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.

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.

Known for their repeating motifs and signature tropes, the films of Ingmar Bergman also contain extensive variation and development. In these reflections on Bergman''s artistry and thought, Irving Singer discerns distinctive themes in Bergman''s filmmaking, from first intimations in the early work to consummate resolutions in the later movies. Singer demonstrates that while Bergman''s output is not philosophy on celluloid, it attains an expressive and purely aesthetic truthfulness that can be considered philosophical in a broader sense.

Through analysis of both narrative and filmic effects, Singer probes Bergman''s mythmaking and his reliance upon the magic inherent in his cinematic techniques. Singer traces throughout the evolution of Bergman''s ideas about life and death, and about the possibility of happiness and interpersonal love. In the overtly self-referential films that he wrote or directed (The Best Intentions, Fanny and Alexander, Sunday''s Children) as well as the less obviously autobiographical ones (including Wild Strawberries, The Seventh Seal, and the triad that begins with Through a Glass Darkly) Bergman investigates problems in his existence and frequently reverts to childhood memories. In such movies as Smiles of a Summer Night, Scenes from a Marriage, and Saraband, Bergman draws upon his mature experience and depicts the troubled relationships between men who are often weak and women who are made to suffer by the damaged men with whom they live. In Persona, Cries and Whispers, and other works, his experiments with the camera are uniquely masterful. Inspecting the panorama of Bergman''s art, Singer shows how the endless search for human contact motivates the content of his films and reflects Bergman''s profound perspective on the world.

An acclaimed philosopher offers a systematic mapping of the various facets of love.

In 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 (including sexual love, love in society, and religious 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.

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.

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.

Known for their repeating motifs and signature tropes, the films of Ingmar Bergman also contain extensive variation and development. In these reflections on Bergman''s artistry and thought, Irving Singer discerns distinctive themes in Bergman''s filmmaking, from first intimations in the early work to consummate resolutions in the later movies. Singer demonstrates that while Bergman''s output is not philosophy on celluloid, it attains an expressive and purely aesthetic truthfulness that can be considered philosophical in a broader sense.

Through analysis of both narrative and filmic effects, Singer probes Bergman''s mythmaking and his reliance upon the magic inherent in his cinematic techniques. Singer traces throughout the evolution of Bergman''s ideas about life and death, and about the possibility of happiness and interpersonal love. In the overtly self-referential films that he wrote or directed (The Best Intentions, Fanny and Alexander, Sunday''s Children) as well as the less obviously autobiographical ones (including Wild Strawberries, The Seventh Seal, and the triad that begins with Through a Glass Darkly) Bergman investigates problems in his existence and frequently reverts to childhood memories. In such movies as Smiles of a Summer Night, Scenes from a Marriage, and Saraband, Bergman draws upon his mature experience and depicts the troubled relationships between men who are often weak and women who are made to suffer by the damaged men with whom they live. In Persona, Cries and Whispers, and other works, his experiments with the camera are uniquely masterful. Inspecting the panorama of Bergman''s art, Singer shows how the endless search for human contact motivates the content of his films and reflects Bergman''s profound perspective on the world.

An acclaimed philosopher offers a systematic mapping of the various facets of love.

In 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 (including sexual love, love in society, and religious 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.