Beruflich Dokumente
Kultur Dokumente
universal dimension - say (Laclau's own example), in Poland of the 1980, the par
ticular
demands of Solidarnosc were elevated into the embodiment of the people's global
rejection of the Communist regime, so that all different versions of the anti-Co
mmunist
opposition (from the conservative-nationalist opposition through the liberal-dem
ocratic
opposition and cultural dissidence to Leftist workers' opposition) recognized th
emselves
in the empty signifier Solidarnosc.
This is how Laclau tries to distinguish his position both from gradualism (which
reduces
the very dimension of the political: all that remains is the gradual realization
of particular
"democratic" demands within the differential social space) as well as from the o
pposite
idea of a total revolution that would bring about a fully self-reconciled societ
y: what both
extremes miss is the struggle for hegemony in which a particular demand is "elev
ated to
the dignity of the Thing," i.e., comes to stand for the universality of "people.
" The field of
politics is thus caught in an irreducible tension between "empty" and "floating"
signifiers:
some particular signifiers start to function as "empty," directly embodying the
universal
dimension, incorporating into the chain of equivalences which they totalize a la
rge
number of "floating" signifiers. [3] Laclau mobilizes this gap between the "onto
logical"
need for a populist protest vote (conditioned by the fact that the hegemonic pow
er
discourse cannot incorporate a series of popular demands) and the contingent ont
ic
content to which this vote gets attached, to explain the shift of many French vo
ters who,
till the 1970s, supported the Communist Party to the Rightist populism of the Fr
ont
National [4] - the elegance of this solution is that it dispenses us with the bo
ring topic of
the alleged "deeper (totalitarian, of course) solidarity" between the extreme Ri
ght and the
"extreme" Left.
Although Laclau's theory of populism stands out as one of the today's great (and
,
unfortunately for social theory, rare) examples of true conceptual stringency, o
ne should
note a couple of problematic features; the first one concerns his very definitio
n of
populism: the series of formal conditions he enumerates are not sufficient to ju
stify
calling a phenomenon "populist" - a thing to be added is the way the populist di
scourse
displaces the antagonism and constructs the enemy: in populism, the enemy is
externalized/reified into a positive ontological entity (even if this entity is
spectral),
whose annihilation would restore balance and justice; symmetrically, our own - t
he
populist political agent's - identity is also perceived as pre-existing the enem
y's onslaught.
Let us take Laclau's own precise analysis of why one should count Chartism as po
pulism:
Its dominant leitmotiv is to situate the evils of society not in something
that is inherent in the economic system, but quite the opposite: in the
abuse of power by parasitic and speculative groups which have control of
political power - 'old corruption,' in Cobbett's words. /.../ It was for this
reason that the feature most strongly picked out in the ruling class was its
idleness and parasitism. [5]
In other words, for a populist, the cause of the troubles is ultimately never th
e system as
such, but the intruder who corrupted it (financial manipulators, not capitalists
as such,
etc.); not a fatal flaw inscribed into the structure as such, but an element tha
t doesn't play
its role within the structure properly. For a Marxist, on the contrary (like for
a Freudian),
the pathological (deviating misbehavior of some elements) is the symptom of the
normal,
an indicator of what is wrong in the very structure that is threatened with "pat
hological"
outbursts: for Marx, economic crises are the key to understanding the "normal"
functioning of capitalism; for Freud, pathological phenomena like hysterical out
bursts
provide the key to the constitution (and hidden antagonisms that sustain the fun
ctioning)
of a "normal" subject. This is also why Fascism definitely is a populism: its fi
gure of the
Jew is the equivalential point of the series of (heterogeneous, inconsistent eve
n) threats
experienced by individuals: Jew is simultaneously too intellectual, dirty, sexua
lly
voracious, too hard-working, financial exploiter... Here we encounter another ke
y feature
of populism not mentioned by Laclau: not only is - as he is right to emphasize -
the
populist Master-Signifier for the enemy empty, vague, imprecise, etc.:
/.../ to say that the oligarchy is responsible for the frustration of social
demands is not to state something which can possibly be read out of the
social demands themselves; it is provided from outside those social
demands, by a discourse on which they can be inscribed. /.../ It is here that
the moment of emptiness necessarily arises, following the establishment of
equivalential bonds. Ergo, 'vagueness' and 'imprecision,' but these do not
result from any kind of marginal or primitive situation; they are inscribed
in the very nature of the political. [6]
In populism proper, this "abstract" character is furthermore always supplemented
by the
pseudo-concreteness of the figure that is selected as THE enemy, the singular ag
ent
behind all the threats to the people. One can buy today laptops with the keyboar
d
artificially imitating the resistance to the fingers of the old typewriter, as w
ell as the
typewriter sound of the letter hitting the paper - what better example of the re
cent need
for pseudo-concrecy? Today, when not only social relations but also technology a
re
getting more and more non-transparent (who can visualize what is going on inside
a
PC?), there is a great need to re-create an artificial concrecy in order to enab
le individuals
to relate to their complex environs as to a meaningful life-world. In computer
programming, this was the step accomplished by Apple: the pseudo-concrecy of ico
ns.
Guy Debord's old formula about the society of spectacle" is thus getting a new tw
ist:
images are created in order to fill in the gap that separates the new artificial
universe from
our old life-world surroundings, i.e., to domesticate" this new universe. And is
the
pseudo-concrete populist figure of the "Jew" that condenses the vast multitude o
f
anonymous forces that determine us not analogous to a computer board that imitat
es the
old typewriter board? Jew as the enemy definitely emerges from outside the socia
l
demands that experience themselves as frustrated.
This supplement to Laclau's definition of populism in no way implies any kind of
regress
at the ontic level: we remain at the formal-ontological level and, while accepti
ng Laclau's
thesis that populism is a certain formal political logic, not bounded by any con
tent, only
supplement it with the characteristic (no less "transcendental" its other featur
es) of
"reifying" antagonism into a positive entity. As such, populism by definition co
ntains a
minimum, an elementary form, of ideological mystification; which is why, althoug
h it is
effectively a formal frame/matrix of political logic that can be given different
political
twists (reactionary-nationalist, progressive-nationalist...), nonetheless, insof
ar as, in its
very notion, it displaces the immanent social antagonism into the antagonism bet
ween the
unified "people" and its external enemy, it harbors "in the last instance" a lon
g-term
proto-Fascist tendency. [7]
In short, I agree with Laclau's attempt to define populism in a formal-conceptua
l way,
also taking note of how, in his last book, he has clearly shifted his position f
rom "radical
democracy" to populism (he now reduces democracy to the moment of democratic
demand WITHIN the system); however, as it is clear to him, populism can also be
very
reactionary - so how are we to draw a line here? (One can easily imagine a situa
tion
determined by a tension between the institutionalized democratic power-bloc and
the
oppositional populist block, in which one would definitely opt for the instituti
onalized
democratic block - say, a situation in which a liberal-democratic regime in powe
r is
threatened by a large scale racist-populist movement.) So, again, is there a way
to draw
the line at a formal-conceptual level? My wager is a yes.
The further feature neglected by Laclau is the fundamental paradox of the author
itarian
Fascism, which almost symmetrically inverts what Mouffe calls the "democratic
paradox": if the wager of (institutionalized) democracy is to integrate the anta
gonistic
struggle itself into the institutional/differential space, transforming it into
regulated
agonism, Fascism proceeds in the opposite direction. While Fascism, in its mode
of
activity, brings the antagonistic logic to its extreme (talking about the "strug
gle to death"
between itself and its enemies, and always maintaining - if not realizing - a mi
nimum of
an extra-institutional threat of violence, of a "direct pressure of the people"
by-passing
the complex legal-institutional channels), it posits as its political goal preci
sely the
opposite, an extremely ordered hierarchic social body (no wonder Fascism always
relies
on organicist-corporatist metaphors). This contrast can be nicely rendered in th
e terms of
the Lacanian opposition between the "subject of enunciation" and the "subject of
the
enunciated (content)": while democracy admits antagonistic struggle as its goal
(in
Lacanese: as its enunciated, its content), its procedure is regulated-systemic;
Fascism, on
the contrary, tries to impose the goal of hierarchically structured harmony thro
ugh the
means of an unbridled antagonism.
The conclusion to be drawn is that populism (the way we supplemented Laclau's
definition of it) is not the only mode of existence of the excess of antagonism
over the
institutional-democratic frame of regulated agonistic struggle: not only the (no
w defunct)
Communist revolutionary organizations, but also the wide phenomena of non-
institutionalized social and political protest, from the student movements in th
e 1968
period to later anti-war protests and the more recent anti-globalization movemen
t, cannot
be properly called "populist." Exemplary is here the case of the anti-segregatio
n
movement in the US of late 1950s and early 1960s, epitomized by the name of Mart
in
Luther King: although it endeavors to articulate a demand that was not properly
met
within the existing democratic institutions, it cannot be called populist in any
meaningful
sense of the term - the way it led the struggle and constituted its opponent was
simply not
"populist"... (A more general remark should be made here about the One-Issue pop
ular
movements (for example, the "tax revolts" in the US): although they function in
a
populist way, mobilizing the people around a demand which is not met by the demo
cratic
institutions, it does NOT seem to rely on a complex chain of equivalences, but r
emains
focused on one singular demand.)
spectacle... [21] and after this point, everything goes wrong, the simple solemn
dignity of
the first part of the movement is never recovered: after this "Turkish" part and
in a clear
counter-movement to it, in a kind of retreat into the innermost religiosity, the
choral-like
music (dismissed by some critics as a "Gregorian fossil") tries to render the et
hereal
image of millions of people who kneal down embraced, contemplating in awe the di
stant
sky and searching for the loving paternal God who must dwell above the canopy of
stars
(ueberm Sternezelt muss ein lieber Vater wohnen); however, the music as it were
gets
stuck when the word muss, first rendered by the basses, is repeated by the tenor
s and
altos, and finally by the sopranos, as if this repeated conjuring presents a des
perate
attempt to convince us (and itself) of what it knows is not true, making the lin
e "a loving
father must dwell" into a desperate act if beseeching, and thus attesting to the
fact that
there is nothing beyond the canopy of stars, no loving father to protect us and
to
guarantee our brotherhood. After this, a return to a more celebratory mood is te
mpted in
the guise of the double fugue which cannot but sound false in its excessively ar
tificial
brilliance, a fake synthesis if there ever was one, a desperate attempt to cover
up the void
of the ABSENT God revealed in the previous section. But the final cadenza is the
strangest of them all, sounding not at all as Beethoven but more like a puffed u
p version
of the finale of Mozart's Abduction from Seraglio, combining the "Turkish" eleme
nts
with the fast rococo spectacle. (And let us not forget the lesson of this Mozart
's opera: the
figure of the oriental despot is presented there as a true enlightened Master.)
The finale is
thus a weird mixture of Orientalism and regression into the late 18th century cl
assicism, a
double retreat from the historical present, a silent admission of the purely fan
tasmatic
character of the Joy of the all-encompassing brotherhood. If there ever was a mu
sic that
literally "deconstructs itself," this is it: the contrast between the highly ord
ered linear
progression of the first part of the movement and the precipituous, heterogeneou
s and
inconsistent, character of the second part cannot be stronger - no wonder that a
lready in
1826, 2 years after the first performance, some reviewers described the finale a
s "a
festival of hatred towards all that can be called human joy. With gigantic stren
gth the
perilous hoard emerges, tearing hearts asunder and darkening the divine spark of
gods
with noisy, monstrous mocking." [22] (Of course, these lines are not meant as a
criticism
of Beethoven - quite on the contrary, in an Adornian mode, one should discern in
this
failure of the fourth movement Beethoven's artistic integrity: the truthful inde
xation of
the failure of the very Enlightenment project of universal brotherhood.)
Beethoven's Ninth is thus full of what Nicholas Cook called "unconsummated symbo
ls:
[23] elements which are in excess of the global meaning of the work (or of the m
ovement
in which they occur), which do not fit this meaning, although it is not clear wh
at
additional meaning they bring. Cook lists the "funeral march" at bar 513 of the
first
movement, the abrupt ending of the second movement, the military tones in the th
ird
movement, the so-called "horror fanfares," the Turkish march, and many other mom
ents
in the fourth movement - all these elements "vibrate with an implied significanc
e that
overflows the musical scenario." [24] It is not simply that their meaning should
be
uncovered through an attentive interpretation - the very relation between textur
e and
meaning is inverted here: if the predominant "musical scenario" seems to set int
o music a
clear pre-established meaning (the celebration of Joy, the universal brotherhood
...), here
the meaning is not given in advance, but seems to float in some kind of virtual
indeterminacy - it is as if we know THAT there is (or, rather, HAS to be) some m
eaning,
without every being able to establish WHAT this meaning is.
What, then, is the solution? The only radical solution is to shift the entire pe
rspective and
to render problematic the very first part of the fourth movement: things do not
really go
wrong only at the bar 331, with the entrance of the marcia Turca, they go wrong
from the
very beginning - one should accept that there is something of an insipid fake in
the very
Ode to Joy, so that the chaos the enters after the bar 331 is a kind of the "ret
urn of the
repressed," a symptom of what was wrong from the very beginning. What if we
domesticated too much the Ode to Joy, what if we got all too used to it as a sym
bol of
joyful brotherhood? What if we should confront it anew, reject it in what is fal
se in it?
Many of today's listeners cannot but be struck by the empty pompous character an
d
pretentiousness of the Ode, by its somewhat ridiculous solemnity - recall what w
e see if
we watch its performance on TV: fat, self-complacent, well-dressed singers with
strained
veins, making a great effort, accompanied by ridiculous waving of hands, to get
their
sublime message through as loudly as possible... what if these listeners are sim
ply right?
What if the true obscenity is what takes place BEFORE the marcia Turca, not afte
r it?
What if we shift the entire perspective and perceive the marcia as a return to e
veryday
normality that cuts short the display of preposterous portentousness and thus br
ings us
back to earth, as if saying "you want the celebrate the brotherhood of men? Here
they are,
the REAL humanity..."?
And does the same not hold for Europe today? After inviting millions, from the h
ighest to
the lowest (worm) to embrace, the second strophe ominously ends: "But he who can
not
rejoice, let him steal weeping away. /Und wer's nie gekonnt, der stehle weinend
sich aus
dem Bund./" The irony of Beethoven's Ode to Joy as the unofficial European anthe
m is,
of course, that the main cause of today's crisis of the Union is precisely Turke
y:
according to most of the polls, the main reason of those who voted NO at the las
t
referendums in France and Netherlands was their opposition to Turkish membership
. The
NO can be grounded in rightist-populist terms (no to the Turkish threat to our c
ulture, no
to the Turkish cheap immigrant labor), or in the liberal-multiculturalist terms
(Turkey
should not be allowed in because, in its treatment of the Kurds, it doesn't disp
lay enough
respect for human rights). And the opposite view, the YES, is as false as Beetho
ven's
final cadenza... So, should Turkey be allowed into the Union or should it be let
to "steal
itself weeping out of the union /Bund/"? Can Europe survive the "Turkish march"?
And,
as in the finale of Beethoven's Ninth, what if the true problem is not Turkey, b
ut the basic
melody itself, the song of European unity as it is played to us from the Brussel
s
postpolitical technocratic elite? What we need is a totally new main melody, a n
ew
definition of Europe itself. The problem of Turkey, the perplexity of European U
nion
with regard to what to do with Turkey, is not about Turkey as such, but the conf
usion
about what is Europe itself.
What, then, is Europe's predicament today? Europe lies in the great pincers betw
een
America on the one side and China on the other. America and China, seen
metaphysically, are both the same: the same hopeless frenzy of unchained technol
ogy and
of the rootless organization of the average man. When the farthest corner of the
globe has
been conquered technically and can be exploited economically; when any incident
you
like, in any place you like, at any time you like, becomes accessible as fast as
you like;
when, through the TV "live coverage," you can simultaneously "experience" a batt
le in
Iraqi desert and an opera performance in Beijing; when, in a global digital netw
ork, time
is nothing but speed, instantaneity, and simultaneity; when a winner in reality
TV-show
counts as the great man of a people; then, yes, there still looms like a specter
over all this
uproar the question: what for? - where to? - and what then? [25]
There is thus a need, among us, Europeans, for what Heidegger called
Auseinandersetzung (interpretive confrontation) with others as well as with Euro
pe's own
past in all its scope, from its Ancient and Judeo-Christian roots to the recentl
y deceased
Welfare-State idea. Europe is today split between the so-called Anglo-Saxon mode
l -
accept the "modernization" (adaptation to the rules of the new global order) - a
nd the
French-German model - save as much as possible of the "old European" welfare-sta
te.
Although opposed, these two options are the two side of the same coin, and our t
rue is
neither to return to any idealized form of the past - these models are clearly e
xhausted -,
nor to convince Europeans that, if we are to survive as a world power, we should
as fast
as possible accommodate ourselves to the recent trends of globalization. Nor is
the task
what is arguably the worst option, the search for a "creative synthesis" between
European
traditions of globalization, with the aim to get something one is tempted to cal
l
"globalization with a European face."
Every crisis is in itself an instigation for a new beginning; every collapse of
short-term
strategic and pragmatic measures (for financial reorganization of the Union, etc
.) a
blessing in disguise, an opportunity to rethink the very foundations. What we ne
ed is a
retrieval-through-repetition (Wieder-Holung): through a critical confrontation w
ith the
entire European tradition, one should repeat the question "What is Europe?", or,
rather,
"What does it mean for us to be Europeans?", and thus formulate a new inception.
The
task is difficult, it compels us to take a great risk of stepping into the unkno
wn - yet its
only alternative is slow decay, the gradual transformation of Europe into what G
reece
was for the mature Roman Empire, a destination for nostalgic cultural tourism wi
th no
effective relevance. [26]
And - a further point apropos which we should risk the hypothesis that Heidegger
was
right, although not in the sense he meant it - what if democracy is not the answ
er to this
predicament? In his Notes Towards a Definition of Culture, the great conservativ
e
T.S.Eliot remarked that there are moments when the only choice is the one betwee
n
sectarianism and non-belief, when the only way to keep a religion alive is to pe
rform a
sectarian split from its main corpse. This is our only chance today: only by mea
ns of a
"sectarian split" from the standard European legacy, by cutting ourselves off th
e decaying
corpse of the old Europe, can we keep the renewed European legacy alive. Such a
split
should render problematic the very premises that we tend to accept as our destin
y, as non-
negotiable data of our predicament - the phenomenon usually designated as the gl
obal
New World Order and the need, through "modernization," to accommodate ourselves
to
it. To put it bluntly, if the emerging New World Order is the non-negotiable fra
me for all
of us, then Europe is lost, so the ONLY solution for Europe is to take the risk
and
BREAK this spell of our destiny. NOTHING should be accepted as inviolable in thi
s new
foundation, neither the need for economic "modernization" nor the most sacred li
beral
and democratic fetishes.
So although the French and Dutch NO is not sustained by a coherent and detailed
alternate vision, it at least clears the space for it, opening up a void which d
emands to be
filled in with new projects - in contrast to the pro-Constitution stance which e
ffectively
precludes thinking, presenting us with an administrative-political fait accompli
. The
message of the French NO to all of us who care for Europe is: no, anonymous expe
rts
whose merchandise is sold to us in a brightly-colored liberal-multiculturalist p
ackage,
will not prevent us from THINKING. It is time for us, citizens of Europe, to bec
ome
aware that we have to make a properly POLITICAL decision of what we want. No
enlightened administrator will do the job for us.
Notes:
[1] Many pro-European commentators favorably opposed the readiness to bear finan
cial
sacrifices of the new Eastern European members of the Union to the egotistic
intransingent behavior of UK, France, Germany and some other old members - howev
er,
one should also bear in mind the hypocrisy of Slovenia and other new Eastern mem
bers:
they behaved as the latest members of an exclusive club, wanting to be the last
allowed to
enter. While accusing France of racism, they themselves opposed the entry of Tur
key...
[2] See Ernesto Laclau, On Populist Reason, London: Verso 2005.
[3] This distinction is homologous to that, deployed by Michael Walzer, between
"thin"
and "thick" morality (see Michael Walzer, Thick and Thin, Notre Dame: University
of
Notre Dame Press 1994). He gives the example of the big demonstration in the str
eets pf
Prague in 1989 that toppled the Communist regime: most of the banners read simpl
y
"Truth," "Justice," or "Freedom," general slogans even the ruling Communist had
to
agree with - the catch was, of course, in the underlying web of "thick" (specifi
c,
determinate) demands (freedom of the press, multiparty elections...) that indica
ted what
the people mean by the simple general slogans. In short, the struggle was not si
mply for
freedom and justice, but for the meaning of these words.
[4] Laclau, op.cit., p. 88.
[5] Laclau, op.cit., p. 90.
[6] Op.cit., p. 98-99.
[7] Many people sympathetic to the Hugo Chavez' regime in Venezuela like to oppo
se
Chavez' flamboyant and sometimes clownish caudillo style to the vast popular mov
ement
of the self-organization of the poor and dispossessed that surprisingly brought
him back
to power after he was deposed in a US-backed coup; the error of this view is to
think that
one can have the second without the first: the popular movement needs the identi
ficatory
figure of a charismatic leader. The limitation of Chavez lies elsewhere, in the
very factor
which enables him to play his role: the oil money. It is as if oil is always a m
ixed
blessing, if not an outright curse. Because of this supply, he can go on making
populist
gestures without "paying the full price for them," without really inventing some
thing new
at the socio-economic level. Money makes him possible to practice inconsistent p
olitics
(populist anti-capitalist measures AND leaving the capitalist edifice basically
untouched),
of not acting but postponing the act, the radical change. (In spite of his anti-
US rhetoric,
Chavez takes great care that Venezuelan contracts with the US are regularly met
- he
effectively is a "Fidel with oil.")
[8] Sigmund Freud, Group Psychology and the Analysis of the Ego, SE, Vol. XVIII,
p.
100.
[9] See, especially, Chantal Mouffe, The Democratic Paradox, London: Verso Books
2000.
[10] Laclau, op.cit., p. 166.
[11] George Lakoff, Don't Think of an Elephant, New York: Chelsea Green Publishi
ng
Company 2004, p. 27.
[12] To be slightly vicious: there were times when the Left succeeded in such "f
raming,"
although not to its honor, as in the late 1930s and 1940s, when it "framed" the
USSR in
such a way as to in the 1930s...
[13] Lakoff, op.cit., p. 131.
[14] Ernesto Laclau, in Hope, ed. by Mary Zournazi, London: Lawrence and Wishart
2002, p. 145.
[15] Ernesto Laclau, "Las manos en la masa," Radar, 5 June 2005, p. 20.
[16] The best anecdotal example of what is wrong with the first mode of universa
lity is
the story, from WWI, about a working class English soldier on leave from the fro
nt,
enraged by encountering an upper-class youth calmly leading its life of exquisit
e
"Britishness" (tea rituals, etc.), not perturbed by the war at all. When he expl
odes against
the youth: "How can you just sit here and just enjoy it, while we are sacrificin
g our blood
to defend our way of life?", the youth calmly responds: "But I AM the way of lif
e you are
defending there in the trenches!"
[17] See Laclau, On Populist Reason, p. 183.
[18] Laclau, op.cit., p. 152.
[19] The limitation of post-politics is best exemplified not only by the success
of rightist
populism, but by the UK elections of 2005: in spite of the growing unpopularity
of Tony
Blair (he was is regularly voted the most unpopular person in the UK), there is
no way for
this discontent with Blair to find a politically effective expression; such a fr
ustration can
only foment dangerous extra-parliamentary explosions.
[20] See Nicholas Cook, Beethoven: Symphony No. 9, Cambridge: Cambridge Universi
ty
Press 2003.
[21] Some critics even compare the "absurd grunts" of the bassoons and bass drum
that
accompany the beginning of the marcia Turca to farts - see Cook, op.cit., p. 103
. The
history of recognizing in a musical piece echoes of common obscenities is long a
nd
interesting - see what, in 1881, Eduard Hanslick wrote about Tchaikovsky's Violi
n
Concerto: "The finale transports us to the brutal and wretched jollity of a Russ
ian festival.
We see the savage, vulgar faces, hear obscene curses and smell the vodka...
Tchaikovsky's Violin Concerto brings us face to face with a hideous notion: that
there
may be music whose stink we can hear."(Quoted from Classic fm, October 2005, p.
68)
The spontaneous analytical answer to this is, obviously, that Hanslick is here b
rought
face to face with HIS OWN repressed hideous fantasies...
[22] Lines attributed to Gottfried Frank; quoted from Cook, op.cit., p. 93.
[23] Cook, op.cit., p. 103.
[24] Maynard Solomon, quoted in Cook, op.cit., p. 93.
[25] Everybody who is minimally acquainted with Heidegger's thought will, of cou
rse,
easily recognize in this paragraph an ironic paraphrase of the well-known passag
e from
Martin Heidegger, Introduction to Metaphysics, New Haven: Yale University Press
2000,
p. 28-29.
[26] In March 2005, Pentagon has released the summary of a top secret document,
which
sketches America's agenda for global military domination. It calls for a more "p
roactive"
approach to warfare, beyond the weaker notion of "preemptive" and defensive acti
ons. It
focuses on four core tasks: to build partnerships with failing states to defeat
internal
terrorist threats; to defend the homeland, including offensive strikes against t
errorist
groups planning attacks; to influence the choices of countries at a strategic cr
ossroads,
such as China and Russia; and to prevent the acquisition of weapons of mass dest
ruction
by hostile states and terrorist groups. Will Europe accept this, satisfied of th
e role of
anemic Greece under the domination of the powerful Roman empire.