A SCHOLARLY BOOK REPOSITORY10 start with G start with G
Contemporary developments in human genetics are profoundly meaningful, both for the rapidity of scientific discoveries and for their personal and social implications. The Human Genome Project, a worldwide effort to map the 50,000 to 100,000 genes making up the human blueprint, is creating new ways of understanding ourselves as individuals, as parents, as members of a family, an ethnic group, a species. Almost every day yet another medical detective finds a genetic clue to the long-running mystery of human identity.
In 1992, the University of Iowa Humanities Symposium provided a public forum to examine the issues—moral, conceptual, legal, and practical—in modern genetics that are crucial to all of us. This strong, challenging volume is a collection of the major essays presented by historians, philosophers, and other academic humanists to a multidisciplinary audience of molecular and clinical geneticists, genetic counselors, humanists, and members of the public. The essays explore the historical background, philosophical implications, and ethical issues related to the Human Genome Project as well as other developments in modern genetics.
The questions raised in these essays are dramatic and troubling. What kind of knowledge is being produced by molecular geneticists? Do individual human genomes differ significantly from each other? How much do females and males differ from each other at the molecular level? Is there any genetic basis for distinguishing among racial or ethical groups? Can current practices in genetics counseling be compared to the earlier eugenics movement? Will current research lead to updated views on genetic “normalcy” or even “superiority”?
We all know the euphoria of intellectual epiphany—the thrill of sudden understanding. But coupled with that excitement is a sense of loss: a moment of epiphany can never be repeated. In Geometry of Grief, mathematician Michael Frame draws on a career’s worth of insight—including his work with a pioneer of fractal geometry Benoit Mandelbrot—and a gift for rendering the complex accessible as he delves into this twinning of understanding and loss. Grief, Frame reveals, can be a moment of possibility.
Frame investigates grief as a response to an irrevocable change in circumstance. This reframing allows us to see parallels between the loss of a loved one or a career and the loss of the elation of first understanding a tricky concept. From this foundation, Frame builds a geometric model of mental states. An object that is fractal, for example, has symmetry of magnification: magnify a picture of a mountain or a fern leaf—both fractal—and we see echoes of the original shape. Similarly, nested inside great loss are smaller losses. By manipulating this geometry, Frame shows us, we may be able to redirect our thinking in ways that help reduce our pain. Small‐scale losses, in essence, provide laboratories to learn how to meet large-scale losses.
Interweaving original illustrations, clear introductions to advanced topics in geometry, and wisdom gleaned from his own experience with illness and others’ remarkable responses to devastating loss, Frame’s poetic book is a journey through the beautiful complexities of mathematics and life. With both human sympathy and geometrical elegance, it helps us to see how a geometry of grief can open a pathway for bold action.
Hauserman hikes the John Muir Trail through rainstorms and challenging climbs, explores the Tahoe Rim Trail on a fourteen-day excursion, and travels to Minnesota to conquer the Superior Hiking Trail, where he is inundated with bugs, faces drought, and is eerily alone on the trail with not a single other hiker in sight for days. Going It Alone combines his self-deprecating humor, what he identifies as “Stupid Tim Tricks,” and delightful descriptions of the natural surroundings.
Some might describe the wilderness as the middle of nowhere or as nothingness, but for Hauserman, it is everything. While his love for nature remains undaunted through these experiences, he also discovers that he has overly high expectations for his capabilities and that he cannot just wish his loneliness away. He eventually discovers that his long walks in the woods are less about hiking and more about learning how he wants to live his life.
Hauserman hikes the John Muir Trail through rainstorms and challenging climbs, explores the Tahoe Rim Trail on a fourteen-day excursion, and travels to Minnesota to conquer the Superior Hiking Trail, where he is inundated with bugs, faces drought, and is eerily alone on the trail with not a single other hiker in sight for days. Going It Alone combines his self-deprecating humor, what he identifies as “Stupid Tim Tricks,” and delightful descriptions of the natural surroundings.
Some might describe the wilderness as the middle of nowhere or as nothingness, but for Hauserman, it is everything. While his love for nature remains undaunted through these experiences, he also discovers that he has overly high expectations for his capabilities and that he cannot just wish his loneliness away. He eventually discovers that his long walks in the woods are less about hiking and more about learning how he wants to live his life.
Weiss examines the vast stylistic range of ceramics and investigates both the theoretical and personal reasons for viewing, using, and collecting them. Relating ceramics to other arts and practices—especially those surrounding food—he explores their different uses such as in the celebrated tea ceremony of Japan. Most notably, he considers how works previously viewed as crafts have found their rightful way into museums, as well as how this new-found engagement with finely wrought natural materials may foster an increased ecological sensitivity. The result is a wide-ranging and sensitive look at a crucial part of our material culture.
The assumptions that literary criticism and philosophy are closely linked—and that both disciplines can learn much from each other—lead David White to examine key passages in James Joyce’s novels both as a philosopher and as literary critic. In so doing, he develops a thesis that Joyce’s attempt to capture the mysterious process whereby perception and consciousness are translated into language entails a fundamental challenge to everyday notions of reality. Joyce’s stylistic brilliance and virtuosity, his destruction of normal syntax and meaning, “shock one into a new reality.” In the book’s final section, White examines the subtle relation between literary language and human consciousness and traces parallels between Joyce’s stylistic experimentation and Wittgenstein’s and Husserl’s ideas about language.
“The best way to get to know Justine Kerfoot would be to explore a northern forest with her. The next best way to know ‘Just’ is on these pages. Here Justine is at her best, sharing with us her romantic and colorful, and sometimes a tad dangerous, life.” —Les Blacklock
Step off the Gunflint Trail, stride to a high point, and savor the view. Only the dark, cool waters and the rugged granite shores interrupt the panorama of the sweeping forest. In this engaging memoir, local pioneer Justine Kerfoot chronicled a year’s worth of experiences and insights while living on the legendary Gunflint Trail. The unique month-by-month chapters of Gunflint and Kerfoot’s rich memories provide a year-round view of a wilderness life that most of us glimpse only in all-too-short weekend interludes.
Justine Kerfoot (1906–2001) lived on Minnesota’s remote Gunflint Trail for more than six decades. She wrote of her adventures and travel in a weekly column for the Cook County News-Herald for forty-five years and is the author of Woman of the Boundary Waters (Minnesota, 1994).
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