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The publication of James Thomson's long poem, The Seasons, in 1730, played a crucial role in the popular diffusion of Newtonian natural philosophy, particularly in the poem's stress upon the \"physico-theological\" applications of the new science as a form of religious apologetic. But Thomson's poem also manifests a distinctly Whiggish set of political commitments. In this essay, Philip Connell examines the philosophical, religious, and political meanings of the poem, and suggests that The Seasons offers a supple and sophisticated commentary on the shifting politico-religious contexts of Newtonian natural philosophy in early Hanoverian England. [PUBLICATION ABSTRACT]

Flannery O'Connor, in stating that the serious artist must \"have the ability to see different levels of reality in one image or one situation,\"2 was articulating an Aristotelian realism characteristic not only of her theological perspective, but of social and aesthetic philosophies (including Marxist cultural studies) which see larger patterns manifested, congealed, or signified in surface reality. (Some were revised by Flannery O'Connor before the final version of Wise Blood was published in book form.) It is especially interesting that they are the source of some of the most effectively realized scenes in John Huston's film of Wise Blood, in part because the inherent potential of the camera eye for mimesis silhouettes dramatic action in relation to the background of milieu, but also as a result of a shift of emphasis or interpretation.