In literary theory, the philosophy of law, and the sociology of knowledge, no issue has been more central to current debate than the status of our interpretations. Do they rest on a ground of rationality or are they subjective impositions of a merely personal point of view? In Doing What Comes Naturally, Stanley Fish refuses the dilemma posed by this question and argues that while we can never separate our judgments from the contexts in which they are made, those judgments are nevertheless authoritative and even, in the only way that matters, objective. He thus rejects both the demand for an ahistorical foundation, and the conclusion that in the absence of such a foundation we reside in an indeterminate world. In a succession of provocative and wide-ranging chapters, Fish explores the implications of his position for our understanding of legal, literary, and psychoanalytic interpretation, the nature of professional and institutional culture, and the place of reason in a world that is rhetorical through and through."--Publisher description.
In 1967 Milton studies was divided into two camps: one claiming (per Blake and Shelley) that Milton was of the devil's party, the other claiming (per Addison and C. S. Lewis) that the poet's sympathies were obviously with God and his loyal angels. Fish has reconciled the two camps by subsuming their claims in a single overarching thesis.
Stanley Fish is an equal opportunity antagonist. A theorist who has taken on theorists, an academician who has riled the academy, a legal scholar and political pundit who has ruffled feathers left and right, Fish here turns with customary gusto to the trouble with principle. Specifically, Fish has a quarrel with neutral principles. The trouble? They operate by sacrificing everything people care about to their own purity. And they are deployed with equal highmindedness and equally absurd results by liberals and conservatives alike. In this bracing book, Fish argues that there is no realm of higher order impartiality--no neutral or fair territory on which to stake a claim--and that those who invoke one are always making a rhetorical and political gesture. In the end, it is history and context, the very substance against which a purportedly abstract principle defines itself, that determines a principle's content and power. In the course of making this argument, Fish takes up questions about academic freedom and hate speech, affirmative action and multiculturalism, the boundaries between church and state, and much more. Sparing no one, he shows how our notions of intellectual and religious liberty--cherished by those at both ends of the political spectrum--are artifacts of the very partisan politics they supposedly transcend. The Trouble with Principle offers a provocative challenge to the debates of our day that no intellectually honest citizen can afford to ignore.
What should be the role of our institutions of higher education? To promote good moral character? To bring an end to racism, sexism, economic oppression, and other social ills? To foster diversity and democracy and produce responsible citizens? In Save the World On Your Own Time, Stanley Fish argues that, however laudable these goals might be, there is but one proper role for the academe in society: to advance bodies of knowledge and to equip students for doing the same. When teachers offer themselves as moralists, political activists, or agents of social change rather than as credentialed experts in a particular subject and the methods used to analyze it, they abdicate their true purpose. And yet professors now routinely bring their political views into the classroom and seek to influence the political views of their students. Those who do this will often invoke academic freedom, but Fish suggests that academic freedom, correctly understood, is the freedom to do the academic job, not the freedom to do any job that the professor so chooses. Fish insists that a professor's only obligation is "to present the material in the syllabus and introduce students to state-of-the-art methods of analysis. Not to practice politics, but to study it; not to proselytize for or against religious doctrines, but to describe them; not to affirm or condemn Intelligent Design, but to explain what it is and analyze its appeal." Given that hot-button issues such as Holocaust denial, free speech, and the Israeli-Palestinian conflict are regularly debated in classrooms across the nation, Save the World On Your Own Time is certain to spark fresh debate--and to incense both liberals and conservatives alike--about the true purpose of higher education in America.
In recent years, the world of literary and cultural studies has been riven by a fierce debate between those who would transform interpretative work and those who fear that their work would destroy the very essence of literary criticism.
From one of America's most important cultural critics comes this collection of the best of his provocative New York Times essays, pieces that have generated passionate discussion and debate.
Stanley Fish's Surprised by Sin, first published in 1967, set a new standard for Milton criticism and established its author as one of the world's preeminent Milton scholars. The lifelong engagement begun in that work culminates in this book, the magnum opus of a formidable critic and the definitive statement on Milton for our time. How Milton works "from the inside out" is the foremost concern of Fish's book, which explores the radical effect of Milton's theological convictions on his poetry and prose. For Milton the value of a poem or of any other production derives from the inner worth of its author and not from any external measure of excellence or heroism. Milton's aesthetic, says Fish, is an "aesthetic of testimony": every action, whether verbal or physical, is or should be the action of holding fast to a single saving commitment against the allure of plot, narrative, representation, signs, drama--anything that might be construed as an illegitimate supplement to divine truth. Much of the energy of Milton's writing, according to Fish, comes from the effort to maintain his faith against these temptations, temptations which in any other aesthetic would be seen as the very essence of poetic value. Encountering the great poet on his own terms, engaging his equally distinguished admirers and detractors, this book moves a 300-year debate about the significance of Milton's verse to a new level.
This book asks "How can legal doctrine be turned into filmic art?" By "legal doctrine" Stanley Fish does not mean the sonorous abstractions that usually accompany the self-presentation of law—Justice, Equity, Equality, Liberty, Autonomy, and the like. Rather he has in mind the specific rules and procedures invoked and analyzed by courts on the way to declaring a decision—lawyer/client confidentiality, the distinction between interdicted violence and the violence performed by the legal system, the interplay of positive law and laws rooted in morality, the difference between civilian law and military law, the death penalty, the admissibility of different forms of evidence. In the movies he discusses, these and other points of doctrine and procedure do not serve as a background, occasionally visited, to the substantive issues that drive the plot and provide the characters with choices; they declare the plot, and character is formed and tested in relationship to their demands. Apparently technical matters are pressed until they occupy both foreground and background and become the movie's true subject. If large, abstract concepts emerge, they emerge at the back end of doctrine and are, in effect, produced by doctrine. These are not law-themed movies; they are movies about the unfolding of legal process.
Stanley Fish is one of America’s most stimulating literary theorists. In this book, he undertakes a profound reexamination of some of criticism’s most basic assumptions. He penetrates to the core of the modern debate about interpretation, explodes numerous misleading formulations, and offers a stunning proposal for a new way of thinking about the way we read. Fish begins by examining the relation between a reader and a text, arguing against the formalist belief that the text alone is the basic, knowable, neutral, and unchanging component of literary experience. But in arguing for the right of the reader to interpret and in effect create the literary work, he skillfully avoids the old trap of subjectivity. To claim that each reader essentially participates in the making of a poem or novel is not, he shows, an invitation to unchecked subjectivity and to the endless proliferation of competing interpretations. For each reader approaches a literary work not as an isolated individual but as part of a community of readers. “Indeed,” he writes, “it is interpretive communities, rather than either the text or reader, that produce meanings.” The book is developmental, not static. Fish at all times reveals the evolutionary aspect of his work—the manner in which he has assumed new positions, altered them, and then moved on. Previously published essays are introduced by headnotes which relate them to the central notion of interpretive communities as it emerges in the final chapters. In the course of refining his theory, Fish includes rather than excludes the thinking of other critics and shows how often they agree with him, even when he and they may appear to be most dramatically at odds. Engaging, lucid, provocative, this book will immediately find its place among the seminal works of modern literary criticism.
Stanley Fish, one of the foremost critics of literature working today, has spent much of his career writing and thinking about Milton. This book brings together his finest published work with brand new material on Milton and on other authors and topics in early modern literature. In his analyses of Renaissance texts, he meditates on the interpretive problems that confront readers and offers a sustained critique of historicist methods of interpretation. Intention, he argues, is key to understanding which pieces of historical data are relevant to literary criticism. Lucid, provocative, direct and inimitable, this new book from Stanley Fish is required reading for anyone teaching or studying Milton and early modern literary studies.
Stanley Fish's Surprised by Sin argues here that Paradise Lost is a poem about how its readers came to be the way they are and therefore the fact of their divided responses makes perfect sense.
“Fish mines cultural touchstones from Milton to ‘Married with Children’ to explain how various types of arguments are structured and how that understanding can lead to victory” — New York Times Book Review A lively and accessible guide to understanding rhetoric by the world class English and Law professor and bestselling author of How to Write a Sentence. Filled with the wit and observational prowess that shaped Stanley Fish’s acclaimed bestseller How to Write a Sentence, Winning Arguments guides readers through the “greatest hits” of rhetoric. In this clever and engaging guide, Fish offers insight and outlines the crucial keys you need to win any debate, anywhere, anytime—drawn from landmark legal cases, politics, his own career, and even popular film and television. A celebration of clashing minds and viewpoints, Winning Arguments is sure to become a classic.
In an era when much of what passes for debate is merely moral posturing--traditional family values versus the cultural elite, free speech versus censorship--or reflexive name-calling--the terms "liberal" and "politically correct," are used with as much dismissive scorn by the right as "reactionary" and "fascist" are by the left--Stanley Fish would seem an unlikely lightning rod for controversy. A renowned scholar of Milton, head of the English Department of Duke University, Fish has emerged as a brilliantly original critic of the culture at large, praised and pilloried as a vigorous debunker of the pieties of both the left and right. His mission is not to win the cultural wars that preoccupy the nation's attention, but rather to redefine the terms of battle. In There's No Such Thing as Free Speech, Fish takes aim at the ideological gridlock paralyzing academic and political exchange in the nineties. In his witty, accessible dissections of the swirling controversies over multiculturalism, affirmative action, canon revision, hate speech, and legal reform, he neatly eviscerates both the conservatives' claim to possession of timeless, transcendent values (the timeless transcendence of which they themselves have conveniently identified), and the intellectual left's icons of equality, tolerance, and non-discrimination. He argues that while conservative ideologues and liberal stalwarts might disagree vehemently on what is essential to a culture, or to a curriculum, both mistakenly believe that what is essential can be identified apart from the accidental circumstances (of time and history) to which the essential is ritually opposed. In the book's first section, which includes the five essays written for Fish's celebrated debates with Dinesh D'Souza (the author and former Reagan White House policy analyst), Fish turns his attention to the neoconservative backlash. In his introduction, Fish writes, "Terms that come to us wearing the label 'apolitical'--'common values', 'fairness', 'merit', 'color blind', 'free speech', 'reason'--are in fact the ideologically charged constructions of a decidedly political agenda. I make the point not in order to level an accusation, but to remove the sting of accusation from the world 'politics' and redefine it as a synonym for what everyone inevitably does." Fish maintains that the debate over political correctness is an artificial one, because it is simply not possible for any party or individual to occupy a position above or beyond politics. Regarding the controversy over the revision of the college curriculum, Fish argues that the point is not to try to insist that inclusion of ethnic and gender studies is not a political decision, but "to point out that any alternative curriculum--say a diet of exclusively Western or European texts--would be no less politically invested." In Part Two, Fish follows the implications of his arguments to a surprising rejection of the optimistic claims of the intellectual left that awareness of the historical roots of our beliefs and biases can allow us, as individuals or as a society, to escape or transcend them. Specifically, he turns to the movement for reform of legal studies, and insists that a dream of a legal culture in which no one's values are slighted or declared peripheral can no more be realized than the dream of a concept of fairness that answers to everyone's notions of equality and jsutice, or a yardstick of merit that is true to everyone's notions of worth and substance. Similarly, he argues that attempts to politicize the study of literature are ultimately misguided, because recharacterizations of literary works have absolutely no impact on the mainstream of political life. He concludes his critique of the academy with "The Unbearable Ugliness of Volvos," an extraordinary look at some of the more puzzing, if not out-and-out masochistic, characteristics of a life in academia. Penetrating, fearless, and brilliantly argued, There's No Such Thing as Free Speech captures the essential Fish. It is must reading for anyone who cares about the outcome of America's cultural wars.
In a succession of provocative and wide-ranging chapters, Stanley Fish explores the rational basis of our literary, legal, and psychoanalytic interpretations. He argues that while we can never separate our judgements from the context in which they are made, those judgements are neverthelessauthoritative, and in the only way that matters, objective. He explores the implications of his ideas on the nature of professional and institutional culture, on literary theory, the philosophy of law, and the sociology of knowledge, and assesses the place of reason in a rhetorical world.
New York Times Bestseller “Both deeper and more democratic than The Elements of Style” —Adam Haslett, Financial Times “A guided tour through some of the most beautiful, arresting sentences in the English language.” —Slate In this entertaining and erudite gem, world-class professor and New York Times columnist Stanley Fish offers both sentence craft and sentence pleasure, skills invaluable to any writer (or reader). Like a seasoned sportscaster, Fish marvels at the adeptness of finely crafted sentences and breaks them down into digestible morsels, giving readers an instant play-by-play. Drawing on a wide range of great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works. It is a book that will stand the test of time.
“Fish’s points arrive in thoughtful, dense provocations.” —Kirkus Reviews From celebrated public intellectual and New York Times bestselling author, Stanley Fish, comes an urgent and sharply observed look at one of the most hotly debated issues of our time: freedom of speech. How does the First Amendment really work? Is it a principle or a value? What is hate speech and should it always be banned? Are we free to declare our religious beliefs in the public square? What role, if any, should companies like Facebook play in policing the exchange of thoughts, ideas, and opinions? With clarity and power, Stanley Fish, “America’s most famous professor” (BookPage), explores these complex questions in The First. From the rise of fake news, to the role of tech companies in monitoring content (including the President’s tweets), to Colin Kaepernick’s kneeling protest, First Amendment controversies continue to dominate the news cycle. Across America, college campus administrators are being forced to balance free speech against demands for safe spaces and trigger warnings. Ultimately, Fish argues, freedom of speech is a double-edged concept; it frees us from constraints, but it also frees us to say and do terrible things. Urgent and controversial, The First is sure to ruffle feathers, spark dialogue, and shine new light on one of America’s most cherished—and debated—constitutional rights.
Tell Faith-Filled Fish Tales Fishing stories. We’ve all heard them. “It was this big.” “You should have seen the one that got away.” People love to tell stories of their fishing adventures. When it comes to faith, however, most people clam up. Why is it we can’t talk about what God has done in our lives as naturally as we can spin fishing tales? In this six-session companion study guide to the Go Fish DVD, Andy Stanley explores the motivation behind sharing our faith. Discover God’s heart for those who don’t know Him and the role that we can play in introducing others to Him. Along the way you will be equipped with tools that will help you make sharing your faith a natural part of your life. This study guide is complete with a leader’s guide and six lessons, including conversation-starting exercises, discussion questions, and application steps. Story Behind the Book Andy Stanley, senior pastor of three North Point Ministries campuses, with a cumulative congregation of more than twenty thousand, has had countless conversations with everyday Christians who struggle to share their faith with confidence and ease. Though not everyone has “the gift,” evangelism is something we’re each called to. This curriculum was designed to take the fear out of sharing the good news of Christ, and to help you talk about it as naturally as you would that exciting fishing trip last weekend!
Fish (Florida International Univ.; emer., Univ. of Illinois, Chicago) "reads" The Fugitive, the mid-1960s television series, as a work of classic literature, teasing out moral and philosophical themes in various episodes. Examining such oppositions as inner truth versus outer appearance, individual independence versus community conformity, justice versus law, innocence versus justice, he depicts the series as capturing a shift in American culture. Fish defines the shift by quoting William Pfaff on the impact of shifting population and decline of the influence of churches. "Add to these developments," writes Fish, "the ideological efforts of liberals who contributed to the old America's demise by [to further quote Pfaff] attacking its values, despising its conformism and subordinating the demands of community to those of individual liberty." Fish argues that the series is similar to a theological text because of its "preoccupation with primary values," most primary among them freedom "in the moral sense ... freedom from attachments that own [one] and circumscribe [one's] will." The author contends that the "moral and philosophical significance" with which he has burdened The Fugitive was in fact intended by Roy Huggins, the creator of the series. This interesting, well-crafted interpretation of the series resonates with cultural significance. Summing Up: Recommended. Lower-division undergraduates through faculty. Lower-division Undergraduates; Upper-division Undergraduates; Graduate Students; Researchers/Faculty; Professionals/Practitioners. Reviewed by W. F. Williams.
Advocates of academic freedom often view it as a variation of the right to free speech and an essential feature of democracy. Stanley Fish argues here for a narrower conception of academic freedom, one that does not grant academics a legal status different from other professionals. Providing a blueprint for the study of academic freedom, Fish breaks down the schools of thought on the subject, which range from the idea that academic freedom is justified by the common good or by academic exceptionalism, to its potential for critique or indeed revolution. Fish himself belongs to what he calls the It s Just a Job school: while academics need the latitude call it freedom if you like necessary to perform their professional activities, they are not free in any special sense to do anything but their jobs. Academic freedom, Fish argues, should be justified only by the specific educational good that academics offer. Defending the university in all its glorious narrowness as a place of disinterested inquiry, Fish offers a bracing corrective to academic orthodoxy.
A consideration of the ideological gridlock paralyzing academic and political exchange in the nineties. The author dissects the controversies over multiculturalism, affirmative action, canon revision, hate speech, and legal reform, and takes both the left and the right equally to task.
Curing and Smoking Fish provides all the information needed to understand the entire process of preparing and smoking fish. The subject of making brines is covered in detail and simplified by advocating the use of brine tables and testers. We don’t want the reader to blindly follow recipes, we want him to create them - this is the approach that has been taken by the authors. Fish can be dry salted or immersed in brine; salt can be applied alone or with sugar and spices; brine can be weak or strong; fish can be cold or hot smoked; wood chips can be dry or wet. There are many parameters to consider. To a newcomer, this can become confusing; however, all these details are mentioned and explained in such a way that the reader will feel confident to take control of the process. Master the basics, but not be afraid to apply this knowledge in real applications. Additionally, smoking methods are thoroughly described, as well as proper design of basic smokehouses. The discussion is not only limited to fish, but also covers shellfish such as clams, mussels, oysters and shrimp. To get the reader started, there is a collection of recipes for smoking fish, making fish spreads and preparing sauces for serving fish.
What is the purpose of higher education? Here, Stanley Fish argues that, however laudable goals of fostering diversity and democracy might be, there is but one proper role for the academe in society: to advance bodies of knowledge and to equip students for doing the same.
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