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A key to understanding Marx is how he overcomes Hegel’s ‘dialectical method’. Marx uniquely developed his own “mode of presentation”(Darstellungsweise) to differentiate his dialectical method from Hegel’s, which centered on the manifestation of essence or historical totality. As a detour to identify the uniqueness of Marx’s mode of presentation and his non-Hegelian dialectics, it is important to investigate the Shakespearean trope to identify the features of ‘theatrical structure of narrative’.

There are two turning points in the ‘encounter’ between Marx and Shakespeare, and on this basis, three periods can be divided. The first is the “Strum und Drang” period of young Marx, when he foregrounds Shakespeare as an authoritative source for his critique of modern society. The second period is the period when Marx himself put into practice the command to “Shakespearize” and the representative result is his 18th Brumaire of Louis Bonaparte, written in London in 1852. The third period is the period of ‘the critique of political economy’ and the publication and revision of the first volume of The Capital. Although in the Capital, Shakespeare seems to fade into the background, and Marx seems to be writing a very ‘economics’ narrative, the work of the Critique of Political Economy embodies the instruction to “Shakespearize” much more than the second period. Reading The Capital as a theatrical staging structure, we can see that the narrative structure of The Capital is not monophonic but multiphony: what is not written (or not presented) is already embedded in the overall composition of the theatrical stage, forming the stage background (the “Fallstaffian background”) as well as what is written and what is presented.

理解马克思的关键在于他如何超越了黑格尔的“辩证法”。马克思独创性地发展了自己的“表述方式”(Darstellungsweise)，实现了与黑格尔辩证法的区分，其核心在于展现本质或历史整体。识别马克思的表述方式的独特性及其非黑格尔辩证法的特点，研究莎士比亚作为特例来探讨“戏剧叙事结构”的特征具有重要意义。马克思与莎士比亚的“相遇”有两个转折点，由此可以划分三个时期。第一个时期是青年马克思的“激荡”时期，他将莎士比亚视为批判现代社会的权威依据。第二个时期则是马克思亲自践行“莎士比亚化”命令的时期，其代表作是1852年在伦敦写成的《路易·波拿巴的雾月十八日》。第三个时期是“政治经济学批判”时期，同时也是《资本论》第一卷的出版和修订时期。虽然在《资本论》中莎士比亚的影响似乎淡出，马克思似乎在撰写一部纯粹“经济学”的叙事，但实际上，《政治经济学批判》的工作比第二个时期更能体现“莎士比亚化”的指引。若将《资本论》作为一个戏剧舞台结构来解读，我们可以发现，《资本论》的叙事结构并非单声部，而是多声部: 未被直接写出或呈现的内容已经嵌入戏剧舞台的整体构成之中，形成了舞台的背景(即“福斯塔夫背景”)，同时也构成了已写出和呈现的内容。

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기사명 저자명 페이지 원문 목차
중국 국제관계학계의 이론과 연구 영역 발전에 관한 재고찰 = A reconsideration of the development of theories and research areas in China's international relations studies 김상규 p. 4-26

시진핑 3기 중국 대외정책의 지속과 변화 = Xi Jinping's third-term foreign policy : continuity and change in "major-power diplomacy with Chinese characteristics" : ‘중국특색 대국외교’를 중심으로 신종호 p. 27-63

글로벌 사우스(Global South)에 대한 중국의 논의, 전략과 과제 = China's discussions, strategies and challenges on global south 이동률 p. 64-96

개막식의 한복 입은 소녀와 공정(工程)의 서사 = The Hanbok(韓服)-clad girl at the Olympic opening ceremony and the narrative of GongCheng(工程) : an examination of methods explaining cultural conflicts between Korea and China : 한중 간 문화 갈등의 설명 방법에 대한 고찰 김도경 p. 97-123

从戏剧舞台叙述角度解读马克思《资本论》 = Reading Marx' The Capital as a theatrical stage narrative : Shakespeare as a reference point : 以莎士比亚为依据 白承旭 p. 124-139

解读新质生产力的理论内涵与政策动态 = "New quality productive forces" in China : an analysis of its theoretical buildings and policy trends 张暮辉 p. 140-156

应对台湾居民居住证的立法政策与管制理念 = Legislative policies and regulatory concepts for Taiwan residents' residence permits in mainland China 杨明勋, 曾乙晏 p. 157-179

合作与制衡 = Cooperation and checks and balances : a view of the national government from The Gazette of the Ministry of Foreign Affairs concern and policy towards Korea : 从《外交部公报》看国民政府的对韩关注与政策 王晨 p. 180-202

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