Decades before the advent of molecular biology, genes occupied a central role in “the bioimaginary.” From the early 1900s on, although they could not fully define it, biologists, eugenicists, physicians alike increasingly placed the gene at the center of the enterprise to explain bodies and behaviors. After the elucidation of the double helix, researchers conceived the project of explicating the structure and function of genes and DNA as the grail of modern science (especially handy as nuclear physics proved so problematic an exercise). Public and private institutions devoted to genes proliferated, such that one study in 2013 estimated the genetics and genomic industry had a trillion-dollar impact on the U.S. economy.
To challenge the collective assumptions, values, and narratives of those—from academics to entrepreneurs—who labor in that increasingly ubiquitous and powerful industry, is to undertake a huge task. Indeed, the genetic realm of the bioimaginary has expanded so far beyond science that it has infiltrated the social sciences, humanities, and arts, not to mention pop culture—everyone from Nigerian Christian gospel singer T# to highbrow dance schools deploy the DNA trope even when its relevance is unclear.
In Genes and the Bioimaginary, Deborah Lynn Steinberg, professor of Gender, Culture and Media Studies at the University of Warwick, UK, has carried out a masterful, far-ranging analysis of how the gene has come to dominate Western discourses of identity, justice, psychology, and medicine, and the ways in which projections about how genes shape our agency, wellbeing, and social worth have seduced us into placing more belief into the power of genetic science than is warranted and have thus granted it a good deal of sway in our lives.
The views, opinions and positions expressed by these authors and blogs are theirs and do not necessarily represent that of the Bioethics Research Library and Kennedy Institute of Ethics or Georgetown University.