Law and Order: Special Victims Unit (SVU) (1999–present) is a popular primetime drama that spotlights the use of genetic information to solve crimes. Despite the show’s heavy reliance on the forensic use of DNA evidence, the role of genetics in defining family and identity arises in complex ways. Many episodes wrestle with social, ethical, and legal questions that reflect assumptions about genetic essentialism and genetic determinism, but counterarguments about the importance of non-biological relationships, social factors, and legal entitlements are given (...) equal or greater weight. For this study, we identified and viewed 38 episodes from SVU’s first twenty seasons centered on genetic themes in non-forensic contexts. Two recurring themes emerged: (1) that the role DNA plays is only one factor in a complex web of biological and social considerations that shape our understanding of kinship; and (2) that genetic predispositions to behavioral traits such as mental illness or violence should not be seen as obscuring the responsibility of personal choice. By treating genetics as a complex source of information requiring social context to be understood, SVU allows audiences to play an active role in interpreting its meaning. (shrink)

The hope of moving beyond formalism is one of two things that unites an otherwise diverse group of literary theorists who have begun to explore the role of desire in narrative. Peter Brooks, for example, in Reading for the Plot, says in more than one place that his interest in desire “derives from my dissatisfaction with the various formalisms that have dominated critical thinking about narrative.”3 Leo Bersani sees desire as establishing a crucial link between social and literary structures. Teresa (...) de Lauretis faults structuralist models for their inability to disclose the ways in which narrative operates, through the desire it excites and fulfills, to construct the social world as a system of sexual differences. Other names could be added, both within and outside the field of narrative theory—Nancy Armstrong, Roland Barthes, Georges Bataille, Jessica Benjamin, Gilles Deleuze and Félix Guattari, René Girard, Luce Irigaray, Fredric Jameson, Peggy Kamuf, Linda Kauffman, Julia Kristeva, Jacques Lacan, Jean Laplance, Catharine A. McKinnon, and Eve Kosofsky Sedgwick—for desire has become one of the master tropes of contemporary criticism. 3. Peter Brooks, Reading for the Plot: Design and Intention in Narrative , p. 47; hereafter abbreviated RP.4. Leo, Bersani, A Future for Astyanax: Character and Desire in Literature , p. 13; hereafter abbreviated FA.5. Bersani and Ulysse Dutoit, The Forms of Violence: Narrative in Assyrian Art and Modern Culture , p. v; hereafter abbreviated FV. Although Bersani coauthored this book with Dutoit, for convenience I refer to it by Bersani’s name alone. This practice is justified by two considerations: first, most of the arguments about narrative, violence, and desire are elaborations of positions that Bersani has taken in earlier works; second, passages and examples in the sections with which I shall be dealing are reprinted with only minor changes from an article that Bersani published under his own name. Jay Clayton, associate professor of English at Vanderbilt University, is the author of Romantic Vision and the Novel and coeditor of Contemporary Literature and Contemporary Theory . He is currently completing a study of contemporary American literature and theory, Narrative Power. (shrink)