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- W4249491566 abstract "Perhaps one of the most important and yet overlooked bestiaries is Marx’s own fantastically monstrous conception of capitalism. For some, it might appear to be rather strange that Marx’s “science of history” is peppered with continual references to irrational occult figures that transgress the human and animal boundary. For this camp, the aesthetic of horror and suspense is no more than an ornamental digression that leads the reader astray from the scientific focus of Marx’s Capital. Others, such as Marshall Berman (1982), argue that we should not forget the literary nature of Marx’s works, and that his literary gestures cannot be completely separated from his overall dialectical method. What is Capital after all if not a gothic tale of horrors where the reader is left in perpetual uncertainty as to his or her fate (is capitalism destined to consume the world or to be vanquished by the proletariat?), where suspense holds the reader in the grip of the unfolding drama of struggle, where linear historical narrative suddenly complexifies into labyrinthian descriptions of political and economic intrigue? Although Robert Tucker (1967) anchors Marx’s narrative structure in myth, he nevertheless finds its literary equivalent in Robert Louis Stevenson’s gothic description of alienation in Dr. Jekyll and Mr. Hyde (1886)." @default.
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- W4249491566 date "2010-01-01" @default.
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- W4249491566 title "Intermezzo" @default.
- W4249491566 doi "https://doi.org/10.1057/9780230117358_2" @default.
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