Following a brief examination of some remarks by Paul Ricoeur on the notion of testimony. I provide the outline or an analysis of revelation based upon certain key concepts of process philosophy. This is followed by a more specific interpretation within the context of Whitehead’s philosophy of process.

Following two introductory sections which deal with the search for meaning and the model of film as a form of probing, I argue that Bergman deals with a number of important philosophical issues within his film corpus. A summary account of the vision which emerges from this corpus is sketched, followed by an analysis of the central role of the artist in society as Bergman conceives it.

Following a general sketch of my paradigm of the opening chapter of Genesis as a presentation and analysis of the human predicament, I offer an analysis of the Adam and Eve story and the story of Babel as paradigms of the Genesis authors’ understanding of human transcendence. A brief summary of the primary elements within this notion of transcendence precedes my applicalion of it to a contemporary social issue.

I defend my earlier nonessenlialist analysis of romantic love as involving concern, the passion for union, the desire for reciprocation, admiration, and idealizalion. No central element unifies the analysis. Though not parts of romantic love, sexual desire and exclusivity enhance and generally accompany it. I argue that my analysis is superior to one with a unifying central element. For by allowing variation and conflict among the elements of romantic love, my analysis better explains its turbulence and voIatility and accommodates both realism and idealism.