《生命中不能承受之輕》以眾人被遺棄的姿態出發，聚焦人在面臨騷動的歷史前如何於放逐中存活。小說中角色不斷質疑「非如此不可」──貝多芬弦樂四重奏第135號裡的動機。本文將以音樂與狂歡作為切入視角，關注《生命中不能承受之輕》中的放逐與其後；也就是說，本文探討的是小說中被放逐與自我放逐的狀態。以放逐為題，本文分為兩章：複調音樂式的小說結構與小說中的背叛與狂歡。第一章突顯被放逐的狀態，認為角色建構也解構了複調世界。藉由檢視小說結構如何以複調音樂構築，以及第六章如何作為一篇富含複調特性的媚俗論文，此章揭露了角色被聆聽的渴望，以及媚俗幕後的極權與監視。第二章則著重自我放逐的狀態，頌揚行動式、可自主選擇的放逐而非順從的放逐。藉由檢視角色關係中的背叛、自由、控制，以及每位角色的戴奧尼西式狂歡，此章討論了認同的可能，並擁抱了身為一個存在本身的獨特性。

The Unbearable Lightness of Being (abbreviated to ULB below) starts from the abandoned situation of characters but focuses more on how they live in exile in the face of turbulent history. Characters in the novel restlessly call into question “Es muss sein” (“It must be”), a motto associated with Beethoven’s string quartet opus 135. Through the examination of novelistic structure, physical and psychical betrayals in ULB, the thesis is concerned what is after and beyond exile; that is, the thesis explores both the situations of being exiled and of being self-exiled. With exile as a thematic issue, the thesis is divided into two parts. The first chapter highlights the situation of being exiled and argues that characters are creating and destroying a polyphonic world. Through an examination of the structure of polyphonic music applied in ULB and of Part Six as an essay on kitsch with polyphonic qualities, the chapter exhibits characters’ eagerness to be heard, and detects totalitarianism and surveillance behind the veil of kitsch. The second chapter highlights the situation of self-exile, and celebrates active exile in which people try to govern their lives instead of passively accepting the situation of being exiled. By examining betrayal, freedom, control in relationships, and the Dionysian intoxication of characters, the chapter discusses the possibilities of identification and embraces individuality.

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