石黑一雄的《別讓我走》是由凱西的第一人稱敘述回憶她與昔日好友在一個名為「海爾森」的寄宿學校的過往種種。海爾森的學生其實是複製人, 但他們接受與一般人一樣的教育。雖然他們的命運在他們出生前早已注定：他們將捐獻數次他們的器官直到他們的「終結」。借由凱西的敘事, 學生們的自我認同在一般人與複製人之間掙扎,往往賺取讀者的同情眼淚。藉由回憶過去的過程, 這些學生們的主體性也跟著建立，同時也讓他們能夠沈浸於他們的幻想世界中。因此, 此論文從探索他們主體性的角度切入, 和他們想像中理想的世界是如何被建造。此外，本論文也探討石黑一雄的敘事技巧, 藉此操縱讀者對複製人的認知, 同時也展現他們的生命猶如人一生的縮影。本文, 藉由拉岡的主體理論檢視敘事者的回憶過程, 也把回憶敘事當成阿倫特在《人的境況》中的「政治行動」：凱西的回憶過去的過程同時展現她的主體性, 宣揚人之所以為人的獨特性還有行動的能力。此論文將更進一步探討石黑一雄的小說技巧 ，看他如何吸引讀者目光，使讀者與小說中的角色相互類比，藉此反思藝術物化在他的小說中或者是我們生活中如何展現。本論文序言回歸到科幻小說傳統後人類的角度, 試圖為石黑一雄的小說定位。第一章, 本文將重點放在阿倫特的行動理論和小說回憶過程之間的關係, 且筆者認為這對現在主體在建造自己幻想中的烏托邦是不可避免的過程。本文回歸到柏拉圖和他的擬仿的概念乃至於阿倫特在《人的境況》中的行動理論。第二章探討想像的烏托邦如何在異化世界被建構, 藉由海德格和拉岡的主體理論, 本文探討複製人如何變成異化的主體。第三章, 此論文深入探討藝術家 藝術品和藝術間的關係如何在小說中展現，最後試圖藉由海德格的藝術理論和石黑一雄小說中的藝術行動為小說角色定位，本論文總結凱西的敘述本身即是藝術, 且它呈現敘事者的主體性與真理。

Kazuo Ishiguro’s Never Let Me Go is narrated through Kathy H.’s first person point of view as she recollects her memories with her friends in an extraordinary boarding school named Hailsham. The students in Hailsham are human clones, and they are taught and nurtured as children of natural birth, differentiating them from the other clones in the novel. Although all the clones’ destiny are pre-destined by humans—donating their organs until their ‘end,’ through Kathy’s first person narrative, readers become associate and sympathize with students of Hailsham as they struggle between the identity of a natural birth human being and a clone. Through Kathy’s processes of recollecting her memories, these students’ subjectivities are built. It also creates for them an imaginary space where they can dream and fantasize. Therefore, the present thesis will begin with an investigation into the formation of subjectivity along with the establishment of the imaginary ideal world in this novel. Furthermore, this thesis is also interested in how Kazuo Ishiguro’s narrative strategies manipulate his reader judgment of the clones, allegorizing the clones’ destiny as the epitome of human lives. This thesis aims to examine the processes of reminiscing in its relationship to representation theories raised by Lacan on his idea of the subject, and claim Kathy’s attempt to record their childhood memory at Hailsham is in itself a political action in terms of Hannah Arendt’s human condition. Kathy’s recollecting memories processes can be regarded as a quest for building up her subjectivity, echoing the uniqueness of human beings who take action. With these theoretical aspects I hope to explore further on the craftsmanship of Kazuo Ishiguro on his writing of this novel. How does he draw his readers into the world of the clones, parallel the human condition with that of the clones, and by thus, rethink of the purpose and effect of artistic reification. This thesis begins with an introduction to my own reading of this novel that I will return to science fiction tradition on the post-human view to see how this novel differentiates itself from others. In first chapter I will focus on Arendt’s action theories and the memories recollecting processes. I regard this as an inevitable procedure for modern subjectivities as they attempt to reach the ideal in their imaginary utopia/ustopia. I will begin by resorting to Plato and his idea on mimesis, and looking into Arendt’s action theory in The Human Condition. In the second chapter, I will investigate how does the imaginary utopia work in the alienated world. Ishigurean characters are nonetheless subjects inescapable from death. I will make use of Heidegger and Lacan’s idea on the subject to discuss how being brought up in Hailsham, the clones become alienated from the norm. In chapter three, I delve into the relationship between artist, artwork, and art in Never Let Me Go. Finally, this thesis attempts to relocate Ishigurean characters by interweaving Heidegger’s art theory with Ishiguro’s innovative narrative strategy, and concludes that Kathy’s first person narrative is an art that in turns sustains the truth and subjectivity of its narrator.

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