Explores the science and creative process behind Poe’s cosmological treatise. Silver Winner for Philosophy, 2017 Foreword INDIES Book of the Year Awards In 1848, almost a year and a half before Edgar Allan Poe died at the age of forty, his book Eureka was published. In it, he weaved together his scientific speculations about the universe with his own literary theory, theology, and philosophy of science. Although Poe himself considered it to be his magnum opus, Eureka has mostly been overlooked (...) or underappreciated, sometimes even to the point of being thought an elaborate hoax. Remarkably, however, in Eureka Poe anticipated at least nine major theories and developments in twentieth-century science, including the Big Bang theory, multiverse theory, and the solution to Olbers’ paradox. In this book—the first devoted specifically to Poe’s science side—David N. Stamos, a philosopher of science, combines scientific background with analysis of Poe’s life and work to highlight the creative and scientific achievements of this text. He examines Poe’s literary theory, theology, and intellectual development, and then compares Poe’s understanding of science with that of scientists and philosophers from his own time to the present. Next, Stamos pieces together and clarifies Poe’s theory of scientific imagination, which he then attempts to update and defend by providing numerous case studies of eureka moments in modern science and by seeking insights from comparative biography and psychology, cognitive science, neuroscience, and evolution. David N. Stamos teaches philosophy at York University in Toronto. He is the author of several books, including Darwin and the Nature of Species, also published by SUNY Press. (shrink)

In these essays, we are concerned with virtue in journalism and the media but are mindful of the tension between the commercial foundations of publishing and broadcasting, on the one hand, and journalism's democratic obligations on the other. Adam outlines, first, a moral vision of journalism focusing on individualistic concepts of authorship and craft. Next, Craft attempts to bridge individual and organizational concerns by examining the obligations of organizations to the individuals working within them. Finally, Cohen discusses the importance of (...) resisting the powerful corporate logic that pervades the news media in the United States and calls on journalists to be courageous. (shrink)

To date, economics has failed to develop a useful theory of entrepreneurship because of its inability to break out of the static equilibrium framework and the modeling of success/failure as a 0-1 variable. Entrepreneurship research also has not achieved this task due to its preoccupation with the quest for “the successful entrepreneur” and/or the successful firm. This essay calls for a new vocabulary for entrepreneurship, consisting of (1) a plural notion of the entrepreneurial process as a stream of successes and (...) failures, wherein failure management becomes the key science of entrepreneurship; (2) an effectual notion of bringing together particular entrepreneurs and particular environments through creative action; and (3) a contingent notion of aspirations that places imagination at the center stage of economics. Together, the new vocabulary allows us to ask new questions and develop new approaches that allow entrepreneurship to tackle the central task of imagination in economics, i.e., to create from the society we have to live in, the society we want to live in. (shrink)

This response to Richard Shusterman's Philosophy and the Art of Writing focuses on his concern that philosophy is, first and foremost, a way of life, illustrated in the West by the Socratic ideal of the philosopher and in the East by the example of the scholar-artist-gentleman. This paper examines the process of Buddhist meditation and the process of creating novels, supplementing the authors Shusterman carefully examines with examples from Black American literature, the author's own teacher John Gardner, and artistic colleagues (...) the author has known. The basic thrust of the response is that the skillful means used in writing can indeed be a form of self-creation, but it can also be a means of liberation from the self. (shrink)