英文摘要 |
Hayao Miyazaki’s Nausicaä of the Valley of the Wind depicts two ways for humansto relate to nature and time. Nausicaä, princess of the Valley of the Wind and thefilm’s protagonist, is initiated into ecological time and becomes the saviour of theworld because of her sympathy, empathy, and love for others, including the Ohms—giant insects. On the other hand, Kushana, the princess of Tolmekia, after losing onearm to the giant insects, is determined to use weapons and the remaining Giant Warriorto save/control the world. She treats both the Ohms and their realm, the Sea ofDecay, as enemies; she tries to destroy them for the sake of human beings. Lockedinto the temporality of her technological world, Kushana sees only practical connections;for example, she is influenced by the practical uses of technology and so sheuses the Giant Warrior to conquer nature, rather than following the rhythm of nature.These differences point to two kinds of worldviews embodied by Nausicaä andKushana, respectively. My paper attempts to explore how Nausicaä’s active waiting establishesa new symbiotic relationship with the Ohms and their lands, the Sea of Decay,and also allows her to embody the ancient prophecy by incorporating it into the presentfate of the world to trigger a new future. I turn to Deleuze’s philosophy of time to helpexplain how Nausicaä’s mode of repetition and waiting initiates her into ecological time,how the film provides lessons on preventing the tyranny of doomed repetition and notfalling into the trap of the foreseeable future. The paper also uses Deleuze’s theory toexplain how Miyazaki creates a new human-nonhuman relationship. Nausicaä of theValley of the Wind reflects our bleak situations, continuously damaged by military andecological cataclysms, and shows us how to remedy the destroyed human-nonhumanrelationship. Nausicaä’s jump into ecological time and symbiotic relationship with other |