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中文論文名稱 衝突抑或共生:宮崎駿動畫電影中的野性、共生與泛靈論
英文論文名稱 Conflict and/or Symbiosis: Wildness, Symbiosis, and Animism in Miyazaki 's Animated Films
校院名稱 淡江大學
系所名稱(中) 英文學系碩士班
系所名稱(英) Department of English
學年度 97
學期 1
出版年 98
研究生中文姓名 曾德嘉
研究生英文姓名 Ter-Chia Tseng
學號 694010348
學位類別 碩士
語文別 英文
口試日期 2009-01-15
論文頁數 104頁
口試委員 指導教授-楊鎮魁
共同指導教授-包德樂
委員-黃逸民
委員-談玉儀
中文關鍵字 環境倫理  生態論述  野性  共生  泛靈論 
英文關鍵字 environmetal ethic  ecocriticism  wildness  symbiosis  animism 
學科別分類 學科別人文學語言文學
中文摘要 近年來,因為環境破壞日益嚴重,生態議題已被高度重視及討論。而許多學者開始投入生態論述研究。生態論述旨在探索人與環境間的關係以及尋找環境被破壞的根源及解決之道。環境破壞的原因主要是出於對待環境的錯誤態度以及對自然資源的濫用。近來,生態電影在呈現生態多樣概念上建立了重要的地位。揚名全球的日本動畫導演宮崎駿在電影中傳達了他對環境的關懷以及他的生態意識,尤其強調人與自然野物的關係。
此論文旨在探索他動畫電影中的多面生態意識。當中包括了野性的價值、共生的重要性以及從原住民所抱持的泛靈觀點來討論他電影中的潛在意涵。第一章將探討梭羅高度重視的野性概念。野性是組成自然不可或缺的元素,而在宮崎駿的電影中,野性的生命力展現在主角們的護生行動與態度。第二章則透過人類角色與非人類角色的互動來討論人與自然的衝突以及共生。共生概念的重要突顯由人類與自然野物衝突所造成的嚴重後果,共生的觀點在此被視為環境破壞的因應之道。而第三章則檢視原住民所抱持的泛靈觀點是如何影響他們與環境的和諧相處。由泛靈觀點所延伸的靈性生態學使得原住民對於土地抱持的尊敬態度並與之和協共生。在宮崎駿的電影中,從角色對於神靈及自然野物的尊敬態度傳達出他的泛靈觀點。主角們對於萬物所抱持的尊敬態度使的他們能與環境和平相處。探討的動畫主要包括了<龍貓>、<魔法公主>以及<風之谷>,並輔以其他作品來說明主要論點。
英文摘要 In recent years, environmental issues have been highly noticed and discussed since our environment has been abused seriously. Many scholars and critics have launched into the field of ecocriticism. Ecocriticism deals with the relationship between man and the natural environment and attempts to find a solution to the environmental crisis. The cause of the crisis in our environment is attributed to the improper manner we have toward nature and unrestrained exploitation of natural resources. Recently, animated films with ecological consciousness have played an important role in the representation of different aspects of ecological concepts. Hayao Miyazaki, a world acclaimed Japanese animation director, expresses his ecological awareness and his concern for the environmental issues in his films. In addition, the relationship between man and natural beings is also strongly stressed.
The thesis aims to explore different phases of ecological consciousness in his animated films. The discussion will set out from the perspectives of the value of wildness, the significance of symbiosis, and the animistic view indigenous societies maintain, which leads to their harmony with natural environment. In the first chapter, wildness, which is highly valued by Henry David Thoreau, is considered to be a fundamental element of nature. With the description by Miyazaki, the life force of wildness is mainly manifested through the preserving of life by the leading characters. In the second chapter, the conflict and symbiosis between man and nature will be discussed through the interaction between human characters and nonhuman characters in the films. The significance of symbiosis is brought out from the serious consequence of conflict between humans and natural beings. The symbiotic viewpoint is regarded as the solution to the depletion of the environment. In the third chapter, the animistic view, a universal concept of indigenous communities, that considers all things are alive and ensouled will be examined. A spiritual ecology derived from the animistic view leads the indigenous people to respect their land and live harmoniously with it. In Miyazaki’s films, the animistic and spiritual view is conveyed through the reverence the characters give to the deities and other natural beings. The respect for all natural beings leads the characters to live harmoniously with/in their surroundings. The discussion of ecological issues will focus mainly on the three pieces: My Neighbor Totoro, Princess Mononoke, and Nausicaä of the Valley of Wind. His other works will be mentioned to support the main arguments.
論文目次 Table of Contents

Introduction ……………………………………………………………………1
Chapter One The Life-force and Destructive Power of Wildness: A Self-sustained, Autonomous, and Free Strength…………17
Chapter Two Dissolving Conflict for Symbiosis:
Being Harmonious with All Things in Nature………………40
Chapter Three All Things Are Sacred:
An Ecological, Respectful, and Harmonious Relationship
with Spiritual Beings…………………………………………70
Epilogue …………………………………………………………………97
Works Cited …………………………………………………………………101
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