何處是歸家？－－李維拉之《瑪莉莎》中的空間與倫理

Whereabouts Is Home?-Space and Ethics in José Rivera's Marisol

本文旨在討論波多黎各裔劇作家何塞．李維拉（Josè Rivera）的《瑪莉莎》（Marisol）如何透過描繪世界末日的黑色幽默，檢視都市生態中經濟發展與社會正義的衝突。一九八Ｏ年代紐約的遊民議題觸發了人類歸家的想像，而能代表無遠弗屆、高度發展之文明領地的，究竟是地理空間、浮華物質等資本關係的高度擴延與累積，還是發展相濡以沫、唇齒相依等人類對環境的責任與情義之價值？本論文以列維納斯（Emmanuel Levinas）的「毗鄰」概念為中心，透過空間、倫理、戲劇理論等多元對話來討論《瑪莉莎》一劇所呈現社會空間所曝露出的倫理與知識型焦慮，指出李維拉似乎暗示我們應以「倫理」，而非「理性」，來作為度量神話真理、生活準則的機制。李維拉所點出革命之倫理意涵，正如列維那斯恆動的「正說」中，不斷崩解「已說」所醞釀出來的倫理之革命面向。

This paper discusses the way José Rivera's Marisol, an apocalyptic play characterized by black humor, examines the conflict between economic development and social justice in the depiction of urban ecology. The issue of homelessness, as witnessed in New York in the eighties, begs the question of the eternal home for humanity. Which can better represent an advanced human civilization? The endless accumulation of goods and geographical expansion of capital relations? Or the ability to develop a value that emphasizes giving and sharing and infinite human responsibility over how it dwells? Drawing on spatial, ethical and dramatic theories, the paper specifically frames its argument around Emmanuel Lévinas's idea of ＂proximity＂ in the examination of the ethical and epistemological anxieties evident in social spaces. It thereby points out that José Rivera underlined ethics more than reason in viewing mythological truth and mechanism of life-principles.