Abstract:The ecocritic and philosopher Timothy Morton has recently proposed an aesthetics of “dark ecology” as the appropriate artistic response to difficult environments. Our interactions with such environments encourage us to recognize that we are neither superior to nor entirely separate from the objects and living beings that surround us. Accordingly, dark ecological art explores interpenetrations of human bodies and human psychologies with elements of our environments, including the products of human hands. But it sees no cause for celebration in such insights: rather, it delivers them in a consistently ‘dark,’ pessimistic tone. In this essay I argue that Morton’s ideas can enrich our understanding of the Hesiodic Works and Days, which places emphasis on the difficulty of interacting with the environments of the Greek world. And while some passages seem to accord a privileged status to humans, many others stress the interpenetration of the human and the nonhuman, doing so in the sort of pessimistic tone that Morton associates with his dark ecological aesthetic.

中文翻译：

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“暗生态”与作品与日子

摘要：生态评论家和哲学家蒂莫西·莫顿 (Timothy Morton) 最近提出了一种“暗生态”美学，作为对困难环境的适当艺术回应。我们与此类环境的互动鼓励我们认识到，我们既不优于周围的物体和生物，也不完全与周围的物体和生物分开。因此，黑暗生态艺术探索人体和人类心理与我们环境元素的相互渗透，包括人类手的产物。但它认为这样的洞察力没有值得庆祝的理由：相反，它以一贯的“阴暗”、悲观的语气传达它们。在这篇文章中，我认为莫顿的思想可以丰富我们对 Hesiodic Works and Days 的理解，它强调与希腊世界环境互动的困难。