편집증에서 분열증으로: 『안티오이디푸스』로 읽는 돈 드릴로의 『코스모폴리스』

초록

This essay offers a schizoanalytic reading of Don DeLillo’s Cosmopolis through Gilles Deleuze and Félix Guattari’s Anti-Oedipus: Capitalism and Schizophrenia. While existing scholarship has often examined Cosmopolis in terms of rogue capitalism, financial sublimity, or neoliberal excess, this study argues that Eric Packer should be understood more precisely as a desiring-machine whose trajectory dramatizes the tension between paranoid and schizophrenic investments of desire. Drawing on Deleuze and Guattari’s distinction between molar and molecular formations, the essay traces Packer’s movement from a paranoid machine, embodied by his technologically fortified limousine as an assemblage of capital, surveillance, and control, toward a schizophrenic machine whose defenses dissolve under the pressure of the very flows he seeks to master. In the novel, cyber-capital appears as a recoded, quasi-transcendent flow that produces jouissance through perpetual excess, lack, and deferred satisfaction. The recurring figure of the rat condenses capital’s contradictory logic of infinite reproduction and implosive collapse, while anti-globalization protest is absorbed into capitalism’s circuit of anti-production rather than disrupting it. Packer’s schizophrenic becoming emerges through three pivotal scenes: the self-immolation, the rapper’s funeral procession, and the collective assemblage of naked bodies. Yet his deterritorialization leads not to liberation but to self-destruction. His final confrontation with Benno Levin, his spectral double and capitalism’s surplus human, recasts his ruin through Bataillean potlatch as excessive expenditure that inverts accumulation without escaping capitalism’s axiomatic. Cosmopolis thus maps how capital produces desire and how desire, in consuming itself, exposes the limits of the system it cannot fully transcend.

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