Evelyn Fox Keller wrote first biography of the Nobel Prize winning geneticist Barbara McClintock in which Keller discussed how McClintock felt being rejected by her peers in the 1950s because she questioned the dominant idea of the particulate gene and instead proposed that the genetic material jumped positions on the chromosome which indicated that the gene did not control but was controlled by the cellular environment. Keller’s story of McClintock’s life is an account of a woman scientist’s conception of science (...) and how her unorthodox views isolated her from the main stream science. Keller’s biography was read by many in a way that made McClintock a feminist icon by showing how women scientists “see” scientific objects differently and how their science is holistic and hence radically different from the reductionism of male-dominated science. The second biographer Nathaniel Comfort calls this story a myth. In his detailed intellectual biography, Comfort embarks on an energetic journey to separate fact from fiction to dismantle what he calls the McClintock myth. The difference between two biographers is not entirely about evidences or about separating fact from fiction but about their adoption of two contrasting paradigms of scientist’s subjectivity: Keller foregrounds McClintock’s affective self and Comfort her rational. In this commentary I have closely and comparatively read both biographies to revisit Keller’s “myth” and Comfort’s “truth” and to provide yet another interpretation of McClintock’s life and work from the perspective of object relations theories in psychoanalysis. Instead of figuring out the extent to which the myth bears truth as Comfort does, I have asked questions: How and why this private myth was in the making throughout McClintock’s life and work? How this private myth was related to the making of her science? By using developmental psychoanalytical approach, I show that what Comfort calls McClintock’s private myth was not something that was partly fictional and hence incorrect or wrong but it emerged from a deeply and compellingly affective place in McClintock’s life. This so called myth was integral to and fundamentally formative of who she was, a woman and a scientist, and that this myth formatively shaped McClintock’s relationship with science’s objects and science’s subjects. This commentary aims to show the relevance and usefulness of psychoanalytical theories for understanding scientific subjectivities and provides a revision to the neo-Kantian idea of scientist subject—a unified and wilful, self-determined, self-regulated, active, autonomous, and rational subject wilfully driven by social and scientific ethos—generally popular among historians of science. (shrink)

This highly multidisciplinary collection discusses an increasingly important topic among scholars in science and technology studies: objectivity in science. It features eleven essays on scientific objectivity from a variety of perspectives, including philosophy of science, history of science, and feminist philosophy. Topics addressed in the book include the nature and value of scientific objectivity, the history of objectivity, and objectivity in scientific journals and communities. Taken individually, the essays supply new methodological tools for theorizing what is valuable in the pursuit (...) of objective knowledge and for investigating its history. The essays offer many starting points, while suggesting new avenues of research. Taken collectively, the essays exemplify the very virtues of objectivity that they theorize—in reading them together, the reader can sense various anxieties about the dangerously subjective in our age and locate commonalities of concern as well as differences of approach. As a result, the volume offers an expansive vision of a research community seeking a communal understanding of its own methods and its own epistemic anxieties, struggling to enunciate the key problems of knowledge of our time and offer insight into how to overcome them. -/- (Contributors: Alex Csiszar, Scott Edgar, Peter Galison, Ian Hacking, Sandra Harding, Moira Howes, Paolo Savoia, Judy Segal, Joan Steigerwald, and Alison Wylie). (shrink)