not there to EXPLAIN an interpretation; instead, Mainardi PROVIDES an interpretation. That's another reason to eliminate (D).

Mainardi's quote elaborates on the approach or point of view, so (B) is a better fit.

manan01 · Answer

Hi  Sajjad1994 . Can you post the explanation for Q8 "According to the passage theorists who believe that a female aesthetic exists would agree with all of the following statements EXCEPT:"? please - I selected A, but turns out OA is C, it would be helpful to understand better

egmat · Answer

The Key Issue: Two Voices in the Passage 
This passage contains  proponents  of female aesthetic AND  critics  of it. You must track who says what.

Where "art-world fashions" appears: 
" They point , for example, to the odd coincidence that the so-called female aesthetic is strangely reminiscent of the conventions of much  currently fashionable art "
Who is "they"? → The  critics  who call it "opportunist"

Would proponents agree they're just following fashions? 
Absolutely not. Proponents believe their art is:
 
 "authentic" 
 "independent of male-defined art" 
 "specific to women"

Option C states what  critics accuse  proponents of - not what proponents believe.

Why A is actually supported: 
You may have thought "permanent" sounds too negative. But check Para 2:
"whatever exists today must be  essentially unchangeable  as the battle of the sexes is  eternal "
Proponents explicitly hold this premise. A matches their belief.

Bottom Line: 
A, B, D, E = Proponents' beliefs (supported in passage) 
C = Critics' accusation (proponents would reject this)
  Answer: C

nn7010 · Answer

Hello Sajjad1994, I completed the passage in 18m40s and got 8/9 right. I got Q6 wrong. Am I in a good place for the GMAT's RC? My question is basically of volume. "How much RC passages do I need to complete for me to feel "ready" for the real deal that is the GMAT?"
I would greatly appreciate your response. Thank you!

egmat · Answer

88% accuracy (8/9) on a 655-705 passage is above the 80% threshold you need on medium questions - that's a good sign. But here's the thing: one passage doesn't tell us much.

RC readiness isn't about how many passages you complete. It's about  whether you can hit 80%+ accuracy consistently across multiple passages  at this difficulty level. If you're getting 88% on one passage but dropping to 60% on another, you're not actually ready.

So before thinking about volume, the real question is: are you hitting this accuracy across 3-5 passages at the 655-705 level? If yes, then you move to timed practice and see if you can maintain that accuracy under time pressure. Once your timed accuracy matches your untimed accuracy - that's when you're genuinely ready.

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