Objectives To investigate empirically the motivations for not consenting to DNA biobanking in a Swedish population-based study and to discuss the implications. Design Structured questionnaires and semistructured interviews. Setting A longitudinal epidemiological project (PART) ongoing since 1998 in Stockholm, Sweden. The DNA-collection wave took place during 2006–7. Participants 903 individuals completed the questionnaire (participation rate 36%) and 23 were interviewed. All individuals had participated in both non-genetic waves of the project, but refused to contribute saliva samples during the DNA-collection wave. (...) Main outcome measures Motivations behind refusing to consent to DNA biobanking, with subsequent focus on participants' explanations regarding this unwillingness. Results Public refusal to consent to DNA biobanking, as revealed by the questionnaire, was mainly explained by a lack of personal relevance of DNA contribution and feelings of discomfort related to the DNA being used for purposes other than the respective study. Interviews of individuals representing the second motivation, revealed a significant mistrust of DNA biobank studies. The underlying beliefs and attitudes were associated with concerns about integrity, privacy, suspiciousness and insecurity. However, most interviewees were supportive of genetic research per se and interpreted their mistrust in the light of distressing environmental influences. Conclusion The results suggest a need for guidelines on benefit sharing, as well as trustworthy and stable measures to maintain privacy, as a means for increasing personal relevance and trust among potential participants in genetic research. Measures taken from biobanks seem insufficient in maintaining and increasing trust, suggesting that broader societal measures should be taken. (shrink)

Wayne C. Booth argues for the relocation of ethics to the center of our engagement with literature.

In _The Company We Keep_, Wayne C. Booth argues for the relocation of ethics to the center of our engagement with literature. But the questions he asks are not confined to morality. Returning ethics to its root sense, Booth proposes that the ethical critic will be interested in any effect on the ethos, the total character or quality of tellers and listeners. Ethical criticism will risk talking about the quality of _this_ particular encounter with _this_ particular work. Yet it will (...) give up the old hope for definitive judgments of "good" work and "bad." Rather it will be a conversation about _many_ kinds of personal and social goods that fictions can serve or destroy. While not ignoring the consequences for conduct of engaging with powerful stories, it will attend to that more immediate topic, What happens to us _as we read_? Who am I, _during the hours of reading or listening_? What is the quality of the life I lead in the company of these would-be friends? Through a wide variety of periods and genres and scores of particular works, Booth pursues various metaphors for such engagements: "friendship with books," "the exchange of gifts," "the colonizing of worlds," "the constitution of commonwealths." He concludes with extended explorations of the ethical powers and potential dangers of works by Rabelais, D. H. Lawrence, Jane Austen, and Mark Twain. (shrink)

When should I change my mind? What can I believe and what must I doubt? In this new "philosophy of good reasons" Wayne C. Booth exposes five dogmas of modernism that have too often inhibited efforts to answer these questions.

The Abolition of Man, C. S. Lewis's masterpiece in ethics and the philosophy of science,warns of the danger of combining modern moral skepticism with the technological pursuit of human desires. The end result is the final destruction of human nature. From Brave New World to Star Trek, from Steampunk to starships, science fiction film has considered from nearly every conceivable angle the same nexus of morality, technology, and humanity of which C. S. Lewis wrote. As a result,science fiction film has (...) unintentionally given us stunning depictions of Lewis's terrifying vision of the future. In Science Fiction and the Abolition of Man: Finding C. S. Lewis in Sci-Fi Film and Television, scholars of religion, philosophy, literature, and film explore the connections between sci-fi film and the three parts of Lewis's book:how sci-fi portrays "Men Without Chests" incapable of responding properly to moral good, how it teaches the Tao or "The Way," and how it portrays "The Abolition of Man.". (shrink)

Systems biology is a vigorous and expanding discipline, in many ways a successor to genomics and perhaps unprecendented in its combination of biology with a ...

What I am calling for is not as radically new as it may sound to ears that are still tuned to positivist frequencies. A very large part of what we value as our cultural monuments can be thought of as metaphoric criticism of metaphor and the characters who make them. The point is perhaps most easily made about the major philosophies. Stephen Pepper has argued, in World Hypotheses,1 that the great philosophies all depend on one of the four "root metaphors," (...) formism, mechanism, organicism, and contextualism, and they are great precisely because they have so far survived the criticism of rival metaphors. Each view of the totality of things claims supremacy, but none has been able to annihilate the others. They all thus survive as still plausible, pending further criticism through further philosophical inquiry. In this view, even the great would-be literalists like Hobbes and Locke are finally metaphorists—simply committed to another kind of metaphor, one that to them seems literal. Without grossly oversimplifying we could say that the whole work of each philosopher amounts to an elaborate critique of the inadequacy of all other philosophers' metaphors. What is more, the very existence of a tradition of a small group of great philosophies is a sign that hundreds of lesser metaphors for the life of mankind have been tested in the great philosophical—that is, critical—wars and found wanting. · 1. World Hypotheses: A Study in Evidence . In Concept and Quality: A World Hypothesis , Pepper suggests that "the purposive act" is a fifth root metaphor. Wayne C. Booth's is the author of, among other works, Critical Understanding: The Powers and Limits of Pluralism. His contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , "M. H. Abrams: Historian as Critic, Critic as Pluralist" , "'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W. J. T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

Book reviewed in this article: Artificial Reproduction: A Social Investigation. By R. Snowden, G.D. Mitchell, and E. M. Snowden. Redefining Human Life: Reproductive Technologies and Social Policy. By Robert H. Blank. Reproductive Ethics. By Michael D. Bayles.

Ethics support staff help others to deal with moral challenges. However, they themselves can also experience moral challenges such as issues regarding (breaching) confidentiality when practicing ethics support. Currently there is no insight in these confidentiality issues and also no professional guidance for dealing with them. To gain insight into moral challenges related to Moral Case Deliberation (MCD), we studied a) beliefs and experiences of MCD facilitators regarding breaching confidentiality, b) considerations for (not) breaching confidentiality, and c) needs for an (...) ethics support tool. Data collection consisted of qualitative research methods: six semi-structured interviews; analyses of a) two recorded MCD sessions, and b) a focus group with MCD facilitators. Findings: MCD facilitators mention different conceptions and interpretations of confidentiality and various moral challenges. Questions concerning confidentiality ultimately cause reflections on roles and responsibilities of facilitators. Needs for ethics support vary from seeking advice to procedural and sometimes normative guidance for MCD facilitators. Education for MCD facilitators should focus on developing a concrete tool that stimulates awareness and reflection(skills). (shrink)

In turning to the language of freedom, I am not automatically freed from the dangers of reduction and self-privileging. "Freedom" as a term is at least as ambiguous as "power" . When I say that for me all questions about the politics of interpretation begin with the question of freedom, I can either be saying a mouthful or saying nothing at all, depending on whether I am willing to complicate my key term, "freedom," by relating it to the language of (...) power. The best way to do that is to get power in from the beginning, by making a distinction taken for granted by many earlier thinkers and too often ignored today: freedom from as contrasted with freedom to; freedom from external restraints and the power of others to inhibit our actions, and freedom to act effectively when restraints disappear.All the freedom from in the world will not free me to make an intellectual discovery or to point a picture unless I have somehow freed myself to perform certain tasks. Such freedoms are gained only by those who surrender to disciplines and codes invented by others, giving up certain freedoms from. Nobody forbids by interpreting the original text of Confucius' Analects or the Principia Mathematica, yet I am not free to do so, lacking the disciplines—having not been disciplined—to do so. The distinction can lead to troublesome complexities, but in its simple form here it cuts through some of the problems that arise in power language.Every critical revolution tends to speak more clearly about what it is against than about what it seeks. The historicists against impressionism, the New Critics against historicism, the new new critics against intentionalism and the authority of canons, the feminists against misogynous art and criticism–clearly one could write a history of modern criticism as a glorious casting off of errors. But it is rightly a commonplace among intellectual historians that all revolutionaries depend on their past far more than they know. Revolutionary critics are enslaved by a nasty law of nature: I can say only what I can say, and that will be largely what I have learned to say from the kings I would depose.Everyone who tries to forge any kind of ideological criticism must struggle with these complexities. Nobody ever knows just what powers have been rejected and what voices heard. But at the moment it seems clear that what follows here, both in its emerging clarities and remaining confusions, results from my somewhat surprised surrender to voices previously alien to me: the "Mikhail Bakhtin" who speaks to me, muffled by my ignorance of Russian, and the feminist criticism" that in its vigor and diversity and challenge to canonic views has—belatedly, belatedly—forced me to begin listening.Wayne C. Booth's most recent work, Critical Understanding: The Powers and Limits of Pluralism, won the Laing Prize in 1982. He is working on a book about ethical and political criticism of narrative. A new edition of The Rhetoric of Fiction will appear in 1983. (shrink)

Most event-referring expressions are vague; it is utterly difficult, if not impossible, to specify the exact spatiotemporal location of an event from the words that we use to refer to it. We argue that in spite of certain prima facie obstacles, such vagueness can be given a purely semantic (broadly supervaluational) account.

Mad about it they still were, in 1926, when Hemingway's splendid spoofing appeared in The Sun Also Rises. But it was not everybody who had been responsible. It was mainly Anatole France, abetted by his almost unanimously enthusiastic critics. And of all his works, the one that must have seemed to fit the formula best was Thaïs, already a quarter of a century old when Jake Barnes learned of irony and pity. It is not a bad formula for the effect (...) of Thaïs, as formulas go. It is at least as useful—and at least as misleading—as "pity and fear" for tragedy. There is, however, a surprising difference. If I tell you the story of any classical tragedy, even in very brief form, you will know at once why someone might talk about that story using the terms "pity" and "fear." But if I tell you of the priest who lost his soul converting the prostitute, you will not be able to predict any determinate reaction—except perhaps that the story will have for everyone a slight bit of ironic wonder at the grand reversal. In other words, a teller will be able to turn such material almost any direction he chooses, making it into a tragedy, a comedy, a farce, a celebration of God's wonder and mystery—or a tale playing with pity and irony. Wayne C. Booth's most recent books are A Rhetoric of Irony and Modern Dogma and the Rhetoric of Assent. He is now completing a book on critical warfare and critical pluralism . A version of one chapter from that book, "M.H. Abrams: Historian as Critic, Critic as Pluralist," will appear in the Spring issue of Critical Inquiry. Other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" , "Ten Literal ‘Theses’" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

Kenneth Burke is, at long last, beginning to get the attention he de- serves. Among anthropologists, sociologists, psychologists, and rhetori- cians his "dramatism" is increasingly recognized as something that must at least appear in one's index, whether one has troubled to understand him or not. Even literary critics are beginning to see him as not just one more "new critic" but as someone who tried to lead a revolt against "narrow formalism" long before the currently fashionable explosion into the "extrinsic" (...) had been dreamed of. I have recently heard him called a structuralist-before-his-time-and what could be higher praise than that! But in almost everything said about his literary criticism, there is an air of condescension that is puzzling. The tone seems usually to echo that of Rene Wellek , who, as Burke himself laments , "almost overwhelms me with praise," referring to "men of great gifts, nimble powers of combination and association, and fertile imagination," but then deplores Burke's irresponsibility, repudiates his critical judgments, condemns his general method without bothering to look closely at it, and in general makes him look like some sort of idiot savant-a buffoon with a high IQ.Wayne C. Booth received the Phi Beta Kappa Christian Gauss Award in 1962 for his book The Rhetoric of Fiction. His most recent works, A Rhetoric of Irony and Modern Dogma and the Rhetoric of Assent, appeared this year. His contributions to Critical Inquiry include "Irony and Pity Once Again: Thais Revisited" , "M.H. Abrams: Historian as Critic, Critic as Pluralist" , "THE LIMITS OF PLURALISM: 'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "CRITICAL RESPONSE: Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter and W.J.T. Mitchell: "EDITORS' NOTE: Sheldon Sacks 1930-1979". (shrink)

When M. H. Abrams published a defense, in 1972, of "theorizing about the arts,"1 some of his critics accused him, of falling into subjectivism. He had made his case so forcefully against "the confrontation model of aesthetic criticism," and so effectively argued against "simplified" and "invariable" models of the art work and of "the function of criticism," that some readers thought he had thrown overboard the very possibility of a rational criticism tested by objective criteria. In his recent reply to (...) these critics,2 Abrams concentrates almost entirely on whether his critical pluralism is finally a skeptical relativism. He does not even mention his great historical works, The Mirror and the Lamp and Natural Supernaturalism, and he has nothing to say about how his pluralistic theories would be applied to the writing of history. But then, surprising as it seems once we think about it, neither of the two histories has much about his method either. What is the true achievement of these aggressive raids into our past, and how does Abrams see them in relation to other possible histories of the same subjects? Knowing in advance that he has agreed to reply to my nudging, I should like both to propose that everyone has—with Abrams' own encouragement—understated the importance of what he has done and to ask: What kind of pluralist is he? · 1. "What's the Use of Theorizing about the Arts," In Search of Literary Theory, ed. Morton Bloomfield , pp. 3-54. · 2. "A Note on Wittgenstein and Literary Criticism," ELH 41 : 541-54. Wayne C. Booth's other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , >"Preserving the Exemplar: Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: “Sheldon Sacks 1930-1979”. (shrink)

In his autobiography, _My Many Selves,_ Wayne C. Booth is less concerned with his professional achievements---though the book by no means ignores his distinguished career---than with the personal vision that emerges from a long life lived thoughtfully. For Booth, even the autobiographical process becomes part of a quest to harmonize the diverse, often conflicting aspects of who he was. To see himself clearly and whole, he broke the self down, personified the fragments, uncovered their roots in his experience and background, (...) and engaged those selves and experiences in dialogue. Basic to his story and to its lifelong concern with ethics and rhetoric was his Mormon youth in rural Utah. In adulthood he struggled with that background, abandoning most Mormon doctrines, but he retained the identity, ethical questions, and concern with communication that this upbringing gave him. The uncommon wisdom and careful attention that empower Wayne Booth's many other books cause _My Many Selves_ to transcend its genre, as the best memoirs always do. The book becomes a window through which we who read it will see our own conflicts, our own ongoing struggle to live honestly and ethically in the world. Wayne Booth died in October 2005, soon after completing work on this autobiography. (shrink)

At my university we never stop reforming the curriculum, and we’re now discussing the plurality of ways in which our students fulfill our requirement of a full year of “freshman humanities.” Some of us feel that we now provide too many ways: neither students nor faculty members can make a good defense of a requirement—in itself an expression of power, if you will—that leads to scant sharing of readings or subject matters for the students, and to no goals or methods (...) clearly shared by increasingly diverse faculty members. As we attack and defend this kind of flabby pluralism, we naturally find ourselves discussing other kinds of pluralism, and we begin to discover the true depth of a topic that may at first seem “merely practical.” There may be some nouns that can be joined to the phrase “in the classroom” without taking on a total theory of education: Shakespeare in the classroom; Romanticism in the classroom; perhaps even irony in the classroom. But when we try to discuss “pluralism in the classroom,” we throw into the discussion every belief we may have about what education should be and how it should be conducted. To ask whether or in what sense we should be pluralists in the classroom is obviously to ask, in the most fundamental way possible, “What should a teacher teach? What should we hope that every student would learn, regardless of our commitment to this or that doctrine of the moment?”Most teachers, even in a time like ours when professed relativists pluralists abound, answer that question, at least implicitly, like this: One should try very hard to teach the truth—not a “dogma,” of course, perhaps not even a set of propositions, but at least some single right away of doing things. Indeed in some moods any honest teacher might confess to feeling lucky if students learn even one truth or one mode of working. “They’ll meet plenty of plurality just in the nature of their lives.” “They’ll meet plenty of other teachers, most of them with absolutely mistaken views, and my chief task is to set them straight so that when they encounter nonsense they’ll know how to deal with it.” Still, when you press people who talk that way they of course claim that they teach no dogmas, only an appropriately open-minded way of dealing with error in the world. They may even call themselves pluralists or relativists. But it takes no great analytical skill to detect the monisms behind their claims. When pushed, they believe that they hold=--or might someday find—some one way of working, some supremely powerful “killer mode” that can dispose of all other modes with decisive proofs. They work finally in one way only, pursuing, finally, one kind of truth. Wayne C. Booth is George M. Pullman Distinguished Service Professor of English and of Ideas and Methods at the university of Chicago. His previous works on pluralism include Critical Understanding: The Powers and Limits of Pluralism and “Pluralism and Its Rivals” in Now Don’t Try to Reason with Me . He is now completing a book on ethical criticism. (shrink)

At first thought, our question of the day seems to be "about the text itself." Is there, in all texts, or at least in some texts, what Abrams calls "a core of determinate meanings," "the central core of what they [the authors] undertook to communicate"? Miller has seemed to find in the texts of Nietzsche a claim that there is not, that "the same text authorizes innumerable interpretations: There is no 'correct' interpretation. . . . reading is never the objective (...) identifying of a sense but the importation of meaning into a text which has no meaning 'in itself.'" Abrams claims that Miller cannot report on Nietzsche's deconstructionist claims without violating them: Miller seems to claim that he has found something that Nietzsche's text really says, not something that Miller himself merely brought to it. Is this objection a quibble or a clincher?1 · 1. See my "M.H. Abrams: Historian as Critic, Critic as Pluralist," Critical Inquiry 2 : 411-45, and Abrams' reply, "Rationality and Imagination in Cultural History," pp. 447-64, esp. 456-58. Wayne C. Booth's other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

Since 1995, students, researchers, and professionals have turned to The Craft of Research for clear and helpful guidance on how to conduct research and report it effectively. Now, master teachers Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams have completely revised and updated their classic handbook. The new edition will continue to help thousands of students and writers plan, carry out, and report on research to produce effective term papers, dissertations, articles, or books -- in any field, at (...) any level. (shrink)

The first edition of The Rhetoric of Fiction transformed the criticism of fiction and soon became a classic in the field. One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon. For this new (...) edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject.". (shrink)

Given the proliferation of research regarding the ethical development of students in general, and business students in particular, it is difficult to draw conclusions from the contradictory results of many studies. In this meta-analysis of empirical studies from 1985 through 1994, the relationships of gender, age and undergraduate major to the ethical attitudes and behavior of business students are analyzed. The results indicate that female students exhibit stronger ethical attitudes than males. The same is also true for older versus younger (...) students. However, the relationship with undergraduate major is still difficult to interpret. (shrink)

Theology and Bioethics. Earl E. Shelp, editor.

De Interpretatione is among Aristotle's most influential and widely read writings; C. W. A. Whitaker presents the first systematic study of this work, and offers a radical new view of its aims, its structure, and its place in Aristotle's system. He shows that De Interpretatione is not a disjointed essay on ill-connected subjects, as traditionally thought, but a highly organized and systematic treatise on logic, argument, and dialectic.

Mechanistic models in molecular systems biology are generally mathematical models of the action of networks of biochemical reactions, involving metabolism, signal transduction, and/or gene expression. They can be either simulated numerically or analyzed analytically. Systems biology integrates quantitative molecular data acquisition with mathematical models to design new experiments, discriminate between alternative mechanisms and explain the molecular basis of cellular properties. At the heart of this approach are mechanistic models of molecular networks. We focus on the articulation and development of mechanistic (...) models, identifying five constraints which guide the articulation of models in molecular systems biology. These constraints are not independent of one another, with the result that modeling becomes an iterative process. We illustrate the use of these constraints in the modeling of the mechanism for bistability in the lac operon. (shrink)