同桌的你Nolan's Odysseus is no Homeric hero, but a guilt-ridden modern who accidentally speaks Confucian: Greek scholar_我的网站
一 | “保”驾护航 “救”在身边 ——保育员急救技能评比 昆山市花桥中心幼儿园 为了进一步提高保育员面对突发事件的急救能力和应急意识，加强保育员对幼儿护理的准确性，确保幼儿的健康和生活环境的安全。12月6日下午，我园开展了“‘保’驾护航，‘救’在身边”保育员急救技能评比。  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] 。 赛前重培训 在评比之前，我们开展了急救技能知识专题培训，通过PPT讲解、示范操作等方式介绍了气管异物梗阻、鼻出血等发事件应急处理的方法，加强了保育员对幼儿急救技能的了解和掌握。 实操显身手 比赛开始前，主持人宣读了比赛流程及比赛注意事项，由徐园长、胡主任、保健医生担任此次比赛的评委，希望每一位保育员积极参与、认真对待！ 海姆立克急救法 “海姆立克急救法”是保育员们必须掌握的一项急救技能。当异物不慎被孩子吸入呼吸道，停留在呼吸道让孩子不能呼吸，这时候如果不能及时处理排除异物，在短时间内就可能造成幼儿窒息死亡。熟练掌握“海姆立克急救法”这就十分重要，同时这种急救法是我们每个教职工必须掌握的技能。 心肺复苏急救法 当你遇到昏迷不醒的人怎么办？对，就采用心肺复苏急救法。这不仅是幼儿园老师必须掌握的急救技能，在社会中遇见了这种情况也同样重要。
二 | 诺如病毒感染呕吐包消毒处置流程 诺如病毒感染易引起儿童患者呕吐，呕吐物中含大量病毒颗粒，极易造成传播。如何处理呕吐物并做好消毒工作，避免病毒传播，对我们十分重要。 这次的保育员急救技能评比，不仅仅是一次比赛的过程，也是一个相互观摩、切磋与实践的过程。
三 | 在互相观摩学习、以赛促提升中进一步提高了救护技能，希望保育员在今后的工作中继续实践提升，守护幼儿生命安全防线，呵护孩子们健康成长。 图文编辑 | 花幼新媒体工作室 审 核 | 园长室。 Current article:http://wbh.guizhuanguchuanluanzhoudi.shop/xfgr9b/eki7qb.html Published on:19:33:25 |
