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Nolan's Odysseus is no Homeric hero, but a guilt-ridden modern who accidentally speaks Confucian: Greek scholar_我的网站

一 |     　　为打击非法买卖人民币的活动，维护人民币信誉，保护消费者合法权益，促进货币文化活动健康发展，根据《中华人民共和国人民币管理条例》及《国务院办公厅关于禁止非法买卖人民币的通知》（国办发明电〔1997〕28号），现就有关事项公告如下：　　一、禁止任何单位和个人买卖人民币，以下情形除外：　　（一）经中国人民银行公告停止流通的人民币，自停止流通之日起可以买卖。    

    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]
。　　（二）纪念币可以买卖。纪念币包括普通纪念币和贵金属纪念币，普通纪念币包括纪念硬币和纪念钞。

二 | 普通纪念币在面向公众兑换前不得以任何方式进行买卖。　　（三）中国人民银行规定的其他情形。　　二、买卖纪念币、停止流通的人民币，应当遵守市场监督管理和人民币管理相关法律法规，遵循诚实、守信、自愿、公平原则，销售信息必须真实、准确，不得进行虚假宣传，不得夸大收益、对未来收益作出保证性承诺、明示或者暗示保收益无风险等，不得通过买卖人民币从事洗钱活动、开展非法集资等非法金融活动，或为其提供便利。　　三、装帧纪念币、停止流通的人民币，应当标注装帧单位名称。未经中国人民银行授权，不得在生产、销售中使用中国人民银行行名、标识、行长签名等。　　四、制作纪念章、纪念券、纪念金等工艺品，不得使用中国人民银行行名和货币单位，不得在销售过程中误导消费者认为此类商品是人民币或者销售方为中国人民银行，不得使用中国人民银行及其工作人员等名义进行宣传。　　五、非法买卖流通人民币，由市场监督管理部门和其他有关行政执法部门依照《中华人民共和国人民币管理条例》第四十三条等规定给予处罚。

三 | 非法买卖人民币涉嫌欺诈、诈骗的，依情节轻重由相关部门依法追究法律责任。　　六、中国人民银行分支机构会同当地市场监督管理部门按《国务院办公厅关于禁止非法买卖人民币的通知》和本公告要求，对当地买卖人民币活动进行清理整顿。对网络交易平台内买卖人民币活动的清理整顿，按照市场监督管理部门关于网络交易平台违法行为管辖权的有关规定，由平台内经营者实际经营地或平台经营者住所地中国人民银行分支机构及县级以上市场监督管理部门负责。　　七、银行业金融机构及其从业人员违反国家法律、法规，利用职务工作之便支持、参与人民币的非法买卖活动的，依法依规予以处理。　　八、买卖外国货币和港、澳、台等地区货币，涉嫌违法违规的，按照外汇管理规定给予处理。

四 | 　　九、本公告由中国人民银行会同国家市场监督管理总局负责解释。　　十、本公告自2026年9月1日起施行。中国人民银行、国家工商行政管理局《关于贯彻落实〈国务院办公厅关于禁止非法买卖人民币的通知〉的通知》（银发〔1997〕399号）和《中国人民银行 国家工商行政管理总局公告》（〔2016〕第14号）同时废止。中国人民银行市场监管总局2026年7月27日。

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