豆瓣Nolan's Odysseus is no Homeric hero, but a guilt-ridden modern who accidentally speaks Confucian: Greek scholar_我的网站
一 |  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] 。 8月26日，“旗手”归位助力沪指重返3900点，券商板块全线躁动，锦龙股份、湘财股份强势封板，长江证券、招商证券、国元证券、广发证券等同步冲高。券商ETF华宝（512000）久违大涨，一举突破10日、20日、半年线等多条均线。 分析认为，进入下半年，市场转向震荡格局。
二 | 券商板块估值性价比高且具备业绩支撑，重获市场关注。
三 | 上市券商中期业绩集体高增。券商ETF华宝（512000）跟踪的中证全指证券公司指数已有25只成份股披露中期业绩，整体净利润同比大增51.16%。头部券商业绩全面超预期，中信证券上半年归母净利润233.43亿元，同比增长69.60%，创历史同期最好水平；国泰海通上半年盈利202.6亿元创新高。 券商估值却处于历史相对低位。截至8月25日，中证全指证券公司指数市净率PB（LF）仅1.25倍，位于近10年13.21%分位点。
四 | 与此同时，大手笔分红+增持回购，上市券商通过“真金白银”释放股价被低估的信号。截至目前，已有10家上市券商公布了中期分红预案，合计拟派现近170亿元。国联民生证券、东吴证券、兴业证券、华安证券等多家券商密集实施增持回购，充分彰显了对公司长期价值的认可。 开源证券认为，一方面，低估值、低配置和资金面因素改善是券商板块具备超额收益的底层逻辑；另一方面，券商板块ROE持续创新高、业务结构持续优化、盈利成长性提升是券商板块估值提升的重要驱动因素。* 华泰证券表示，市场交易活跃度短期降温，资金风险偏好仍有支撑。
五 | 中报窗口下头部券商业绩兑现仍是主线，投行、跟投、直投及国际业务形成增量支撑，板块估值回落。建议把握低估配置窗口。* 券商ETF华宝（512000）被动跟踪中证全指证券公司指数，一键囊括49只上市券商股，是集中布局头部券商、同时兼顾中小券商的高效率投资工具。场外投资者可关注联接基金（A类 006098、C类007531）。 数据来源：沪深交易所、Wind等。截至2026.8.25，锦龙股份、湘财股份、长江证券、招商证券、广发证券在中证全指证券公司指数中的权重占比分别为0.3%、0.53%、1.51%、3.45%、3.34%。
六 | 机构观点来源：开源证券20260802《中央政治局会议稳股市态度积极，看好非银超额》；华泰证券20260823《把握业绩向好下的优质金融机会》。 ETF基金费用相关说明：投资者在申购或赎回基金份额时，申购赎回代理机构可按照不超过0.5%的标准收取佣金，场内交易费用以证券公司实际收取为准，不收取销售服务费。联接基金费用相关说明：华宝中证全指证券公司ETF联接基金（A类）申购费率（前收费）为申购金额200万元（含）以上时1000元/笔，100万元（含）~200万元时0.6%，100万元以下时1%；赎回费率为持有天数7日以下时1.5%，持有天数7日（含）~180日时0.5%，持有天数180日（含）~1年时0.25%，持有天数1年（含）以上时0%；不收取销售服务费。华宝中证全指证券公司ETF联接基金（C类） 不收取申购费，赎回费率为持有天数7日以下时1.5%，持有天数7日（含）以上时0%；销售服务费为0.4%。 风险提示：券商ETF华宝（512000）及其联接基金被动跟踪中证全指证券公司指数基日为2007.6.29，发布于2013.7.15。中证全指证券公司指数2021~2025年年度涨跌幅分别为-4.95%、-27.37%、3.04%、27.26%、2.54%；2021~2025年年度波动率分别为24.46%、23.47%、21.17%、36.95%、20.53%。指数成份股构成根据该指数编制规则适时调整，其回测历史业绩不预示指数未来表现。本产品由华宝基金发行与管理，代销机构不承担产品的投资、兑付和风险管理责任。投资人应当认真阅读《基金合同》、《招募说明书》、《基金产品资料概要》等基金法律文件，了解基金的风险收益特征，选择与自身风险承受能力相适应的产品。基金管理人评估的券商ETF风险评级为R3-中风险，适合适当性评级C3及以上投资者。基金管理人管理的其他基金业绩不构成基金业绩表现保证。基金过往业绩不预示其未来表现，基金有风险，投资须谨慎！销售机构（包括基金管理人直销机构和其他销售机构）根据相关法律法规对本基金进行风险评价，投资者应及时关注基金管理人出具的适当性意见，各销售机构关于适当性的意见不必然一致，且基金销售机构所出具的基金产品风险等级评价结果不得低于基金管理人作出的风险等级评价结果。基金合同中关于基金风险收益特征与基金风险等级因考虑因素不同而存在差异。投资者应了解基金的风险收益情况，结合自身投资目的、期限、投资经验及风险承受能力谨慎选择基金产品并自行承担风险。中国证监会对本基金的注册，并不表明其对本基金的投资价值、市场前景和收益做出实质性判断或保证。基金有风险，投资须谨慎。责任编辑：杨红卜。 Current article:http://3rg.tandianxiuzhutiaoshoudiamei.pics/jxunl9k/f9vbgjf.html Published on:14:26:01 |
