Marx titles his work Capital to make it the protagonist of its own account

Evidence

When persons are personified, they are made in the image and likeness of the ur-person, Capital. Capital is the subject in this world; all other actors are figures, masks, faces, prosopopoeic personifications of the subject. This is the primacy of Capital already emblazoned in the title Capital, the place nineteenth-century novels most often reserve for the subject: Capital is the subject of Capital, as David Copperfield or Jane Eyre or Daniel Deronda are the subjects of David Copperfield, Jane Eyre, and Daniel Deronda. … The analytic importance of this subject position, an idea advanced by the trope of personification more than by exposition, is not only that Capital is the protagonist of modernity, but that the workings of capitalism are described by this subjectification and embodiment of an abstraction. Capital is the story of Capital’s becoming-subject, of the relentless self-constitution, the “valorisation of value” that propels this mode of production. The artifice of the trope of personification calls attention to the artifice and instability of this subject, to the fissures and crises in its course of becoming, in its adventure of Bildung. — Mark Fisher (edited by Darren Ambrose), K-Punk, 1981

Categorization

• XREF: The novel-comparison device (David Copperfield, Jane Eyre) invokes the fiction-reading background directly — parallels how Capital is structured narratively like a bildungsroman hero. — connects to: Capital functions as the protagonist-subject of Marx’s Capital — Mark Fisher (edited by Darren Ambrose), K-Punk: The Collected and Unpublished…, 1981

Broader Connections

• Capital functions as the protagonist-subject of Marx’s Capital #expands (1.00) — Mark Fisher (edited by Darren Ambrose), K-Punk, 1981