The eco-apocalyptic novel is arguably one of the most popular contemporary genres, evidenced by the quantity of literary publications preoccupied with climate change and the viability of species and planetary survival in the age of the Anthropocene (LeMenager 221–22). Literary critic James Berger observes that apocalypse primarily speaks to fears concerning human survival, typically represented by “biological-cultural forms” of human sterility directly linked to environmental collapse; in other words, the “end of [human] procreation” is equated with the end of the “natural” world (132–34). Ecoapocalyptic fictions thus often expose anthropocentric assumptions manifested by Anthropocene narratives that are invested in “perpetuating a human/nature binary” (DeLoughrey 353). Feminist new materialisms and queer ecologies generally resist the dominant Anthropocene narrative in its premise “that the era of nature is over,” or, that there has ever been “a coherent concept” of what is considered “natural” (Hannah 199). Rather, from a posthuman perspective, the concept of the Anthropocene should provoke an understanding that the “human” has in fact never been outside “nature” and that there is no origin point of return, where “nature” is pure or untouched by anthropogenic manipulations (199–200). In a broad summation of their corresponding arguments, feminist new materialists demand a radical shift in perspective that operates from the premise that humans are not separate from but entangled with multiple human and nonhuman “others,” which would in turn disrupt the centrality of humans within Anthropocene discourses (Barad 178–79, 396; Bennett 13, 107; Frost 3). Furthermore, many critics point out that the “anthropo” of the Anthropocene needs to be untangled from its presumption of a universalized

中文翻译：

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人类世间的故事讲述：Lidia Yuknavitch的《圣女贞德》中的灭绝，进化/进化和后人类伦理

生态启示小说可以说是当代最受欢迎的小说类型之一，这反映在人类世时期，有关气候变化以及物种生存力和物种生存力以及行星生存的文学出版物数量众多（LeMenager 221-22）。文学评论家詹姆斯·伯杰（James Berger）指出，启示主要是对人类生存的恐惧，通常表现为与环境崩溃直接相关的人类不育的“生物文化形式”。换句话说，“ [人类]繁殖的终结”等同于“自然”世界的终结（132-34）。因此，世界末日的小说通常会揭露以人类为中心的假说，这些假说是由人类世的叙事所表现出来的，这些叙事被投入到“人类/自然二进制的永存”中（DeLoughrey 353）。女权主义的新唯物主义和酷儿生态学在其前提是“大自然时代已经结束”或“被认为是“自然”的东西有一个“连贯的概念”的前提下，通常会抵制占主导地位的人类世的叙述（汉娜199）。而是，从后人类的角度出发，人类世的概念应该引起一种理解，即“人类”实际上从未在“自然”之外，并且没有返回的起点，在这里，“自然”是纯粹的或不受人为影响的操作（199–200）。女权主义的新唯物主义者对他们相应的论点进行了广泛的总结，要求在观念上进行根本性的转变，这种前提是人类不与其他人类和非人类“他人”相分离，却纠缠在一起。”，这反过来会破坏人类在人类世话语中的中心地位（Barad 178-79，396; Bennett 13，107; Frost 3）。此外，许多批评家指出，人类世的“人类”需要从普遍性的假设中解开