  Considering these claims in the perspective of Du Bois’s expressivism, Taylor plausibly interprets Du Bois as arguing that, because artists “are dialectically enmeshed in wider webs of meaning concerning the true and the just, and must create themselves as individuals by working out their orientation to these networks,” all art is propaganda. On this account, no work of art can reasonably claim to derive its content from “a distinct and inviolate domain of aesthetic value,” for all art derives its content from a public domain of ethico-political value to which the artist must creatively respond. The artist is at once outwardly and inwardly compelled by the webs of meaning that encumber her, for while these webs of meaning impose themselves from “without,” the artist suffers them as parameters constituting her “within” as a subject. The freedom that the apostle of truth and right can claim in relation to these parameters is akin to self-legislation—it is the freedom she enjoys in creatively responding to them, in working out her relationship to them and, in effect, making them her own (Taylor, 2016, 96–99). 