허구의 경제: 왕립 주식거래소와 18세기 소설
The Royal Exchange and the Eighteenth-century Novel
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By linking the culture of financial investment to Eliza Haywood's Fantomina and other eighteenth-century popular novels, this paper aims to highlight the interdependency between the financial market and the world of fiction in early eighteenth-century Britain. The first section demonstrates how the Royal Exchange and eighteenth-century British stock market were described by contemporaries as “fictional,” which made them entertaining and profitable. The “Grand Scene of Business” as Joseph Addison describes in his Spectator attracted numerous investors who sought pleasure in making money by “courting Lady Credit,” a fictional character financially created for the stock market. In the following section, I analyze Eliza Haywood’s Fantomina to show how the novel, a newly rising cultural commodity, provided another space of entertainment for the readers who sought pleasure indulging in fiction. In Fantomina, what the heroine offers Beauplaisir is not so much her own body as various seduction narratives where he can participate as a seducer. Both financial products and the novel create profits by entertaining consumers who are willing to indulge in fiction.
Abstract
By linking the culture of financial investment to Eliza Haywood's Fantomina and other eighteenth-century popular novels, this paper aims to highlight the interdependency between the financial market and the world of fiction in early eighteenth-century Britain. The first section demonstrates how the Royal Exchange and eighteenth-century British stock market were described by contemporaries as “fictional,” which made them entertaining and profitable. The “Grand Scene of Business” as Joseph Addison describes in his Spectator attracted numerous investors who sought pleasure in making money by “courting Lady Credit,” a fictional character financially created for the stock market. In the following section, I analyze Eliza Haywood’s Fantomina to show how the novel, a newly rising cultural commodity, provided another space of entertainment for the readers who sought pleasure indulging in fiction. In Fantomina, what the heroine offers Beauplaisir is not so much her own body as various seduction narratives where he can participate as a seducer. Both financial products and the novel create profits by entertaining consumers who are willing to indulge in fiction.
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