宮崎駿的《風之谷》描繪了兩種人類對應自然和時間的方式。動畫中的主角是風之谷中的公主娜烏西卡。由於她對人類與王蟲富含同情心、同理心與愛，她得以進入生態時間，並成為整個世界的拯救者。另一方面，托爾梅基亞的公主庫夏納失去一隻手臂後，決定使用武器和剩下的巨神兵來拯救／控制世界。她視王蟲與腐海為敵人；為了人類，她試圖摧毀它們。被困在服膺科技的時間性中，庫夏納只看到實際的聯繫；比如她受科技實際運用的影響，利用巨神兵征服大自然，而非跟隨自然的節奏與之共存。這些差異分別指向娜烏西卡和庫夏納所體現的兩種世界觀。我的論文試圖探討娜烏西卡的積極等待如何與王蟲和腐海建立起一種新的共生關係，同時也讓她體現了古代的預言，將它融入當今世界的命運中，催生了一個新的未來。透過德勒茲的時間哲學，本文希望能解釋娜烏西卡的重複和等待如何引領她進入生態時間，以及電影如何提供教訓，防止注定會重複的暴政，避免陷入可預見的未來陷阱。本文還運用德勒茲理論來解釋宮崎駿是如何創造一種新的人與非人的關係。《風之谷》反映了人類的生存狀態，也向我們展示如何彌補人與非人之間被破壞的關係。娜烏西卡跳入生態時間以及與其他生物共生的關係表明人類有可能避免複製庫夏納的競爭性的和服膺科技的生活方式，轉而創造出與不同生物共存的新的生態策略。

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.