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聚焦城市更新立法与新就业形态劳动者权益保障 “市长·代表面对面”协商办理重点建议_我的网站

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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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B | 老城区如何“逆生长”？骑手小哥的劳动权益怎么保障？8月14日，“市长·代表面对面”重点建议办理协商会在市全过程人民民主实践中心（市人大代表联络总站）举行，多位市人大代表与相关政府部门负责人围绕城市更新立法和新就业形态劳动者权益保障两项重点督办建议，面对面问需、实打实督办。

C | 盘活城市高质量发展空间“杭州城市更新工作已从单点项目迈向‘片区集成’新阶段，但仍需在系统性、可持续性和共建共享方面深化探索。”市十四届人大六次会议期间，市人大代表杨绍红、朱慧明建议，围绕强化片区统筹与整体谋划、创新资金平衡与参与机制、深化数字赋能与长效治理等领域，推动城市更新立法工作。目前，《杭州市城市更新条例》〔以下简称《条例（公开征求意见稿）》〕已形成初稿，正面向社会公开征求意见。

D | 代表们提出的片区统筹、多元筹资、数字赋能、闭环监督等思路，全部融入《条例（公开征求意见稿）》内容。该《条例》是市人大常委会2026年立法计划正式项目，拟于10月提请审议。“立法的核心是切实解决难题，不是为立法而立法。

E | ”市建委负责人说。例如，《条例（公开征求意见稿）》明确了“城市体检评估—市级专项规划—区级建设规划—片区策划—项目库—年度计划”全流程要求，统一标准防止空间碎片化和重复建设；在数字赋能方面，拟推进城市信息模型（CIM）平台建设，并建立全市统一的城市更新信息系统，将数字化管理贯穿规划、建设、运营全生命周期。“市建委办理建议的态度认真、过程严谨，我们的建议也得到了采纳。”杨绍红等代表对办理工作表示满意，“希望这一法规直击痛点、务实管用、理顺机制，有力回应群众和市场主体需求，为发展新质生产力和产城融合腾空间、优保障。”参加协商的市人大代表胡秀华也带来了社区工作中的感受：“群众呼声很高的停车难、养老点位和便民服务网点，也应纳入片区统筹的‘一盘棋’中。同时，希望进一步落实建管衔接，明确建设、移交、管护等权责边界，让改造更新项目建得漂亮、用得长远。”让奋斗者在杭有归属“以网约车司机、外卖骑手、快递小哥为代表的新就业形态劳动者，为城市发展和市民生活作出了积极贡献。”鲍一飞代表的发言开门见山。他建议从制度兜底、服务提质、协同治理三个维度，构建新就业形态劳动者权益保障的完整闭环，将杭州建设成为更具包容性和归属感的“小哥友好城市”。市人力社保局负责人面对面回应了建议办理情况。在职业伤害保障试点方面，自2025年7月纳入试点以来，职业伤害保障试点范围已扩大至22个平台，参保人数（送单人数）累计104万余人。经办服务流程已实现将职业伤害确认、劳动能力鉴定、待遇核定发放“三件事”集约为“一件事”办理，伤残鉴定时间压缩20%。在平台算法治理方面，我市印发《关于贯彻执行〈杭州市网络餐饮外卖配送监督管理办法〉的若干意见》，就优化配送算法规则等方面工作作了详细要求。

F | 另外，“小哥码”切实解决了配送“最后一百米”的通行难题，杭州740余个社区食堂和友好商户为小哥提供错峰折扣、10元套餐等优惠；统筹建设16个示范型“小哥驿站”和49个24小时开放驿站；建成24个“司机之家”、264座“城管驿站”，向新就业群体等户外劳动者开放。“这项建议精准深入，不仅要求针对性解决一批迫切问题，也对我们今后的工作提出了新的要求。”市人力社保局负责人说，下一步将围绕新就业群体职业伤害保障、畅通社保参保渠道、拓展职业发展空间及保障基本劳动权益等方面不断提升工作质效，提高新就业群体权益保障水平。