신경제비평의 관점에서 본 『착오 희극』
New Economic Criticism on The Comedy of Errors
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This essay aims to demonstrate money fetishism spread in The Comedy of Errors by adopting new economic criticism as an analyzing tool. The surface of the play deploys a storyline in which two pairs of twin brothers seek their lost counterparts, but its deep structure develops a narrative plot in which the lost money returns to its original owners. Money in the play functions as a clue to unravel clandestine relations between characters. Identities of characters are interlocked with whereabouts of money. Keeping track of whereabouts of the money is assigned the same trajectory as tracking down identities of the characters. The narrative plot displays distinctive features of romantic comedy stuffed with various farcical episodes. Considering these features from the perspective of money movement, the structural unity between romance and farce could be also established. Cognitive confusion concerning the identity of each character is conveyed in a parallel structure with bewilderment over lost money. For instances, Egeon’s search for his ransom money is correlated with Emilia’s seeking for her lost husband, and the way for Antipholus of Ephesus to recover his acquittal money keeps parallel with the way for Antipholus of Syracus to find his lost brother. The ending of the play invites us to see how to overcome money fetishism which has dominated the entire play. The happy reunion of Egeon’s family might be supposed to suggest a utopian humanism which makes it possible to recover from cognitive confusion caused by money fetishism.
Abstract
This essay aims to demonstrate money fetishism spread in The Comedy of Errors by adopting new economic criticism as an analyzing tool. The surface of the play deploys a storyline in which two pairs of twin brothers seek their lost counterparts, but its deep structure develops a narrative plot in which the lost money returns to its original owners. Money in the play functions as a clue to unravel clandestine relations between characters. Identities of characters are interlocked with whereabouts of money. Keeping track of whereabouts of the money is assigned the same trajectory as tracking down identities of the characters. The narrative plot displays distinctive features of romantic comedy stuffed with various farcical episodes. Considering these features from the perspective of money movement, the structural unity between romance and farce could be also established. Cognitive confusion concerning the identity of each character is conveyed in a parallel structure with bewilderment over lost money. For instances, Egeon’s search for his ransom money is correlated with Emilia’s seeking for her lost husband, and the way for Antipholus of Ephesus to recover his acquittal money keeps parallel with the way for Antipholus of Syracus to find his lost brother. The ending of the play invites us to see how to overcome money fetishism which has dominated the entire play. The happy reunion of Egeon’s family might be supposed to suggest a utopian humanism which makes it possible to recover from cognitive confusion caused by money fetishism.
참고문헌 (20)
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