Preface to the Irving Singer library edition -- Preface -- Introduction: Love and meaning -- Two myths about love -- Persons, things, ideals -- Sexual love -- Love in society -- Religious love -- Civilization and autonomy -- Love, and do as you will.

In 1984, Irving Singer published the first volume of what would become a classic and much acclaimed trilogy on love. Trained as an analytical philosopher, Singer first approached his subject with the tools of current philosophical methodology. Dissatisfied by the initial results, he turned to the history of ideas in philosophy and the arts for inspiration. He discovered an immensity of speculation and artistic practice that reached wholly beyond the parameters he had been trained to consider truly philosophical. In his (...) three-volume work The Nature of Love, Singer tried to make sense of this historical progression within a framework that reflected his precise distinction-making and analytical background. In this new book, he maps the trajectory of his thinking on love. It is a "partial" summing-up of a lifework: partial because it expresses the author's still unfolding views, because it is a recapitulation of many published pages, because love--like any subject of that magnitude--resists a neatly comprehensive, all-inclusive formulation. Adopting an informal, even conversational, tone, Singer discusses, among other topics, the history of romantic love, the Platonic ideal, courtly and nineteenth-century Romantic love; the nature of passion; the concept of merging ; ideas about love in Freud, Schopenhauer, Nietzsche, Dewey, Santayana, Sartre, and other writers; and love in relation to democracy, existentialism, creativity, and the possible future of scientific investigation. Singer's writing on love embodies what he has learned as a contemporary philosopher, studying other authors in the field and "trying to get a little further." This book continues his trailblazing explorations. (shrink)

An analysis of concepts of bestowal, appraisal, imagination, and idealization followed by explorations into the writings of thinkers that include Plato, Ovid, ...

While much that is admirable in romanticism stems from Kant's philosophy,a better account of how sexuality can be an ethical possibility exceeds the cramped parameters that he imposes. His conception of marriage and its dependence upon a contractual exchange of rights may well be irremediable because of its formal emptinesses. His idea of human love as good will and an interest in the welfare of the beloved is defensible as far as it goes. But it does not go far enough (...) to explain the morality of love, either in sexuality or in marriage. (shrink)

Does anyone still believe in romantic love? The enormous number of romance novels consumed by American women would seem to indicate that the faith lives on . ...

"In this concluding volume of his impressive study of the history of Western thought about the nature of love, Irving Singer reviews the principal efforts that have been made by 20th-Century thinkers to analyze the phenomenon of love.... [T]he bulk of the book is taken up with critical accounts of the modern thinkers who have systematically called into question the possibility itself of love as a union of distinct human selves. For the most part, these critiques are effectively executed, and (...) they bring a high level of critical acumen to bear on skeptical theses about love that are now too often accepted as truisms."—Frederick A. Olafson, _Los Angeles Times Book Review_ "Irving Singer... has developed a method of historical analysis flexible enough to deal with all kinds of love, from Greek homosexual love in Plato, to the _philia_ and _agape_ of the New Testament, to the courtly love of medieval romance, to the Romantics, for whom love was magic.... [This] final volume brings us to the present. In 'The Modern World,' Singer offers readings of Freud, Proust, and Sartre, among others. He shows how their work was formed in reaction to the 19th-century ideal of 'merging' of the identities of lover and beloved. More often than not, the great modern writers portray love as impossible, as a field of failure and regret.... This masterpiece of critical thinking is a timely, eloquent, and scrupulous account of what, after all, still makes the world go round."—Thomas D'Evelyn, _Christian Science Monitor_ "This is the third of a three-volume history of the philosophy of love. It begins with Kierkegaard, Tolstoy, and Nietzsche in the nineteenth century and treats Freud, Proust, Bergson, D. H. Lawrence, G. B. Shaw, Santayana, Sartre, and others in the twentieth. Although the author's approach is primarily historical, he intersperses critical remarks throughout. Most of the major themes which are discussed by philosophers of love make their way into this history, including friendship, sexual love, and the distinction between love that is based on the value of the beloved and love that bestows value on the beloved. Singer devotes a number of pages to his own views on falling in love, being in love, and staying in love.... Singer's exposition is lucid and organized; his criticisms are insightful."—_Ethics_ "In this third volume of historical overview of the development of the Western conception of love, Singer uses writers, philosophers, and psychologists to provide the reader with an overview of love in the late 19th and 20th century.... Analyzing authors such as Tolstoy, Proust, D. H. Lawrence, and Shaw and philosophers such as Nietzsche, Kierkegaard, Sartre, and Santayana, as well as Freud, Singer... links each contributor's thoughts to the influence of previous writers and also provides some psycho-historical insight into their personal lives that might have been either a source or direct result of their views. In this final volume, Singer proceeds to look at not just the 'great men' influence but also provides a chapter overviewing scientific contributions to our understanding of love.... Singer's work is a significant contribution to understanding the social construction of important, abstract social and personal values. By tracing love through different historical periods through a variety of voices, Singer has created a rich history of the struggle between the ideal and the real, between the dreams of what love should provide and the reality of what relationships have been in each historical period. By personalizing the voice through psychohistorical analysis, Singer also provides insight into the shaping of ideas through the intimate struggles of the shapers."—Mark V. Chaffee, _Contemporary Psychology_. (shrink)

Preface to the Irving Singer library edition -- Preface to the Johns Hopkins edition -- Preface -- Introduction: Our human predicament -- The meaning of life : rephrasing questions -- The meaning of death -- The creation of meaning -- Lives of meaning and significance -- Conclusion: The love of life.

With a new preface by the authorWhat is meaning in life? Does anything really matter? How can a life achieve lasting significance? How can we explain the human propensity to struggle for ideals? How is meaning related to contentment, happiness, joy? Is meaning something we discover, or do we create it? What is the nature of value, and what are its sources in human experience? Can there be a meaning in life without religious faith? What is the meaning of death? (...) Is life worth living? What would enable us to have a love of life?"Meaning in life," writes philosopher Irving Singer, "and the meaning in our own lives, results from creative efforts on our part. It is not a prior reality awaiting our discovery. Though we talk about a 'search' for meaning, what we are seeking is primarily a mode of creativity that will make our lives meaningful." In The Creation of Value, the first volume of his Meaning in Life trilogy, Singer studies the nature of imagination, idealization, and love in the context of humanity's attempt to define itself through the pursuit of meanings and values that it creates. Singer confronts life's most troubling problems: the meaning of death, the presence of anxiety in daily existence, the conditions needed for us to have a life worth living, and the possibility of a love of life in others as well as in ourselves.Irving Singer Library. (shrink)

A novel of of ideas, expressed in the birth, life, and early death of Oliver Alden. Published in 1935, George Santayana's The Last Puritan was the American philosopher's only novel. It became an instant best-seller, immediately linked in its painful voyage of self discovery to The Education of Henry Adams. It is essentially a novel of ideas, expressed in the birth, life, and early death of Oliver Alden.The Last Puritan is volume four in a new critical edition of The Works (...) of George Santayana that restores Santayana's original text and provides important new scholarly information. Books in this series - the first complete publication of Santayana's works - include an editorial apparatus with notes to the text, textual commentary, discussions of adopted readings, lists of variants and emendations, and line-end hyphenations. Irving Singer's new introduction to this edition takes up Santayana's philosophical and artistic concerns, including issues of homosexuality raised by the depiction of the novel's two protagonists, Oliver and Mario, and of the relationship between Oliver and the rogue character Jim Darnley. In his thoughtful analysis Singer finds the term "homosexual novel" too reductionist and imprecise for what Santayana is trying to achieve. Singer brings to light the author's skillful and inventive methods for perceiving and interpreting reality, including ideal forms of friendship, and his success in exploring the pervasive moral problems that people face throughout their existence. (shrink)

Singer points out that Santayana was a professional philosopher who addressed immediate problems of existence, a materialist in philosophy who believed in both a life of spirit and a life of reason, a product of American pragmatism who nevertheless rebelled against it, a Spaniard who wrote only in English, an American author who spent the last forty years of his life in different European countries.

In this philosophical exploration of creativity, Irving Singer describes the many different types of creativity and their varied manifestations within and across all the arts and sciences. Singer's approach is pluralistic rather than abstract or dogmatic. His reflections amplify recent discoveries in cognitive science and neurobiology by aligning them with the aesthetic, affective, and phenomenological framework of experience and behavior that characterizes the human quest for meaning. Creativity has long fascinated Singer, and in Modes of Creativity he carries forward investigations (...) begun in earlier works. Marshaling a wealth of examples and anecdotes ranging from antiquity to the present, about persons as diverse as Albert Einstein and Sherlock Holmes, Singer describes the interactions of the creative and the imaginative, the inventive, the novel, and the original. He maintains that our preoccupation with creativity devolves from biological, psychological, and social bases of our material being; that creativity is not limited to any single aspect of human existence but rather inheres not only in art and the aesthetic but also in science, technology, moral practice, as well as ordinary daily experience. (shrink)

Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques--panning, tracking, zooming, and the other tools in the filmmaker's toolbox--create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal relationship with (...) the images we are seeing. In Cinematic Mythmaking, Irving Singer explores the hidden and overt use of myth in various films and, in general, the philosophical elements of a film's meaning. Mythological themes, Singer writes, perform a crucial role in cinematic art and even philosophy itself. Singer incisively disentangles the strands of different myths in the films he discusses. He finds in Preston Sturges's The Lady Eve that Barbara Stanwyck's character is not just the biblical Eve but a liberated woman of our times; Eliza Doolittle in the filmed versions of Shaw's Pygmalion is not just a statue brought to life but instead a heroic woman who must survive her own dark night of the soul. The protagonist of William Wyler's The Heiress and Anieszka Holland's Washington Square is both suffering Dido and an awakened Amazon. Singer reads Cocteau's films--including La Belle et la Bête, Orphée, and The Testament of Orpheus--as uniquely mythological cinematic poetry. He compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 8½. The aesthetic and probing inventiveness in film, Singer shows us, restores and revives for audiences in the twenty-first century myths of creation, of the questing hero, and of ideals--both secular and religious--that have had enormous significance throughout the human search for love and meaning in life. (shrink)

Philosophical reflections on creativity in science, humanities, and human experience as a whole.

The development of themes, motifs, and techniques in Bergman's films, from the first intimations in the early work to the consummate resolutions in the final movies.

"Begins by studying love as appraisal and bestowal as well as imagination and idealization. Then examines the contrasting views of Plato, Aristotle, Plotinus, Ovid, Lucretius, Saint Augustine, Saint Thomas Aquinas, and Martin Luther. After having described the nature of erotic idealization, Singer analyzes the religious idealization in Judeo-Christian concepts of eros, philia, nomos, and agapē. Medieval Catholicism sought to combine these four ideas of love in the "caritas synthesis." Luther repudiated that attempt on the grounds that love exists only in (...) God's agapastic bestowal of unlimited goodness upon humanity and all of nature. In relation to the different modes of theorizing, Singer explores the humanistic implications of each"-- Publishers website. (shrink)

Music, language, and drama come together in opera to make a whole that conveys emotional reality. In this book, Irving Singer develops a new mode for understanding and experiencing the operas of Mozart and Beethoven, approaching them not as a musical technician but as a philosopher concerned with their expressive and mythic elements. Using the distinction between the sensuous and the passionate as framework for his discussion, Singer explores not only the treatment of love in these operas but also the (...) emotional and intellectual orientation of these two great composers. Singer contrasts the cool sensuality of the Don in Mozart's Don Giovanni with Leonora's passionate love for her husband in Beethoven's Fidelio and compares the erotic playfulness of some of Mozart's letters with Beethoven's fervent letter to "the immortal beloved." Don Giovanni, The Marriage of Figaro, Così Fan Tutte, and The Magic Flute all express the conflict between the sensuous and the passionate, but it is only in The Magic Flute, says Singer, that this conflict is resolved. Beethoven, an admirer of The Magic Flute, emulated both its music and its ideology, and produced in Fidelio the greatest of all operas about married love. Written while Singer was also at work on the three-volume The Nature of Love, Mozart and Beethoven can be read as a companion volume to this masterful trilogy and as a forerunner to his later work on philosophy in film. (shrink)

With a new preface by the authorIn his widely acclaimed trilogy The Nature of Love, Irving Singer traced the development of the concept of love in history and literature from the Greeks to the twentieth century. In this second volume of his Meaning in Life trilogy, Singer returns to the subject of his earlier work, exploring a different approach. Without denying his previous emphasis on the role of imagination and creativity, in this book Singer investigates the ability of them both (...) to make one's life meaningful. A "systematic mapping" of the various facets of love, The Pursuit of Love is an extended essay that offers Singer's own philosophical and psychological theory of love. Rich in insight into literature, the history of ideas, and the complexities of our being, The Pursuit of Love is a thought-provoking inquiry into fundamental aspects of all human relationships.Irving Singer Library. (shrink)

With a new preface by the authorThis final book in Irving Singer's Meaning in Life trilogy studies the interaction between nature and the values that define human spirituality. It examines the ways in which we overcome the suffering in life by resolving our sense of being divided between them. Singer suggests that the accord between nature and spirit arises from an art of life that affords meaning, happiness, and love by employing the same principles as those that exist in all (...) artistic achievements. It is through the meaningfulness created by imagination and idealization, Singer says, that we make life worth living.This human art form, Singer writes, enables us to unite our selfish interests with our compassionate and loving inclinations. We thereby effect a vital harmonization within which the naturalistic values of ethics, aesthetics, and religion can find their legitimate place. The good life, as envisioned by Singer, includes the love of persons, things, and ideals so intricately intermeshed that the meaning in one contributes to the meaningfulness of the other two. The result is a kind of happiness that we all desire.Irving Singer Library. (shrink)

In this expanded edition, Singer supplements the 2001 edition with a timely and stimulating essay that focuses upon marriage, particularly same-sex marriage. Singer maintains that questions about sex are fundamental in all thinking about the marital condition, and addresses the problem of same-sex legitimization and rights to material benefits by analyzing the nature of marriage, union, and family in their relation to sexuality and love. For first-time and seasoned readers alike, Singer's lucid new reflections will clarify current and emerging issues (...) in the philosophy of sex. (shrink)

Preface to the Irving Singer library edition -- Preface -- Introduction: Nature and spirit -- Schopenhauer's pendulum : is happiness possible? -- Beyond the suffering in life -- The nature and content of happiness -- Play and mere existence -- Living in nature -- Imagination and idealization -- Harmonization through art -- Art and spirituality -- The continuum of ends and means -- Aesthetic foundations of ethics and religion -- Conclusion: Love, meaning, happiness.

Although Alfred Hitchcock, Orson Welles, and Jean Renoir do not pontificate about "eternal verities or analytical niceties," as Irving Singer remarks in Three Philosophical Filmmakers, each expresses, through his work, his particular vision of reality. In this study of these great directors, Singer examines the ways in which meaning and technique interact within their different visions.Singer's account reveals Hitchcock, Welles, and Renoir to be not only consummate artists and inspired craftsmen but also sophisticated theorists of film and its place in (...) human experience. They left behind numerous essays, articles, and interviews in which they discuss the nature of their own work as well as more extensive issues. Singer draws on their writings, as well as their movies, to show the pervasive importance of what they did as dedicated filmmakers.Hitchcock used his mastery of contrived devices not as mere formalism divorced from content, Singer notes, but in order to evoke emotional responses that are meaningful in themselves and that matter greatly to millions of people. Singer's discussion of Hitchcock's work analyzes, among other things, his ideas about suspense, romance, and the comic. Singer also makes a detailed comparison of the original Psycho with Gus Van Sant's recent remake. Considering the work of Welles, Singer shows how and why the theme of vanished origins -- "the myth of the past" -- recurs in many of his films, starting with the Rosebud motif in Citizen Kane and continuing much later in his little-known masterpiece The Immortal Story. Expanding upon Renoir's comment that his own films were "always the same film," Singer studies his entire work as a coherent though evolving search for contact and "conversation" with the audience. While recognizing the primacy of technique, Renoir used cinematic artifice in the service of that humanistic aspiration. (shrink)

Although Alfred Hitchcock, Orson Welles, and Jean Renoir do not pontificate about "eternal verities or analytical niceties," as Irving Singer remarks in Three Philosophical Filmmakers, each expresses, through his work, his particular vision of reality. In this study of these great directors, Singer examines the ways in which meaning and technique interact within their different visions.Singer's account reveals Hitchcock, Welles, and Renoir to be not only consummate artists and inspired craftsmen but also sophisticated theorists of film and its place in (...) human experience. They left behind numerous essays, articles, and interviews in which they discuss the nature of their own work as well as more extensive issues. Singer draws on their writings, as well as their movies, to show the pervasive importance of what they did as dedicated filmmakers.Hitchcock used his mastery of contrived devices not as mere formalism divorced from content, Singer notes, but in order to evoke emotional responses that are meaningful in themselves and that matter greatly to millions of people. Singer's discussion of Hitchcock's work analyzes, among other things, his ideas about suspense, romance, and the comic. Singer also makes a detailed comparison of the original Psycho with Gus Van Sant's recent remake. Considering the work of Welles, Singer shows how and why the theme of vanished origins -- "the myth of the past" -- recurs in many of his films, starting with the Rosebud motif in Citizen Kane and continuing much later in his little-known masterpiece The Immortal Story. Expanding upon Renoir's comment that his own films were "always the same film," Singer studies his entire work as a coherent though evolving search for contact and "conversation" with the audience. While recognizing the primacy of technique, Renoir used cinematic artifice in the service of that humanistic aspiration. (shrink)

Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques--panning, tracking, zooming, and the other tools in the filmmaker's toolbox--create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal relationship with (...) the images we are seeing. In Cinematic Mythmaking, Irving Singer explores the hidden and overt use of myth in various films and, in general, the philosophical elements of a film's meaning. Mythological themes, Singer writes, perform a crucial role in cinematic art and even philosophy itself. Singer incisively disentangles the strands of different myths in the films he discusses. He finds in Preston Sturges's The Lady Eve that Barbara Stanwyck's character is not just the biblical Eve but a liberated woman of our times; Eliza Doolittle in the filmed versions of Shaw's Pygmalion is not just a statue brought to life but instead a heroic woman who must survive her own dark night of the soul. The protagonist of William Wyler's The Heiress and Anieszka Holland's Washington Square is both suffering Dido and an awakened Amazon. Singer reads Cocteau's films--including La Belle et la Bête, Orphée, and The Testament of Orpheus--as uniquely mythological cinematic poetry. He compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 8½. The aesthetic and probing inventiveness in film, Singer shows us, restores and revives for audiences in the twenty-first century myths of creation, of the questing hero, and of ideals--both secular and religious--that have had enormous significance throughout the human search for love and meaning in life. (shrink)

Beginning with a discussion of Kant, Schopenhauer, and others about the morality of sex and the morality of compassion, Explorations in Love and Sex offers a panoramic view of the philosophy of love from its beginnings in Plato up to the present. It examines the nature and limitations of sexual pluralism, and elaborates on Irving Singer's earlier ideas about appraisal and bestowal. The book's chapters are both philosophical and historical, and speak to general readers who wish to better understand the (...) curious set of emotions called love. (shrink)

In Reality Transformed Irving Singer offers a new approach to the philosophy of film. Returning to the classical debate between realists and formalists, he shows how the opposing positions may be harmonized and united. He accepts the realist claim that films somehow "capture" reality, but agrees with the formalist belief that they transform it. Extending his earlier work on meaning in art and life, he suggests that the meaningfulness of movies derives from techniques that re-create reality in the process of (...) presenting it to viewers who have learned how to appreciate the aesthetics of cinematic transformation. (shrink)

In this book the author presents Santayana's philosophical ideas and then attempts to present another approach to the same concepts.

A philosophical primer designed for the general reader as well as professionals in various fields, this book studies sex in itself and in its relation to love and compassion. It distinguishes between 'sensuous' and 'passionate' elements of sexuality and shows how sex in human beings is both appetitive and interpersonal. It then explores the ways in which our sexuality is always subject to aesthetic and moral valuation in relation to the appetitive and interpersonal coordinates.