The human genome is the key to what makes us human. Composed of the many different genes found in our cells, it defines our possibilities and limitations as members of the species. The ultimate goal of the pioneering project outlined in this book is to map our genome in detail—an achievement that will revolutionize our understanding of human development and the expression of both our normal traits and our abnormal characteristics, such as disease. The Code of Codes is a collective exploration of the substance and possible consequences of this project in relation to ethics, law, and society as well as to science, technology, and medicine.
The many debates on the Human Genome Project are prompted in part by its extraordinary cost, which has raised questions about whether it represents the invasion of biology by the kind of Big Science symbolized by high-energy accelerators. While addressing these matters, this book recognizes that far more than money is at stake. Its intent is not to advance naive paeans for the project but to stimulate thought about the serious issues—scientific, social, and ethical—that it provokes. The Code of Codes comprises incisive essays by stellar figures in a variety of fields, including James D. Watson and Walter Gilbert and the social analysts of science Dorothy Nelkin and Evelyn Fox Keller. An authoritative review of the scientific underpinnings of the project is provided by Horace Freeland Judson, author of the bestselling Eighth Day of Creation.
The book’s broad and balanced coverage and the expertise of its contributors make The Code of Codes the most comprehensive and compelling exploration available on this history-making project.
In Codes of Conduct, Karla Holloway meditates on the dynamics of race and ethnicity as they are negotiated in the realms of power. Her uniquely insightful and intelligent analysis guides us in a fresh way through Anita Hill’s interrogation, the assault on Tawana Brawley, the mass murders of Atlanta’s children, the schisms between the personal and public domains of her life as a black professor, and––in a moving epilogue––the story of her son’s difficulties growing up as a young black male in contemporary society. Its three main sections: “The Body Politic,” “Language, Thought, and Culture,” and “The Moral Lives of Children,” relate these issues to the visual power of the black and female body, the aesthetic resonance and racialized drama of language, and our children’s precarious habits of surviving. Throughout, Holloway questions the consequences in African-American community life of citizenship that is meted out sparingly when one’s ethnicity is colored.
This is a book of a culture’s stories––from literature, public life, contemporary and historical events, aesthetic expression, and popular culture––all located within the common ground of African-American ethnicity. Holloway writes with a passion, urgency, and wit that carry the reader swiftly through each chapter. The book should take its place among those other important contemporary works that speak to the future relationships between whites and blacks in this country.
Detective fiction featuring white women and people of color such as Barbara Neelys Blanche White and Walter Mosleys Easy Rawlinshas become tremendously popular. Although they are considered "light reading," mysteries also hold important cultural and social "clues." Much recent scholarly work has demonstrated that race is both a cultural fiction not a biological reality and a central organizing principle of experience. Popular writers are likely to reflect the conventions of their own historical situations.
In Traces, Codes, and Clues: Reading Race in Crime Fiction, Maureen T. Reddy explores the ways in which crime fiction manipulates cultural constructions such as race and gender to inscribe dominant cultural discourses. She notes that even those writers who appear to set out to revise outdated conventions repeatedly reproduce the genres most conservative elements. The greatest obstacle to transforming crime fiction, Reddy states, is the fact that the genre itself is deeply embedded in the discourse of white (and male) superiority. There is, therefore, an absolute necessity to break away from that discourse through reversal or other strategies in order to produce work that defies, and thus helps readers to defy, the dominant ideology of race.
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