Abstract

Antoine Volodine’s idiosyncratic “post-exotic” fiction has been remarked for its singular cyclical temporality and its post-apocalyptical aesthetics. In this essay, I explore the ecocritical implications of Volodine’s nonlinear time—as it disrupts the underlying assumption of progress, and its inherently binary organization of life, that sustain our current ecological crisis. Drawing from Frédéric Neyrat’s “spectral ecopolitics” and Anna L. Tsing’s tracking of the matsutake in The Mushroom at the End of the World (2015), I follow the spectral and nonhuman beings that populate the novel Le Nom des singes (1994 Volodine, Antoine.. Le Nom des singes. Paris, Les Éditions de Minuit, 1994. [Google Scholar]) and interfere with its narrative enterprise. The characters of the story appear as ghost-like figures whose constant re-telling of lists and lives (or stories) leads, voluntarily or not, to the production of worlds—or, rather, (spectral) glimpses of worlds. The taxonomic work of naming lists of indigenous flora and fauna engaged by the human characters conjures uncertain and unfamiliar beings that slightly escape our grasp and, in turn, swarm and attempt to take over the narrative space—at once blurring and, in the process, contributing to the work of narration.

摘要

Antoine Volodine的特质“后异国”小说因其奇异的周期性时空性和后世界末日的美学而闻名。在本文中，我探讨了Volodine非线性时间的生态批判意义，因为它破坏了维持我们当前生态危机的基本进展假设及其固有的二元生命组织。借鉴弗雷德里克·内拉特（FrédéricNeyrat）的“光谱生态政治学”和安娜·青（Anna L. Tsing）对《世界末日的蘑菇》（2015）中的松茸的追踪，我遵循谱写和非人类的现象，充斥着小说《小说》（1994） Volodine，Antoine。。Le Nom des singes。巴黎，Éminitionsde Minuit出版社，1994年。 [Google Scholar]）并干扰其叙事工作。故事中的人物表现为鬼魂般的人物，他们不断重述列表和生活（或故事）是否自愿地导致了世界的产生，或者是（光谱的）世界的瞥见。命名人类角色所涉及的本土动植物名单的分类学工作会让人联想到不确定和陌生的生物，这些生物会稍稍逃脱我们的掌握，进而蜂拥而至，试图占领叙事空间，一时变得模糊不清，在此过程中，为叙述工作做出贡献。