정치 ‘소극(笑劇)화’의 무대적 분석: 마르크스의 『브뤼메르 18일』 다시 읽기

초록

Analyzing the political stage as a “farce” is a hallmark of Marx’s The Eighteenth Brumaire. In this work, Marx seeks to move beyond the schematic optimism of The Communist Manifesto. This new narrative style centers on a “theatrical” presentation and is characterized by references to Shakespeare. In this work, Marx puts his call to “Shakespearearize” into practice. The Eighteenth Brumaire shows how the history of the French Revolution was repeated, distorted, and became ‘farce’ in the time of Napoleon’s nephew, Louis Bonaparte, through the repetition of the historical slogans and costumes, and the analysis of the proletariat, who are excluded from this stage, and Louis Bonaparte, who appears as the ‘king of clowns’. The Communist Manifesto borrows Shakespeare’s Hamlet’s scheme and brings Ghost into main character of politics, but The Eighteenth Brumaire twists the scheme of The Communist Manifesto, that is ‘ghost=gravedigger=old mole’ to present a new explanation: ‘ghost≠old mole’. In doing so, Marx’s reference to Shakespeare shifts from tragedy to comedy, which paves the way for The Capital’s narrative that contains a historical narrative of an open future.

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