It was noted that of the six names in the poem three--Jacobs, Rosenbaum, and Levin--are Hebrew, two--Thorne and Hayes--are Christian, and one--Ohman--is ambiguous, the ambiguity being marked in the poem itself as the phrase goes by the question mark in parenthesis.
Thorne is a linguist at Edinburgh who, like Levin, was attempting to extend the rules of transformational grammar to the notorious ir-regularities of poetic language. Fish asks the rest of the students what this means. Interpretation is not the art of construing but the art of constructing.
If this seems counterintuitive, it is only because the work required to see it as an assignment is work we have already done, in the course of acquir-ing the huge amount of background knowledge that enables you and me to function in the academic world.
I drew a frame around the assignment and wrote on the top of that frame "p. And Richard Ohmann is the literary critic who, more than any other, was responsible for introducing the vocabulary of transformational grammar to the literary community.
Or by the same reasoning one could say that they are both subjective and objective: It follows, then, that the fear of solipsism, of the imposition by the unconstrained self of its own prejudices, is unfounded be-cause the self does not exist apart from the communal or conventional categories of thought that enable its operations of thinking, seeing, reading.
Many of the ideas in the book were considered more radical when the book was published than they do today. This, for Fish, collapses the dichotomy between subject and object: The Authority of Interpretive Communities.
This question was set aside as the other students, following his lead, began to concentrate on individual words, interrupting each other with suggestions that came so quickly that they seemed spontaneous. They tell him it means William is seeking permission to speak.
The ability to see, and therefore to make, an assignment is no less a learned ability than the ability to see, and therefore to make, a poem. They are afraid that in the absence of the controls afforded by a normative system of meanings, the self will simply substitute its own meanings for the meanings usually identified with the intentions of the author that texts bring with them, the meanings that texts "have"; however, if the self is conceived of not as an independent entity but as a social construct whose operations are delimited by the systems of intelligibility that inform it, then the meanings it confers on texts are not its own but have their source in the interpretive community or communities of which it is a function.
Document created October 24th The meaning of his gesture, in other words, was right there on its surface, available for reading by anyone who had the eyes to see. That is, it requires just as much work, and work of the same kind, to see this as an assignment as it does to see it as a poem.
I am thinking, for example, of something that happened in my classroom just the other day.
And if the someone in question were a child of elementary or middle-school age, Mr. What are the distinguishing features of literary language?
Both are constructed artifacts, the products and not the producers of interpretation, and while the differences between them are real, they are interpretive and do not have their source in some bedrock level of objectivity.
It is what a group of people decide is a poem.Feb 13, · Fish’s “How to Recognize a Poem When You See One” examines the practice of learning to “read” poetry. It seems like the vast majority of people treat poetry like they do Shakespeare; even if you don’t understand it, you still want everyone to think you do by using buzz words like “dramatic” or “deep” or one of a thousand other words that no one can really explain, but.
In "How to Recognize a Poem When You See One" Stanley Fish moves from the broader conclusion that "[i]nterpreters do not decode poems; they make them" to the broader epistemological claim that "all objects are made not found," before deconstructing the opposition between subjectivity and.
Stanley Fish: How to Recognize a Poem When You See One How Do You Recognize A Poem When You See One? Act of Recognition is triggered by the observable presence of distinguishing features.
How to Recognize a Poem When You See One--Stanley Fish  Last time I sketched out an argument by which meanings are the property neither of fixed and stable texts nor of free and independent readers but of interpretive communities that are responsible both for the shape of a reader's activities and for the texts those activities produce.
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Stanley Fish, in his inductive essay "How to Recognize a Poem When You See One", argues that the process of "distinguishing" certain "features" of an.Download