德勒茲 (Gilles Deleuze)認為虛擬 (the virtual) 和現實 (the actual)組成實在 (the real)。 我們無法用再現(representation)呈現不斷變化中的虛擬。虛擬產生可再現的現實，這個過程叫做現實化。在這篇論文裏，我探討翁達傑 (Michael Ondaatje) 六部作品裏隱和現的藝術。「隱」指的是他的人物試圖隱藏自己，逃脫資本主義社會裏人被物化和主體化的困境。「現」指的是探尋遭再現所扭曲的虛擬，透過這層理解進而改造社會，使人們不必再試圖逃避資本主義社會對人的物化和主體化。這一篇論文所處理的六部作品呈現出翁達傑學習隱/現的藝術。
　　在＜比利小子合集(The Collected Works of Billy the Kid)＞和＜穿越斯羅特(Coming Through Slaughter)＞這兩本書裏，兩個主角都試圖逃離資本主義社會對人的物化和主體化。由於他們都只是透過再現來理解世界，他們只是從一個地方逃到另一個地方。雖然他們的動物本能傳達了一些超乎再現的訊息給他們，他們並沒有重視這些訊息。他們對世界的認知止於再現，也沒有探究虛擬這個可能。 到＜家傳(Running in the Family)＞一書我們終於看到能夠不被資本主義社會物化和主體化的人物。 敘述者和拉拉 (Lalla)對世界的認知都不受再現所侷限。 同時，人物間的溝通也使這些試圖不被物化的人們不會因為孤單，而屈服於資本主義。 在前兩部書裏，作者便已運用不同的媒介。此處作者藉由說故事來重塑他的父親，顯示出他已經更能夠運用不同的媒介來探觸遭再現所扭曲的虛擬。在<以獅為皮 (In the Skin of a Lion)>這一本小說裏，作者透過更具體的方式呈現出如何使個人對世界的認知不受再現所侷限。他也處理到改造社會的必要。<英國病人 (The English Patient)>呈現跳脫身份認知和跳脫再現的不同方法。從英國病人穿越時空的能力，以及他對其他人物的影響，我們可以清楚看到作者已經掌握了隱和現的藝術。英國病人所提出的萬物一體的觀念，在＜阿尼爾魂(Anil’s Ghost)＞裏成為改造社會的主要武器。透過對結尾那兩尊菩薩這種萬物一體的描述，作者提出他終結斯里蘭卡內戰的藥方。這場資本家所促成的戰爭之所以無法終結，正是因為人們在認知這個世界時，無法跳脫再現的侷限。
　　結論部份我討論這六部作品裏隱/現的藝術和愛的關連，和生命藝術的關連，以及讀者的角色。

　　For Gilles Deleuze, the real consists of the virtual and the actual. The virtual is pre-representational and constantly changing. The process by which the virtual becomes static representation is actualization. When I talk of Ondaatje’s art of dis-appearance, I mean that his characters learn to escape from capitalist subjectification and objectification, to make the virtual eclipsed by representation appear, and to reshape reality so that escape becomes unnecessary. In the six fictions by Ondaatje there is a progress in the author’s learning following this order.
　　In The Collected Works of Billy the Kid and Coming Through Slaughter, the heroes want to escape from capitalist subjectification. They take spatial flights. Because they do not go beyond their perception of reality through representation, they do not successfully explore the possibility of the virtual even though they have sensed the inability of representation to represent reality through their experience of animality. We have the first successful escapees from capitalist subjectification in Running in the Family. The narrator and his aunt, Lalla, are both able to transcend representation. Through the narrator’s connection to his relatives in Sri Lanka, we see that the author has found a way to meet the problem of lonely escapees in the two earlier fictions. Through storytelling we see that the author has found better materials than represented facts for him to approach the virtual. In the Skin of a Lion shows more concretely how a change of one’s habitual way of perceiving reality can help one approach the pre-representational. It also foregrounds the necessity of reshaping society. The English Patient shows us different ways to escape from identity and demonstrates through the patient’s traveling beyond represented space and time that our author has mastered the art of dis-appearance. The patient claims his belief in the communal body. This concept of the communal body is taken up again in Anil’s Ghost, which is mainly a study of how one can reshape society so that the Sri Lankan war, run by capitalists, can be stopped.
　　In the Conclusion part, I discuss the connection between love and the art of dis-appearance, the connection between the art of dis-appearance and the art of life, and I see Ondaatje’s readers as learners of the art of dis-appearance.

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