全球異／己的倫理轉折：《家寶／喀布爾》的言說倫理與族裔轉化

The Ethical Turn of the Self and Other: Global Alterity and Ethnic Transformation in 'Homebody/Kabul'

在後9／11戲劇中， 以東尼．庫希納（Tony Kushner）的《家寶／ 喀布爾》（Homebody/Kabul）最受矚目，引發了最熱烈的關注與討論。本論文將聚焦於這齣戲劇，討論帝國之眼與伊斯蘭他者的後殖民邂逅，亦將探討庫希納如何結合歷史、個人回憶與多種語言混雜之劇場表演，來敘述移民及流亡者的故事。庫希納運用「個人即政治」的策略，展演日常生活與災難，質疑帝國凝視與殖民主義。他的戲劇敘事往復於第一世界及第三世界之間，融入全球異己和大都會中的在地族裔社群之集體記憶與個人經驗。本文除了探討此劇在紐約演出的社會脈絡與媒體效應，也將運用列維納斯（Emmanuel Lévinas）的倫理哲學中的激進他異性、語言的倫理關係以及不在場的概念，來探討此劇所展演的歷史與災難、過去與現在的辯證以及異／己、帝國殖民者和族裔他者之倫理轉化。

In the post-9/11 theater, Tony Kushner's Homebody/Kabul is considered the most representative play. With an analysis on Homebody/Kabul, this article will discuss the postcolonial encounter between the imperialist eye and the Islamic other and also investigate how Kushner combines history, personal memories, and the polyglot linguistic practices to stage the stories of refugees and immigrants. Employing such politics as ”the personal is the political,” Kushner's narrative shuttles back and forth the First World and the Third World, enacting the collective memories and the personal experience of the global alterity and the local ethnicity. In addition to discussing the socio-political context of the production of this play, this article will employ Lévinas' notion of radical alterity, linguistic practice, and absence to explore the dialectics between the past and the present, between history and catastrophe, in search of the ethical transformation of self/other, and the colonizer/the colonized.