生態危機是劉慈欣科幻作品的常見議題。本文擬以唐娜.哈洛威的「怪物世」理論為參照來檢視劉慈欣作品中的生態觀,尤其是「物種共產主義」理念。這一生態烏托邦構想以終結人類對自然和其他物種的暴政為目標,主張物種權利平等甚至在基因上的融合,表面上與哈洛威「製造親緣」的口號不謀而合。本文通過對《三體》與《魔鬼積木》等作品的分析試圖揭示劉慈欣科幻作品中反人類世生態主義外衣掩蓋之下的人類中心主義視角。以物種共產主義為代表的生態敘事,儘管用基因技術實現物種融合,卻沒有因此而製造出「親緣」,也沒有製造出平等和友善;即使宣稱「消滅人類暴政」,卻也沒有走出人類中心主義的邏輯。劉慈欣的生態觀究其本質是生存至上的理念。它正好暴露了哈洛威所揭示的「人類世的問題」:對於「競爭關係」的執念。
This paper examines ecological discourse in Liu Cixin's science fiction by employing Donna Haraway's theory of Chthulucene. Previous studies believe that Liu's ecological narratives represent the critiques of the Anthropocene, and his pan-species communism is a typical example of Chthulucene. This paper argues that although pan-species communism claims to end human tyranny and achieve species equality, the anti-human challenge reflects the human-centric perspective. By analyzing the "God trick" and social Darwinism in Liu Cixin's ecological narratives, this paper further points out that his ecological science fiction exactly expose a key problem of the Anthropocene: too much emphasis on competition relations.