本文認為，次要人物透過他們的行動力 (Agency) 和微妙的反動 (Rebellion) ，成為反烏托邦文學中的烏托邦核心。敘事中小人物的外圍「人物空間」 (Character-Space) 以碎片化的症狀 (Symptoms) 來表達。本文透過法國馬克思主義者路易斯·阿圖塞提出的症狀閱讀 (Symptomatic reading) ，關注文本的潛在預設，特別強調文本因其意識形態信念而無法壓抑的內容，分析了20世紀中期的極權 (Totalitarianism) 社會中邊緣人物的力量。二十世紀的開創性作品：喬治·歐威爾的《一九八四》、奧爾德斯·赫胥黎的《美麗新世界》和雷·布拉德伯里的《華氏451度》。某些次要角色策略性地遵守反烏托邦設計，同時懷有反動的議程，表現出比主角更大的抵抗潛力反烏托邦政權。本文檢驗了他們的言論、行動和對壓迫制度的抵抗，挑戰了某些次要人物及其功能的傳統觀點，以及他們對反烏托邦敘事中主角的影響。作為反烏托邦作品中的次要角色，他們並不是作為一個個體發揮作用，而是代表一個群體。分析這些次要人物微妙的抵抗項目，可以讓反烏托邦讀者在敘事結構中見得彼得·塞弗斯 (Peter Seyferth) 所說的「反烏托邦的烏托邦核心」 (Seyferth 7) 。本文認為，次要人物在反烏托邦小說中作為希望的管道出現，表現出的抵抗形式往往超越中心人物，並且他們的抵抗在中心人物退出時與中心人物融合在一起。

This thesis argues that minor characters stand as the utopian nucleus in dystopian literature through their agency and subtle rebellion. Minor characters’ peripheral “character-space” in narratives finds expression in fragmentary symptoms. Through symptomatic reading, proposed by French Marxist Louis Althusser, focusing on the text’s underlying presuppositions, special emphasis on what a text is unable to represses due to its ideological conviction, this thesis analyzes the potency of peripheral characters within the established totalitarian societies in mid-twentieth century seminal works: George Orwell’s Nineteen Eighty-Four, Aldous Huxley’s Brave New World, and Ray Bradbury’s Fahrenheit 451. Certain minor characters strategically comply with the dystopian design while harbor their rebellious agenda, demonstrating an even greater potential than the central characters to resist the dystopian regimes. The examination considers their speech, actions, and resistance against the oppressive systems, challenging conventional views of certain minor characters and their function along with their impacts on the protagonists in the dystopian narratives which present them. As minor characters in dystopian works does not function as an individual but represent a body of people. Analyzing these minor characters’ subtle resistant projects grant dystopian readers a view of what Peter Seyferth calls the “nucleus of utopia in dystopia” (Seyferth 7) within the narratives. This thesis argues that the minor characters emerge as conduits of hope in dystopian fiction, exhibiting forms of resistance that often surpass those of the central protagonists, and their resistance merges with the central characters upon their exits.

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