This issue is made up of a long article on Brueghel's landscapes. It is an attempt to show that you can use art to make inferences about intellectual history. The way Brueghel makes use of distances between objects in his paintings suggests something about the way the modern as opposed to the medieval mind works: it thinks of infinite spaces where one can enter into the landscape at any point and so take what can only be called a novelistic outlook event rather than of a pantheon of ever unrationalized gods and spirits, on the one hand, or a teleologically determined history. The world without gods is made visually comprehensible.
The purpose of this e-journal is to use in tandem the techniques of literary criticism and social structural analysis to illuminate American politics and the various institutions in American society and sometimes matters more global, like religion or war, by turning an eye on the events and objects and performances that are considered art and entertainment, those defined broadly enough to include whatever is covered in newspapers and other media. Another concern is to pick up the texture of social life, both in the United States and in general, through the analysis of those events, objects and performances that are to be found in everyday life.