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    Illustration: Liu Rui/GTChristopher Nolan's new film has attracted considerable attention from audiences and critics around the world. Particularly interesting is its reception in China, where the Beijing premiere provided the occasion for a conversation between Nolan and the Chinese political philosopher Zhong Shu. 
We shall first consider some of the positive and negative appraisals of the film, before turning to its significance for Chinese viewers and, more broadly, to possible comparisons between the philosophical and cultural traditions of East and West. This commentary draws primarily on reviews by Emily Wilson in the London Review of Books and in The Atlantic, and Daniel Mendelsohn in the New York Review of Books, as well as on questions raised by Zhong Shu.
It should first be acknowledged that Nolan has produced an impressive action movie, condensing and abridging most of the major episodes of Odysseus' adventurous journey back to Ithaca. Avoiding digital technology based on artificial screens, he gives the story an unusually tangible quality. 
The film also benefits from a distinguished cast, whose performances illuminate the different strands of the narrative as conceived by the director. At the same time, the viewer is invited to reconstruct the complex temporal layers of the epic, extending from the fall of Troy to Odysseus' homecoming (nostos), his reunion with Telemachus and Penelope, and the harsh punishment of the suitors.
Many objections concerning anachronisms in costumes and armor, the use of American English, details of the Mycenaean or Archaic periods, or the casting of particular characters seem unfair. Some degree of anachronism is inevitable, and the pursuit of historical or textual fidelity would ultimately be futile. Nolan was obliged to omit or substantially rework parts of the original narrative in order to fit it into a three-hour film. Some omissions are nevertheless regrettable -- notably the treatment of the Cyclops episode and Odysseus' descent into the Underworld, as well as the complete omission of the Phaeacian episode and his encounter with Nausicaa.
There are, however, more serious grounds for concern with regard to the central idea underlying Nolan's reinterpretation of the Odyssey. In his attempt to convey a modern moral message largely alien to Homer's world, Nolan presents an Odysseus who has surprisingly little in common with the "complicated" (polytropos) man depicted by the ancient poet. The ethical ambiguities of a shrewd and resourceful character, ready to deceive and to commit violence in pursuit of his ends, are largely absent from Matt Damon's Odysseus. Instead, we encounter a hero repeatedly tormented by guilt for atrocities perpetrated or condoned during the Trojan War and consequently seeking some form of atonement.
Zhong Shu is therefore justified in asking Nolan whether he intends to "Christianize" Odysseus. The filmmaker seems to have moved him, almost imperceptibly, from what anthropologists have described as a "shame culture" -- the world of Homer, in which honor and fame, as perceived by others, are of central importance -- to a "guilt culture," characterized by an internalized sense of responsibility and remorse for wrongdoing. This latter moral orientation emerges with classical Greek ethics, particularly with Socrates and Plato, and reaches its fullest expression in Christian and post-Christian conceptions of morality.
Nolan appears to believe that such a transition toward guilt follows naturally once we recognize the force of a commitment to "Zeus' law," particularly in the obligations of mutual hospitality (xenia). He connects these obligations with a version of the "Golden Rule," understood as a principle of reciprocal respect in our treatment of others. 
This, however, is problematic as a construal of Homeric morals. Early variants of the Golden Rule can be found from the fifth century BC onwards in Democritus and Isocrates, and later in Epictetus and, of course, in the teachings of Jesus. More importantly, the moral conscience Nolan attributes to Odysseus not only "Christianizes" him; it arguably "Kantianizes" him as well. "Zeus' law" is presented almost as a universal proto-categorical imperative, something that could readily be endorsed by Kant. This differs significantly from the ancient injunction against hybris: the warning against excessive pride, the transgression of human limits, and the violation of the divine and cosmological order that we encounter throughout Homer's epics.
One may, of course, concede to Nolan the artistic right to create his own Odysseus: a depressed war veteran, conscious of the dangers of violating moral rules, and concerned with preserving the normative foundations of civilization. The difficulty lies elsewhere. Nolan's attempt to accommodate this new hero and his moral psychology within the narrative framework of the original Odyssey is not entirely successful. The result is a tension between the Homeric story the film seeks to reconstruct and the modern moral drama superimposed upon it. This tension, I believe, accounts for much of the film's weakness.
When we turn, however, to the horizon of the Chinese tradition, a more intriguing possibility emerges. The moral dimension of Nolan's Odysseus may be closer to certain aspects of Confucian thought than to the Homeric model. Confucian relational role ethics can be interpreted as encouraging a form of moral self-consciousness in which responsibility, integrity, and the cultivation of the self become increasingly internalized. In this qualified sense, one might speak of a movement from "shame" towards something resembling a "guilt" culture.
The Golden Rule is also prominent in Confucian teaching. Furthermore, the demand to examine and rectify one's conduct in accordance with yi (righteousness), while cultivating ren (benevolence or humaneness), can be understood as pointing toward a more inward and spiritual form of the Greek nostos: a return not simply to one's geographical home, but to one's moral center, situated within a network of relationships.
In addition, Nolan's relative downplaying of divine intervention, and his tendency to integrate the divine dimension into a more naturalistic moral order, may make his construal more congenial to the practical ethos of Chinese philosophy than to a worldview grounded explicitly in metaphysical theology.
There is, therefore, a certain paradox. Although Nolan's film may be criticized as an interpretation of Homer, its very misreading of the epic may enable it to contribute to a dialogue between East and West. By transforming Odysseus into a figure whose moral conscience combines Christian, Kantian, and perhaps unexpectedly Confucian elements, Nolan brings into contact traditions that otherwise belong to very different intellectual worlds. His Odyssey is not true to Homer's spirit. But precisely for this reason, it raises questions about how different civilizations understand responsibility, moral identity, the relation between the individual and the community, and, ultimately, the meaning of returning home.
The author is a Professor Emeritus of Philosophy with the National and Kapodistrian University of Athens and Secretary of the Center of Greek and Chinese Civilizations. [email protected]
。    今年以来，抚顺市交通运输局坚决贯彻市委、市政府全面振兴新突破三年行动部署要求，团结带领交通运输系统广大干部职工聚焦主责主业，服务发展大局，咬定目标、拼抢争实，牢固树立“项目为王”理念，积极抢抓政策机遇，攻坚冲刺四季度，努力完成全年目标任务，奋力当好开路先锋。         　　市交通运输局全面对标对表上级要求，细化专班职责，强化工作联动，形成齐抓共管、各负其责、主动作为的工作格局。同时，进一步强化拼抢争实意识，建立了一级抓一级、层层抓落实工作模式以及“日跟踪、周统计、周调度”工作机制，持续强化多部门工作联动，及时化解项目推进中遇到的各类困难。         　　抚顺市交通运输局党组成员、副局长赵永强说：‘市交通运输局将坚决贯彻落实全市冲刺四季度打赢攻坚战动员部署落实会议和抚顺市全面振兴新突破三年行动领导小组争先进位工作部署会议精神，咬定目标不放松，全力冲刺四季度，实现全年“争先进位”，奋力打赢攻坚之年攻坚之战。’          　　进入四季度，沈白高铁项目取得关键性突破，实现全线路基、隧道、桥梁贯通。10月11日开始铺轨，抚顺、新宾高铁站主体完成，预计明年9月底建成通车；沈白高铁配套项目加速实施，站东街道路穿越既有沈吉铁路工程已全面贯通，抚顺站综合交通枢纽按照一体化、零换乘理念正在开展地下室、落客平台施工建设，长春街道口平改立工程正在快速推进，整体项目将与沈白高铁同步建成投入使用；通武线改扩建工程经过了近2年的施工，已建成通车；东环公路全线路基贯通；五道沟岭隧道工程年内实现隧道贯通。

二 |          　　接续建好“四好农村路”，聚焦打造美丽农村路，新建改造农村公路278.1公里，超额完成省工作实绩考核任务，创建美丽乡村路333公里。清原、新宾绕城公路、龙岗山滑雪场配套公路以及福运满乡文旅路前期手续快速推进。整体路网布局持续向好、向优，极大方便百姓出行，助力全市经济社会发展。

三 |          　　市交通运输局还着力助企纾困，以“四下基层”为抓手，深入企业，协调解决企业运转遇到的各类问题，强力推进大规模设备更新，推动公交、出租、货运等行业健康稳定发展、平稳运行。积极研究推进交通运输领域智慧系统建设，推动行业治理往信息化、智能化方向转变。全面落实国务院安委会十五条措施，采取网格化方式深入开展道路交通安全生产专项整治三年行动，坚决守住安全生产底线。

四 |          　　接下来，全市交通运输系统将全力抓好全年各项工作收官和明年工作谋划，围绕道路运输、城市客运、公路运营、工程建设等重点行业领域，持续完善安全管理和应急管理体系；强力调度经济指标，千方百计助力经济指标争先进位；深度谋划项目，加深项目前期研究，为争取上级政策支持创造条件。按照构建“通道+枢纽+网络”综合立体交通网布局要求，加速启动“十五五”项目规划编制。         　　抚顺市交通运输局党组成员、副局长赵永强说：‘我们将始终怀揣“时时放心不下”的责任感，全力聚焦全面振兴新突破三年行动目标任务，持续发扬攻坚克难、拼抢争实精神，举全局之力，接续做好全方位统筹调度，积极主动与上级沟通争取，为项目落实落地提供政策和资金支撑，高起点、高标准谋划明年工作，确保开好局、起好步，助力交通运输领域高质量发展，不断增强百姓出行的获得感、幸福感、安全感。

五 | ’                     责任编辑：李丹。

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