An acclaimed philosopher views the search for meaning in life as the search for a mode of creativity that will make our lives meaningful. What 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.

A new look at film that succeeds in combining the realist and formalist sides of an ongoing debate. 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. Singer concentrates on questions about appearance and reality, the visual and the literary, and the interplay between communication as a goal and alienation as a hazard in films of every sort. In three exemplary chapters, he provides suggestive readings of Woody Allen's The Purple Rose of Cairo, Luchino Visconti's Death in Venice, and Jean Renoir's The Rules of the Game. Reality Transformed will interest the general reader as well as students in all fields related to film studies.

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 (identifying persons, places, and ideas), textual commentary (including a description of the composition and publication history, along with a discussion of editorial methods and decisions), 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.

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

The author of the classic philosophical treatment of love reflects on the trajectory, over decades, of his thoughts on love and other topics. 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 (finding the chapters he had written "just dreary and unproductive of anything"), 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 (and his critique of it); 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.

An examination of ideas and ideals of medieval courtly love and the transition into later Romantic love, analyzing the work of Dante, Shakespeare, and Schopenhauer, among many others. Review), "monumental" (Boston Globe), "one of the major works of philosophy in our century" (Nous), "wise and magisterial" (Times Literary Supplement), and a "masterpiece of critical thinking [that] is a timely, eloquent, and scrupulous account of what, after all, still makes the world go round" (Christian Science Monitor). In the second volume, Singer studies the ideas and ideals of medieval courtly love and nineteenth-century Romantic love, as well as the transition between these two perspectives. According to the traditions of courtly love in the twelfth century and thereafter, not only God but also human beings in themselves are capable of authentic love. The pursuit of love between man and woman was seen as a splendid ideal that ennobles both the lover and the beloved. It was something more than libidinal sexuality and involved sophisticated and highly refined courtliness that emulated religious love in its ability to create a holy union between the participants. Adherents to Romantic love in later centuries, affirmed the capacity of love to effect a merging between two people who thus became one. Singer analyzes the transition from courtly to Romantic by reference to the writings of many artists beginning with Dante and ending with Richard Wagner, as well as Neoplatonist philosophers of the Italian Renaissance, Descartes, Spinoza, Rousseau, Hume, Kant, Hegel, and Schopenhauer. In relation to romanticism itself, he distinguishes between two aspects-"benign romanticism" and "Romantic pessimism"-that took on renewed importance in the twentieth century.

An analysis of concepts of bestowal, appraisal, imagination, and idealization followed by explorations into the writings of thinkers that include Plato, Ovid, and Martin Luther. Irving Singer's trilogy The Nature of Love has been called "majestic" (New York Times Book Review), "monumental" (Boston Globe), "one of the major works of philosophy in our century" (Nous), "wise and magisterial" (Times Literary Supplement), and a "masterpiece of critical thinking [that] is a timely, eloquent, and scrupulous account of what, after all, still makes the world go round" (Christian Science Monitor). In the first volume, Singer begins by studying love as appraisal and bestowal as well as imagination and idealization. He 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 agape. 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.