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四名蒙面罪犯手持锤子袭击奥克兰加油站店员，行业组织恳求政府紧急行动_我的网站

A |     Sophie 编译 昨天清晨，一名员工遭到了一伙挥舞锤子的劫匪的袭击，一名企业主代表恳求政府紧急颁布新的犯罪法。

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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]
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C |          昨天早上，受害者在医院向便利店和企业主组织的主席Sunny Kaushal讲述了他的遭遇。         Advertise with us          他说，当时他正在Papatoetoe地区Cavendish Drive上的Mobil加油站工作，四名蒙面的年轻罪犯手持锤子进入加油站。         这伙人要求他打开收银机，交出现金、香烟和电子烟。         Kaushal说：“其中一人甚至试图用锤子砸该男子的头部，但没有击中，最终他被击中了肋骨。”          “他现在很疼，手腕也被打到了。”          在袭击了该男子后，这群人拿走了偷的东西，并开着一辆偷来的车跑了。         警方发言人证实，他们是在早上6点16分接到报案的。         “四名男子袭击了一名工作人员，然后偷走了物品并离开了现场。”          “我们已经找到了一辆据信被用于这起抢劫的被盗车辆。”          该发言人表示，尚未找到嫌犯，调查仍在进行中。         Kaushal说，政府需要确保“这些罪犯不会继续掠夺我们的社区和企业主”。         “这些抢劫变得越来越暴力，罪犯们不尊重他人的权利。”          “他们不尊重他人，不尊重法律，也不考虑任何其他后果。”          “当这些工人去上班时，他们不知道自己是否能安全回家，是否会被送往医院，或者是否能再次见到家人。”          上个月，在奥克兰南区Clover Park发生的一起抢劫案中，一名酒铺店员受了重伤。         Chapel Downs Supermarket的经理Bhajnam Kaur告诉Newshub，她看到罪犯拿着六瓶酒离开了现场。         “他甚至没有跑。他只是随意地走向图书馆。

D | ”          Kushaul说，他已经写信给联合政府的三位党魁和新任警察部长，恳求他们采取紧急行动，制止犯罪浪潮。         “现在整个国家都在关注他们，我们希望看到果断的行动。”          “我们希望看到法律和秩序得到修复，社区和企业不应该再像过去六年那样感到恐惧。”          相关阅读：          奥克兰高峰时段发生激烈追逐：逃逸车辆逆行险象环生，两人被捕          奥克兰北岸大超市清晨被抢：警方出动直升机和警犬队追捕，4人被拘          700棵蓝莓树被偷摘，价值5万纽币的青铜雕塑被破坏          奥克兰发生激烈群殴事件，武装警察包围了一栋房屋，一男子被捕          一名男子遭恶性袭击，被抛下码头并按在水下，警方急寻目击者          奥克兰新年夜枪杀案：两人中枪一人身亡，凶杀案调查已展开          奥克兰Avondale发生大火，80名消防员和21辆消防车参与灭火          注：本文为编译/原创，欢迎转发分享；但严禁复制等未经授权的非法使用。违反上述声明者，本网将追究其相关法律责任。使用授权请联系[email protected]。         chineseherald.co.nz All Rights Reserved 版权所有          (责编：Sophie)          相关内容                奥克兰Muriwai发生悲剧，皮卡翻车后压死一名少女，居民呼吁海滩禁车           好热！奥克兰迎来史上第五高温日，全国气温本周将骤降           毛利国王召集的全国大会明天将举行，总理确认不会参加           最新天气：奥克兰持续闷热，基督城高温将至，这个地区或遭遇大洪水           奥克兰高峰时段发生激烈追逐：逃逸车辆逆行险象环生，两人被捕           总理在今年第一次讲话中指明政府的方向：“要扭转混乱的局面”           从中产到娱乐界、政坛名人， 偷窃是心理问题还是道德败坏？           前绿党议员被警方指控两项入店行窃罪，下月出庭。

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