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一 | 中新社北京8月25日电题：一场聚焦长期主义的政绩校准　　中新社记者黄钰钦　　今年春节假期后，一场以县处级以上领导班子和领导干部特别是“一把手”为重点的党内集中教育——树立和践行正确政绩观学习教育在中共全党开展。

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]
。　　8月24日，中央党的建设工作领导小组召开会议指出，树立和践行正确政绩观学习教育目前已基本结束，同时强调，这次学习教育不是终点而是新的起点。　　中共中央总书记、国家主席、中央军委主席习近平近日作出重要指示强调，树立和践行正确政绩观是一项长期任务，必须久久为功。　　从整治“形象工程”“政绩工程”，到强调“功成不必在我、功成必定有我”，这场学习教育所指向的不只是工作作风，更是一场关于时间尺度的再校准。　　政绩究竟应该在任期内尽快显现，还是可以留给时间来证明？是追求看得见的“显绩”，还是愿意为未来打基础、做铺垫的“潜绩”？这些问题，始终存在于中国的治理实践中。　　英国48家集团俱乐部主席杰克·佩里告诉中新社记者，中国近年来不断强化一种理念，衡量成功不能只看短期表现是否亮眼，更要看政策是否真正增强国家长期实力、稳定性以及发展的质量。

二 | 　　巴西弗鲁米嫩塞联邦大学教授埃万德罗·卡瓦略也注意到这一变化。

三 | 他认为，中国当前强调的正确政绩观，与过去单纯追求高速增长的逻辑有所不同，干部评价正在更多与生态保护、科技创新和民生改善等长期目标联系起来。“这不仅是绩效指标的调整，更是一种治理理念的转变。

四 | ” 　　这种变化也有助于理解中国为何特别强调纠治急功近利、反对“寅吃卯粮”“击鼓传花”，倡导“甘于做铺垫性的工作，甘于抓未成之事”。　　今年是“十五五”开局之年。从五年规划到2035年远景目标，中国在治理逻辑上始终强调将当前工作放在更长时间维度中考量。围绕“十五五”规划的一系列部署中，发展新质生产力、加强基础研究、布局未来产业等内容被反复提及。　　“科学创新、先进制造、能源转型等领域的突破，都需要多年持续投入。”杰克·佩里认为，随着科技创新和产业变革加速，长期能力正在变得愈发重要。　　一些海外媒体曾将此次学习教育形容为中国官场的“KPI重置”。这一说法并不完全准确，却捕捉到了外界观察到的一种变化：衡量干部表现的尺子正在变得更加多元，增长速度不是唯一答案。

五 | 　　美国库恩基金会主席罗伯特·劳伦斯·库恩则从制度层面进行观察。他告诉中新社记者，中国强调树立和践行正确政绩观，意味着各层级治理体系需要与中央确定的发展方向保持一致，从而确保长期战略能够持续推进。　　当然，长期主义并不意味着忽视当下，恰恰相反，它要求治理者解决眼前的问题，同时不以牺牲未来换取今天的成绩。

六 | 在解决现实问题时，为未来预留空间。　　当前中国“十五五”已开局，未来如何在短期增长与长期发展之间保持平衡，如何把握好“显绩”与“潜绩”的关系，仍将持续考验各级治理者的智慧与定力。　　当“显绩”与“潜绩”的考量进入干部考核、监督和日常治理，这场聚焦长期主义的政绩校准，本身也正从一次集中教育活动走向更长的时间轴。(完) 【编辑:何颖】。

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Published on:13:03:26