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国家党计划大砍学校开支，工党炮轰：没把教育放在首位_我的网站

A |     Nancy 编译 在计划消减各种财政预算以后，新政府宣布将展开一项新的调查，此次调查的主要范围将涵盖计划中的学校建筑工程，以及学校所面临的不切实际且无法负担的支出问题。

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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]
。         教育部长Erica Stanford本周表示，一份联合政府的报告揭示了目前新西兰学校财产系统面临严峻挑战和诸多问题。         Advertise with us          她指出，“目前，一些学校的建筑以及维护项目成本已经出现了多次上升，并且这些学校所期待的建筑项目可能将无法付诸行动。”          Stanford提到，“在组建新政府的几周内，教育部已经砍掉了20个建筑项目，并可能取消多达350个项目，因为这些项目从设计到施工，已经超出了预期可实现的支出。

C | ”          前总理兼工党领袖Chris Hipkins做出回应，称此举是新政府试图削减学校建设项目的“拙劣“企图”。         Stanford继续说，“很多学校的许多计划已经进行了多年，但这些计划是毫无价值的。”          她指出，这对教学和学习造成了干扰，因为一些新项目导致人们对学校的期望提高，最终却因“流程不善”而落空，这是不公平的。         Stanford还提到了一个例子，比如Te Tātoru o Wairau Marlborough schools共同建设的项目，该项目的成本已经连续上升了数年，目前估算高达4.05亿纽币，而在2018年内阁只拨款1.7亿纽币，这样巨大的数字落差很难找到替代资金。         她强调，“新政府明显很有必要对学校财产系统进行审查，以评估当前计划的可持续性和效率，并确保我们能够交付给孩子们应得的学校财产，同时保护纳税人免受进一步低效和浪费的影响。”          政府声明称，目标是让审查者在三个月内提交报告。一名主要审查员和审查团队将会很快被任命。         工党表示，新联合政府需要优先考虑减税，而不是将学校建设作为牺牲品。

D |          Hipkins表示，成本上升并不令人意外，并声称新政府正在寻找一个“借口”来推迟学校课堂升级计划。         他补充说，“这是一次拙劣的企图，试图找借口来削减急需的学校建设项目，而不是优先投资教育。”          最后，他提到工党通过学校投资计划升级了全国每所学校，建造了数千间教室，并随着学生人数增长缓解了学校的升学压力。         相关阅读：          新西兰政府发布“迷你预算案”！取消这些福利！这类华人迎来利好          新政府废除2条重要政策！          政府宣布，这些福利上涨，明年4月生效！          政府宣布圣诞节前废除公平薪酬协议，全面恢复90天试用期          总理Christopher Luxon公布百天计划！这“49项行动”最为紧迫          新西兰史上首个三党政府诞生！未来三年政策走向如何？          奥克兰市长的十年预算案长达1000页，明年和2026年的地税将涨到令人崩溃          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：Nancy)          来源 -          相关内容                新西兰主流新闻网站将关闭，员工自己都不知道这新闻           新西兰人气最高前总理宣布退休，下一站是夏威夷           奥克兰高档电动自行车连环窃案告破，警方还搜出200发子弹           国会紧急立法：撤销毛利卫生局、废除最严禁烟令           又发现一起！前绿党议员被指控第四项入店行窃罪！           开车时使用手机的违规行为剧增，总理表示要重罚           疫情通报：过去一周新西兰新增6084例           奥克兰Mt Albert一人死亡 警方启动凶杀案调查。

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