『리틀 도릿』과 스펙터클의 사회
Little Dorrit and Spectacular Society
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Abstract
This article addresses the problematic aspects of the society of spectacle portrayed in Charles Dickens's Little Dorrit. With abundance seeming more tangible than it ever had done before, Victorian society perpetually suffered from both the 'affluenza' of displaying wealth and the 'capitalist neurosis' about imminent bankruptcy and poverty. According to Guy Debord, a capitalist society is dominated by commodity spectacle. He presents his concept of spectacle as a series of related images in which the consumer sees "the world of the commodity dominating all that is lived." In a society of spectacle, a commodity is the arbiter of all representation and the social relationship between people is mediated by images. Debord shares a common ground with Jean Baudrillard in his view of the predominance of images and representations in consumer capitalism. Unlike Baudrillard, however, Debord insists that alienation brought on by images which are separated from reality is neither inevitable nor invincible. This article argues that Dickens was deeply conscious that Victorian society had already entered the era of spectacle and he kept in line with Debord in his attack on the spectacularization of commodity and capital. In Little Dorrit, Dickens examines the way in which the struggle for higher rank and social class among the middle-class characters turns out to be the superficial imitation of the lifestyle and manner of the upper classes. Gentlemanship and ladyhood is no more than a display of what Thorstein Veblen called 'conspicuous consumption' and 'conspicuous leisure.' Especially, this article discusses the function of the party and tourism as the spectacles of the reified human relationship and commodity fetishism. It also analyzes the culminating spectacle of financial speculation in which almost all characters ranging from a lower-class plasterer to the protagonist Arthur Clennam are swept away in search of wealth. The final section explores the validity of the possible solutions--the sincerity of labor and authentic human values represented by Daniel Doyce and Amy Dorrit--that Dickens poses against the spectacle which permeate all reality.
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