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真不好意思，又來翻這種嚴肅的文章了.....
這一篇的原文是一位Bryan Wilkinson網友於1994.1.20所寫的
原文是為了回應一位Steven網友的文章
由於我沒有Steven網友原來post的文章，所以我把第一段的翻譯做了一點修改
大家想看的話請參考後面附的原文
哇!!這篇文章我實在是不會翻，不過網路上對天空之城的評論實在是太少了
難得有一篇，不翻一下對不起它.....
翻得很糟糕，可能要多看幾次才看得懂.....-_-
PS.文章中的「我」，指的是原作者，不是小弟在下
   歡迎大家對文章的內容發表意見(雖然不是我寫的)
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除了Sheeta在影片結尾時，被剪去小孩子氣的辮子這一幕頗有深意之外，
天空之城還有很多其他的隱含意義。這部電影很直接地點出了「小孩V.S大
人」的情況，同時也暗示了由童年邁進成年的階段。其他富有深意的地方，
還有：1.兩位主角的年紀(十四歲)。2.對Laputa這個「失落的烏托邦」的神
祕追尋(mythic quest)。

Laputa本身在慕斯卡來到之前，是完全純真無邪的。而如我們所見，在Laputa
漸漸被邪惡污染的過程中，它黑暗的一面終於顯現出來了。在影片的後面，
Laputa將會把這些受污染的部份丟棄，然後升上遙不可及的天空中。Sheeta
對慕斯卡的那段獨白，如果從影片開始時Sheeta那種「小女孩」的印象來看，
我們實在很難預期Sheeta會說出那樣的話。同樣的，Pazu犧牲了他承自於父
親的一貫夢想，也讓我們感到很意外。有一點需注意的是，這些事件的發生
，差不多和Sheeta失去她的辮子是同時的。在影片結尾，乘著滑翔機而去的
Sheeta和Pazu，顯然已不再是個小孩子了。我讀過的一篇文章，認為「天空之
城」的一些內涵意義，和「彼得潘」是很類似的，而這篇文章也說，彼得潘
裡的飛行場面，是宮崎駿靈感的來源。我覺得這兩個推測都滿合理的。

那麼，Sheeta和Pazu之間的形成的關係又是什麼呢?他們的關係，就像「未來
少年柯南」裡的Conan和Lanna一樣，是一種能使他們獨立於世界黑暗面之外
的感情，一種說是「愛」，還不如說是家屬親情的感情。這可能也可以視為
是一種「anima/animus duality」的表徵----劇中角色的「另一面」，以一
種「carnate form」的形式表現了出來。(註1)

另外還有一點，就是Sheeta在片中所穿的衣服。在影片的第一個部份，她穿的
是寬鬆的衣服。接著又換成男孩的服裝，偽裝成男孩。後來被慕斯卡抓到，穿
的則是一套白色的長睡袍。
Pazu和海盜們將Sheeta救出來後，海盜頭子Dola Mama給了Sheeta一些她的舊衣
服，不過因為太大了，所以用腰帶來束緊。(在這一幕的背景中，我們看到一張
Dola年輕時的照片(長得很像Nausicaa)，穿著和Sheeta類似的衣服，綁著和
Sheeta一樣的辮子。由海盜們說Dola和Sheeta長得很像來推論，Dola是不是含有
一種「代理母親」之類的涵義呢?我覺得是....)

在這裡，Sheeta的美麗體態第一次展現了出來，這並不是小孩子的身材，應該
是青春期的女孩體型。我很懷疑，這個事實在此之前是不是都被隱藏起來了....

這種說法可以由海盜們對Sheeta的態度，是一種「對女性的態度」來證明。

(很有趣的是，十三歲的Kiki被畫成一副小孩子的模樣。這和「魔女宅急便」的
內容－－成熟過程的「開始」，是很有關係的。「魔女宅急便」這樣的設定，
和「天空之城」中所表現的「與成年時期直接的對立(confrontation)」，形成
了一個對比。)

那麼，那些海盜們有沒有可能是Sheeta和Pazu的「代理家庭」呢? 嗯，這的確
也滿有可能的。

這是我對「天空之城」裡「隱含寓意」的一些看法。

(註1)：「anima」我查字典的解釋是：「男性含有的女性傾向」
       「animus」的解釋則是：「女性含有的男性傾向」
       「duality」自然是「二元性」的意思
        這三個字合在一起的意義，實在是只能意會，不能言傳......  

        另外，「carnate」這個字我查不到耶.....
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Allegory in LAPUTA (Bryan Wilkinson, January 20, 1994) 
WRITTEN & POSTED TO <NAUSICAA@BROWNVM> BY: Bryan Wilkinson, Jan. 20, 1994
EDITED & RE-FORMATTED BY: Steven Feldman, October 30, 1994

     Laputa was Steven's favorite, I believe, so it was a big topic a
while back--in fact, I posted the same interpretation of Sheeta's loss of
her "childish" tails at the end--there are other indications, too.  The
film is, directly, about children vs. adults, automatically suggesting
childhood meeting adulthood.  Secondly, the age of the two (Pazu and
Sheeta) protagonists (14, according to sources).  Thirdly, the mythic
quest for the lost utopia of Laputa.

     Laputa itself seems all innocence until Mooska arrives, and we see,
as it is corrupted, the darker side of Laputa unveiled.  Later, Laputa
will shed this corrupted part and ascend out of reach.  Sheeta's
monologue delivered to Mooska is not something one would expect from the
girl-child introduced at the film's beginning, nor Pazu's sacrificing of
the dream he carries on from his father.  Note that these correspond to
the moment she loses her braids.  The Sheeta and Pazu that fly off in the
glider at the film's end are undeniably no longer children.  One article
I read likened Laputa to Peter Pan in some of these allegorical respects,
and noted on the side that the flight scenes in Pan were of some
inspiration to Miyazaki. . . . I don't think either sounds unreasonable.

     What then, of the relationship that matures between Pazu and Sheeta?
Their bond, akin to the one between Conan and Lanna in Mirai Shonen
Conan, is one that puts them beyond the grasp of the world's colder
aspects, one that is more kindred than affection.  This might also be
regarded as a possible manifestation of anima/animus duality--the
chracter(s)'s "other side" manifested in carnate form.

     One other point is the clothing worn by Sheeta.  In the film's first
part, she wears a loose dress, followed by boy's clothing to directly
diguise her gender, and a loose gown while captive.  When they are taken
on by the Dola clan, Dola Mama gives her some of her old clothes (in the
background we see a painting of a young, Nausicaa-like Dola wearing
similar clothes and the tails, elaborating on the pirates' comments on
her resemblance--is Dola representing a surrogate maternal figure of
sorts?  I think so . . .), which she wears tightly with the aid of a
belt.  Here, for the first time, Sheeta's figure is revealed, and it
isn't the one of a child, but rather of an adolescent.  I seriously doubt
this fact was hidden before then by chance.

     This point is driven home by the air pirates taking a  definitely
sexual notice of Sheeta--I dare anyone to argue with that!  :)

     (Interestingly, Kiki, who is 13, is given a childlike figure, which
seems relevant to her film being one that deals with the BEGINNING of
coming-of-age, in contrast to the direct confrontation with adulthood
represented in Laputa.)

     Are the pirates, then, representing a surrogate family for Sheeta
and Pazu?  This, too, seems a likely posssibility.

     These are some of my thoughts on the allegorical aspects of Laputa.

 --Bryan

--
               各位宮崎駿的同好們               
        快樂夢工場bear.csie.nctu.edu.tw         
        伊莉琴斯bbs.anime.nsysu.edu.tw          
             有可愛的宮崎駿版喔                 

 ～我不是版主，也不是副版主，可是我喜歡宮崎駿～

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