Ecological Time in Hayao Miyazaki

Catherine Ju-yu Cheng

doi:10.6153/NTUSLL.201712_(38).0004

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DOI： 10.6153/NTUSLL

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Ecological Time in Hayao Miyazaki's Nausicaä of the Valley of the Wind

宫崎骏《风之谷》中的生态时间

郑如玉(Catherine Ju-yu Cheng)

NTU Studies in Language and Literature ； 38 期 (2017 / 12 / 01) ， P75 - 100

英文 DOI： 10.6153/NTUSLL.201712_(38).0004

Hayao Miyazaki ； Gilles Deleuze ； Henri Bergson ； ecological time ； virtual past ； eternal return ； repetition ； difference ；宫崎骏；德勒兹；柏格森；生态时间；虚拟过去；永恒回归；重复；差异

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摘要 │ 参考文献 (28) │ 国际计量

摘要〈TOP〉

Hayao Miyazaki's Nausicaä of the Valley of the Wind depicts two ways for humans to relate to nature and time. Nausicaä, princess of the Valley of the Wind and the film's protagonist, is initiated into ecological time and becomes the saviour of the world 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 one arm to the giant insects, is determined to use weapons and the remaining Giant Warrior to save/control the world. She treats both the Ohms and their realm, the Sea of Decay, as enemies; she tries to destroy them for the sake of human beings. Locked into the temporality of her technological world, Kushana sees only practical connections; for example, she is influenced by the practical uses of technology and so she uses the Giant Warrior to conquer nature, rather than following the rhythm of nature. These differences point to two kinds of worldviews embodied by Nausicaä and Kushana, respectively. My paper attempts to explore how Nausicaä's active waiting establishes a 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 present fate of the world to trigger a new future. I turn to Deleuze's philosophy of time to help explain 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 not falling into the trap of the foreseeable future. The paper also uses Deleuze's theory to explain how Miyazaki creates a new human-nonhuman relationship. Nausicaä of the Valley of the Wind reflects our bleak situations, continuously damaged by military and ecological cataclysms, and shows us how to remedy the destroyed human-nonhuman relationship. Nausicaä's jump into ecological time and symbiotic relationship with other beings demonstrate that it is possible to avoid replicating Kushana's competitive and technological way of life and to coexist with different beings, a new ecological strategy.

并列摘要〈TOP〉

参考文献 ( 28 ) 〈TOP〉

Miyazaki, Hayao. Dir. Nausicaä of the Valley of the Wind. Toei. 1984. DVD.
Gossin, Pam, and Marc Hairston. “Material and Information about Miyazaki, Nausicaä of the Valley of the Wind, and Anime for the Spring 1999 A&H3300 Class 'Natural Wonders' at the University of Texas at Dallas (1999).” N. p., n. d. Web. 18 Apr. 2016.
Akimoto, Daisuke(2014).Learning Peace and Coexistence with Nature Through Animation: Nausicaä of the Valley of the Wind.Ritsumeikan Journal of Asia-Pacific Studies,33,54-63.
Bryce, Mio,Stephens, John(2003).Japanese Popular Culture and Character Fashioning: The Quest for Subjective Agency in the Animated Films, Nausicaä of the Valley of the Wind and Perfect Blue.International Journal of the Humanities,1,311-21.
Chisholm, Dianne(2007).Rhizome, Ecology, Geophilosophy.Rhizomes: Cultural Studies in Emerging Knowledge,15

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