ABSTRACT Titus Andronicus (1588) and Timon of Athens (1607) theorize what Jason W. Moore calls the Capitalocene, a world in which capitalism has reshaped the earth’s materiality while also radically reconfiguring conceptions of both human and nonhuman nature. With Titus emphasizing iron weapons and Timon interrogating the force of weaponized gold, both works draw on Ovidian Iron Age mythology to show how humans have violently impacted social and natural environments and, conversely, how these transformations threaten human exceptionalism. In addition, the unusual representational strategies employed in both Titus and Timon suggest that traditional humanist aesthetics may not meet the epistemological and political exigencies of capitalogenic crisis. Ultimately, I argue, Shakespeare presents the theater, aptly named the Globe, as a microcosm of the Capitalocene — a world that humans have largely created but which nonetheless remains structured by material forces over which humans have less than total control. Rather than aestheticizing nature, Titus and Timon repurpose the matter of theatrical space, undermining assumptions about essence and representation that underlie mimesis and shocking audiences into considering their own relationships to the social, economic, and natural worlds.

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始新世的莎士比亚：蒂图斯·安德罗尼库斯，雅典的蒂蒙和早期的现代生态剧院

摘要提特斯·安德鲁尼库斯（Titus Andronicus，1588年）和雅典的提蒙（Timon of Athens，1607年）对杰森·摩尔（Jason W. Moore）所谓的首都新世纪进行了理论化，资本世界重塑了地球的物质性，同时也从根本上重构了人类和非人类本性的观念。提多斯强调铁器武器，而提蒙则质疑武器化的黄金的力量，这两部作品都借鉴了奥维迪亚铁器时代的神话，以展示人类如何对社会和自然环境产生了猛烈的影响，以及相反地，这些转变如何威胁人类的特殊性。此外，提多斯和蒂蒙都采用了不同寻常的代表性策略，这表明传统的人本主义美学可能无法满足资本危机的认识论和政治迫切需要。我认为，莎士比亚最终会把剧院命名为“地球”，作为资本时代的缩影-人类在很大程度上创造了这个世界，但仍然由人类无法完全控制的物质力量构成。泰特斯和蒂蒙并没有将自然美化，而是将戏剧空间的用途重新定位，破坏了作为模仿的基础的本质和表现形式的假设，并使观众震惊地考虑了他们与社会，经济和自然世界的关系。