Following the Allied victory in World War II, the United States turned its efforts to preventing the spread of Communism beyond Eastern Europe. Gregory Mitrovich argues, however, that the policy of containment was only the first step in a clandestine campaign to destroy Soviet power. Drawing on recently declassified U.S. documents, Mitrovich reveals a range of previously unknown covert actions launched during the Truman and Eisenhower administrations. Through the aggressive use of psychological warfare, officials sought to provoke political crisis among key Soviet leaders, to incite nationalist tensions within the USSR, and to foment unrest across Eastern Europe.Mitrovich demonstrates that inspiration for these efforts did not originate within the intelligence community, but with individuals at the highest levels of policymaking in the U.S. government. National security advisors, Mitrovich asserts, were adamant that the Soviet threat must be eliminated so the United States could create a stable, prosperous international system. Only the shifting balance of power caused by the development of Soviet nuclear weapons forced U.S. leaders to abandon their goal of subverting the Soviet system and accept a world order with two rival superpowers.
The aim of this book is to show that precisely in the indeterminacy of literature we can find the possibility of ethics and it will start with the examination of a work that clearly has a paradoxical nature - Sreten Ugričic's Infinitive. The paradox of Infinitive consists in the fact that it is a monograph, but a monograph about a non-existent book. The examination of the paradox on which Infinitive is based will be associated with Maurice Blanchot's analysis of the (im)possibility of literature from his essays "Orpheus's Gaze" and "Encountering the Imaginary." This study will claim that two most important features of the (im)possibility of literature are: the passage from je to il and the temporal paradox of the time of time's absence. These two features are interconnected: a loss of personality (and the inability to subsume the work of art under terms of decision and intention) leads to a strange realm that is governed by the time of time's absence. This is the realm of imaginary or a place where, to paraphrase Blanchot, language becomes its own image.
Through the analysis of specific literary works (Infinitive, Marbot: A Biography and The Lost Estate) this book will try to describe the most important paradoxes of literature. In its final part, through a dialogue between Maurice Blanchot and Emmanuel Levinas, two theses will be formulated: first, the passage from je to il will be associated with the impossibility of death and close reading of Blanchot's reworking of Levinas's concepts will open a perspective according to which art is capable of offering the experience of fundamental alterity; second, the time of time's absence will be described as the temporality of artwork, but also as the temporality of the other.
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