신경제비평의 관점에서 본 『베니스의 상인』: 사랑의 밀어(蜜語) 속에 감추어진 자본의 음모(陰謀) (New Economic Reading of The Merchant of Venice: Capital Maneuverings beneath the Veil of Romantic Love)

서지정보

· 발행기관 : 한국셰익스피어학회
· 수록지 정보 : Shakespeare Review / 61권 / 1호 / 35 ~ 71페이지
· 저자명 : 도인환

초록

This essay argues The Merchant of Venice is a subtle exploration into the emergence of early modern capitalism and the fetishization of human value. Karl Marx defines fetishism as all ontological turnarounds which prioritize profit over people by replacing the primacy of human relations with the dominance of commodity exchange. Bassanio is a representative of early modern venture capital, and his risky pursuit of enormous wealth is reminiscent of Spanish conquistadors who sought after Eldorado in their grand expeditions. For Bassanio, Portia embodies the allure of adventurous wealth, much as the legendary Golden Fleece symbolized the ultimate fulfillment of insatiable desire for riches. Shakespeare does not portray relationship between Bassanio and Portia in a dark shadow. Instead, he casts a gloomy undertone in the depiction of Lorenzo and Jessica. In the casket scene, Portia, initially presented as a money persona, undergoes a metamorphosis in which she transforms herself into a capital persona. She further evolves at the trial scene where she establishes herself as a fetish persona with exceptional wit and legal acumen. In her role as a capital persona, Portia engrosses all the money presented in the play, and moreover, she puts all characters under her surveillance as a fetish persona. The play’s ending, wrapped in romantic mood and apparent resolution of all conflicts, mirrors the glittering veil of financial capitalism. However, just as capitalism fails to reconcile the inherent conflicts between capital and labor, the play ultimately fails to address the fundamental discord between Shylock and Christian Venice.

영어초록

This essay argues The Merchant of Venice is a subtle exploration into the emergence of early modern capitalism and the fetishization of human value. Karl Marx defines fetishism as all ontological turnarounds which prioritize profit over people by replacing the primacy of human relations with the dominance of commodity exchange. Bassanio is a representative of early modern venture capital, and his risky pursuit of enormous wealth is reminiscent of Spanish conquistadors who sought after Eldorado in their grand expeditions. For Bassanio, Portia embodies the allure of adventurous wealth, much as the legendary Golden Fleece symbolized the ultimate fulfillment of insatiable desire for riches. Shakespeare does not portray relationship between Bassanio and Portia in a dark shadow. Instead, he casts a gloomy undertone in the depiction of Lorenzo and Jessica. In the casket scene, Portia, initially presented as a money persona, undergoes a metamorphosis in which she transforms herself into a capital persona. She further evolves at the trial scene where she establishes herself as a fetish persona with exceptional wit and legal acumen. In her role as a capital persona, Portia engrosses all the money presented in the play, and moreover, she puts all characters under her surveillance as a fetish persona. The play’s ending, wrapped in romantic mood and apparent resolution of all conflicts, mirrors the glittering veil of financial capitalism. However, just as capitalism fails to reconcile the inherent conflicts between capital and labor, the play ultimately fails to address the fundamental discord between Shylock and Christian Venice.

참고자료

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