By Elizabeth Parthenia Shea
Opposed to a backdrop of the heritage of the gene as a systematic and a cultural icon, How the Gene bought Its Groove examines how "genes" functionality as rhetorical gadgets. Returning to Wilhelm Johannsen's unique argument for the time period, Elizabeth Parthenia Shea keeps that the gene used to be, firstly, a rhetorical invention, designed to put declare to a cloth truth and to dissociate itself from the issues of language, conjecture, and rhetorical uncertainty. She lines the rhetorical paintings of the gene via medical and nonscientific arguments in the course of the 20th century. The gene's travels among clinical and well known texts problem us to acknowledge the delicate powers of figurative language in making a feel that issues of technology stand outdoor the contingencies of language and the impacts of rhetoric.
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Neither Weldon nor his critique was new or surprising to Bateson. In fact, Weldon and Bateson had been embroiled in such intense theoretical and personal conflict that it is difficult, if not impossible, to determine who was on the offense and who was on the defense. It is also difficult to tell, especially in textually framed hindsight, whether the fuel of the conflict was primarily theoretical, primarily personal, or as MacKensie and Barnes have suggested, primarily ideological. But the conflict was certainly heated and it expanded to become much more than a GENETIC ORIGIN STORIES 23 debate between two individual researchers.
Maude named the rasp. Think of it. What else could a rasp be but a rasp? Maude in her wisdom went right to the point, and called it rasp. . The tools came to Maude, tool by tool in a long respectful line, she gave them their names. The vise. The gimlet. The cold chisel. The reamer, the router, the gouge. The plumb bob. How could she have thought up the rough justice of these wonderful cognomens? Looking languidly at a pair of tin snips, and then deciding to call them tin snips—what a burst of glory!
But viewed in the context of Darwin’s argument, the gemmules appear unabashedly, and purposefully, contrived. They are offered as overtly hypothetical figures. Darwin does not set out to defend the reality of his gemmules. Instead, he sets his gemmules up to defend the reality and urgency of established facts regarding variation and reproduction. Ironically, it is a dismissal of the scien- PRESCRIBING RHETORICAL WORK 33 tific and historical significance of pangenesis that points to the rhetorical significance of Darwin’s explanation.