劉慈欣《三體》中的後人類擲骰論

本文將以劉慈欣的《三體》三部曲為例，透過將其放在哲學（德勒茲理論）的背景中探討，探問當人類進入宇宙災難的極端情境時，他們是否僅是技術的副產品？在回應陌生的三體文明之後，人類的自我與世界被迫開啟，舊世界的既定邏輯被打破。這些被迫走出封閉、進入太空的人類是否具備新的能動性？筆者將探討德勒茲如何轉用萊布尼茲單子論以及尼采的擲骰子比喻，用來分析《三體》中後人類如何因應末世的絕境，轉化為潛能與能動性。當羅輯與程心的行為逸離人類舊有的倫理觀，這樣的現象是否代表著雖然在第一次擲骰後，人類滅絕的命運似乎已經底定，然而，之後每一次擲骰後玩家的回應卻仍能擾動潛態的世界，形成某種蝴蝶效應。本文亦將討論個體是否能進入前個體化的潛態狀態以及形成與萬物的應接關係之可能性。

關鍵字

劉慈欣；《三體》；德勒茲；單子論；擲骰子

並列摘要

This article aims to read Liu Cixin's science-fiction trilogy, The Three-Body Problem, to inquire whether humans are just by-products of technology in a cosmic catastrophe, whether, contrarily, human beings can ponder a posthuman overcoming of human morality when being in space makes them no longer human. In the trilogy, cosmological sociology teaches survival, expansion and mass conservation as necessary laws. But Luo Ji and Cheng Xin, facing desperate situations, make decisions that seem to subvert such laws. This means that human beings are evolving into nonhumans or posthumans, escaping from their established harmonious world, as if throwing the dice to evolve a new cosmic ethics. The dice throw is a metaphor from Nietzsche, elaborated by Deleuze to refer to the power to world: to move beyond the dogmatic image of thought formed by the morality of the old world and to tap into the movement of internal differentiation and the potentialities of diverging series. This article explicates Deleuze's appropriation of Leibniz's monadology and of Nietzsche's metaphor of the dice throw to explore how posthumans may respond to catastrophe in ways that resonate with their potentialities, restore their agencies, and form a performative relationship with other beings. Such a reading will allow us to see that the Three-Body Problem trilogy points to the possibility to develop a new cosmic ethical outlook that supersedes human morality.