#franco moretti

freud bir şeyleri silerken aynı zamanda koruduğumuzu söylemişti. zihnin kendisi tam bir silme ve tutma sistemi bu yüzden. bu yokluğun bıraktığı ıstırabtan asla kaçış yoktur.

Capitalist production (...) forms by deforming, civilizes by barbarising, enriches by impoverishing — a two-sided process in which each affirmation entails a negation.

The literature of terror is studded with passages where the protagonists brush against the awareness described by Freud that the perturbing element is within them: that it is they themselves that produce the monsters they fear. Their first fear is inevitably that of going mad. [...] The lesson these books wish to impart is that one need not be afraid of going mad; that is, one need not fear one's own repressions, the splitting of one's own psyche. No, one should be afraid of the monster, of something material, something external.

[...] Indeed the followers of pure economic individualism, those who pursue only their own profit, are, without knowing it, the vampire's best allies. Individualism is not the weapon with which Dracula can be beaten. Other things are needed -- in effect, two: money and religion. These are considered as a single whole, which must not be separated: in other words, money at the service of religion and vice versa. The money of Dracula's enemies is money that refuses to become capital, that wants not to obey the profane economic laws of capitalism but to be used to do good. Towards the end of the novel, Mina Harker thinks of her friends' financial commitment: "it made me think of the wonderful power of money! What can it not do when it is properly applied; and what might it do when basely used!" This is the point: money should be used according to justice. Money must not have its end in itself, in its continuous accumulation. It must have, rather, a moral, anti-economic end, to the point where colossal expenditures and losses can be calmly accepted. This idea of money is, for the capitalist, something inadmissible. But it is also the great ideologic lie of Victorian capitalism, a capitalism which is ashamed of itself and which hides factories and stations beneath cumbrous Gothic superstructures; which prolongs and extols aristocratic models of life; which exalts the holiness of the family as the latter begins secretly to break up.