本文以遺忘為起點，探討《追憶似水年華》中向前（未來）創造的回憶，而非向後（過去）重複的回憶。回憶與遺忘素來相互對立，然而在此作中它們卻形成生產關係。敘事者往往從遺忘中突然憶起往事，這一方面切斷了回憶綿延的連續性，另一方面，從遺忘中產出的回憶，使遺忘不僅止於「虛無」，轉而肉身化成創造性的回憶。通過分析此作，本文嘗試證明遺忘對創作的促成，使遺忘不再是必須排除的「記錯了」，而是另一種觀看世界的方式；並進一步指出，遺忘的特質如何使藝術作品產生共通性。藝術作品迫使觀眾離開（遺忘）各自習慣的世界，經由他人之作，重返對自我及作品的雙重領悟，由是完成一個經由差異而重返共通世界的過程。遺忘作為一種使人脫離自我成見的方法，作為回憶的斷裂與重構，能開發更豐沛的世界意象，並以創造性的回憶呼應人與世界的認識關係。

This article begins with the concept of forgetting to discuss memory as a force of creation that turns toward the creative memory (associated with the future), rather than one that looks back to the repetitive memory (associated with the past) in Marcel Proust’s A la recherche du temps perdu. While remembering and forgetting are conventionally antonymous, the two processes are formed here in this work to formulate a creative relationship. Proust’s narrator often recalls the past suddenly from forgetting, and this interrupts the continuum of the memory. However, the memory, derived from forgetting, renders forgetting as not only “void,” but also an embodied creative memory. Trough the analysis of the text, the paper attempts to argue that forgetting leads to a form of creation in Proust’s text: it is no longer the “false memory” to be excluded, but rather another way of seeing the world. Moreover, the author further demonstrates how the characteristics of forgetting make artworks produce an open community. Te artwork forces the audience to leave (forget) his or her habitual world, and, through others’ works, reestablishes a double understanding between works and self, which completes the movement from individuality to an open community of the world. As a manner of making one shed his or her own individuality, forgetting serves as the rupture and reconstruction that create a fuller world image by correlating human beings with the external world through creative memory.