Abstract

This essay demonstrates how petits pays, particularly small tropical islands assaulted by human-triggered climate change, are also at the forefront of an aesthetics and ethics of solidary vulnerability. Paradoxically, I argue, their smallness allows them to connect effectively with large planetary events, in a movement Édouard Glissant calls Mondialité, since they can function away from the stifling forces of globalization driven by continental powers. Virgin Islands writer Tiphanie Yanique declared the Caribbean as “Ground Zero for Climate Change.” This essay will explore her claim through a series of poems, philosophical essays, and installation art from Martinique and Guadeloupe. Thus, Aimé Césaire’s apparent prison-island is precisely what links Caribbean subjects to a world-geography of Negritude; Suzanne Roussi Césaire’s Martinique connects, through the tail of a hurricane, with the rest of the Antilles and the world. Guadeloupean artist Guy Gabon’s installation, Yué#sororité puts women climate refugees at the forefront of resistance to global warming. The hope put into play by these poets and artists can only be activated, the essay ultimately argues, if the demonstrated tendency of humans to devour their planet through colonization and over-consumption can make room to an ethics of ecological love.

摘要

本文证明了小额支付的方式，特别是在人类触发的气候变化袭击下的热带小岛上，也处于脆弱性的美学和道德规范的最前沿。我认为，自相矛盾的是，它们的小巧使它们能够有效地与大型行星事件联系起来，这是爱德华·格里桑（ÉdouardGlissant）称之为蒙迪亚利特（Mondialité）的运动，因为它们可以发挥作用，摆脱由大陆大国驱动的全球化窒息力。维尔京群岛作家Tiphanie Yanique宣布加勒比海地区为“应对气候变化的零地带”。本文将通过马提尼克岛和瓜德罗普岛的一系列诗歌，哲学论文和装置艺术来探讨她的主张。因此，埃米尔·塞萨尔（AiméCésaire）明显的监狱岛正是将加勒比海地区的主体与世界知名度联系在一起的原因。苏珊·鲁西·塞萨尔（Suzanne RoussiCésaire）的马提尼克岛（Martinique）通过飓风的尾巴与安的列斯群岛其他地区和整个世界相连。瓜德罗普岛艺术家Guy Gabon的装置Yué＃sororité使女性气候难民处于抵御全球变暖的最前沿。这篇文章最终指出，只有当人类通过殖民和过度消费吞噬地球的趋势能够为生态爱的道德规范腾出空间时，这些诗人和艺术家才能发挥的希望才能被激发。