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1电影《奥德赛》与古典学、美国史之间的关联有多丰富？如何看待经典文本、学术界和电影观众之间的鸿沟？最新一波诺兰电影热退潮之际，请听吴靖远、许翔云两位老师带来的精彩分享。
主播
徐天 | 历史研究者兼影迷
嘉宾
吴靖远 | 罗马史、古典学学者
许翔云 | 美国史学者
时间轴
2:50 青铜时代的墙是怎样的？
7:06 电影《奥德赛》删去的宫殿段落
13:52 诺兰对“木马屠城记”的杀戮演绎
16:18 诺兰电影在华语世界的普及效应
24:44 特定场景如何“活化”古典文本
32:41 从《奥德赛》里的食物到《千与千寻》
37:09 好莱坞的战场归乡题材
44:28 古典学在当代美国的发展困境
49:49 中国古典学：好奇心的意义
53:15 古代、现代与超现代的思考
58:18 伪史论与《奥德赛》
60:46 林肯号航母：芭提雅的海上民族？
63:19 科恩兄弟的尤利西斯
64:43 如果中国电影人改编西方经典
相关链接：
青铜时代的墙是怎样的？
Maud Devolder, Igor Kreimerman, eds. Ashlar. Exploring the Materiality of Cut-Stone Masonry in the Eastern Mediterranean Bronze Age. Presses Universitaires de Louvain, 2020.
James C. Wright, “Mycenaean Masonry Practices and Elements of Construction” (Ph.D. diss., Bryn Mawr College, 1978).
电影《奥德赛》删去的宫殿段落
"To achieve the “homely” atmosphere the pair envisioned for the protagonist’s kingdom, De Jong built Ithaca’s palace with deliberately low ceilings, keeping its design modest to juxtapose the “otherworldly” grandeur of King Menelaus’s palace in Sparta. There, opulent gold leaf coats grand dining halls, while in Ithaca, she kept the interiors simple, with plaster and frescoes of Mycenaean flora and fauna. They picked the arid and dry natural beauty of Favignana to help represent the welcoming and pure ambience Nolan envisioned for Odysseus’s home."
Jean-Claude Poursat and Carl Knappett, "Part VII: Aegean Art of the Mainland Mycenaean Palatial Period: Architecture," The Art and Archaeology of the Aegean Bronze Age. A History, Cambridge University Press, 398-416. Pylos: "large hall that is nearly square (12.90 x 11.20 m) with a central circular hearth surrounded by four columns." (p. 405). cf. Tiryns Great Megaron 11.80m x 9.80m; Mycenae Great Megaron 12.96m x 11.50m.
McEnroe, "Comparing the Neopalatial Palaces Ca. 1750-1490 BC," Architecture of Minoan Crete: Constructing Identity in the Aegean Bronze Age, 2010, pp. 81-92.
"The major room in each of these complexes was the Minoan Hall. Th is was the largest room and was defined at Knossos [ca. 132 m²] and Phaistos North [ca. 78 m²] on two sides and at Phaistos East [ca. 36 m²], Malia, and Zakros, on three sides by pier-and-door partitions, allowing it to be almost completely opened to surrounding spaces. One side of the Minoan Hall generally opened onto the forehall, which in turn opened onto a light well. One or more of the other sides of the Minoan Hall opened onto a colonnaded portico facing a court. In every case the hall received light and air from at least two and usually three sides—a remarkable achievement given the structural limitations of stone masonry."
cf. Quentin Letesson, "Minoan Halls: A Syntactical Genealogy," AJA 117.3 (2013), pp. 336–337, table 2.
特定场景如何“活化”古典文本
"First, the good news. Stone and his historical advisor Robin Lane Fox wisely availed themselves of the scholarly expertise of Lane Fox’s Oxford colleagues and other British experts. The sets of Babylon are spectacular, both the external views of the city and the interior of the palace complex, and suggest that the designers did their homework. Less is known about the structure of the royal palace at the Macedonian center of Pella, but the set designers extrapolated from the surviving architectural fragments to produce a simple Doric structure that accords with the relative simplicity of Macedonian court life. It also provides a striking contrast with the lavish style of the East. The drinking implements, goldroyal wreathes, and women’s jewelry (including looped earrings) correctly reflect actual items recovered in recent excavations, although it is a bit odd to see the accurately reproduced pebble mosaics from Pella decorating the walls of Ptolemy’s palace in Alexandria....Macedonian military equipment is by-and-large correctly reproduced, the single exception being the elaborate lions-head helmet worn by Alexander. According to Plutarch, Alexander wore a simple, burnished iron helmet fashioned for him by the Greek craftsman Theophilus. Stone’s associates apparently decided to fashion a battle helmet based on later representations of Alexander-as-Heracles, adorned with lion’s head imagery. The re-enactment of the enormously complex battle of Gaugemela is impressive, not only reproducing several of the main events of the conflict, but indicating how difficult it was for large armies to operate on a desert plain made opaque by dust and chaotic by the clash of arms. And there is a superb representation of the Macedonian infantry phalanx wielding their 17-foot long spears, portrayed by a group of 1500 Moroccan soldiers rigorously trained in Macedonian arms by Stone’s military advisor."
从《奥德赛》里的食物到《千与千寻》
Egbert Bakker, The Meaning of Meat and the Structure of the Odyssey. Cambridge University Press, 2013.
古典学在当代美国的发展困境
"TThis year two American institutions held a referendum of sorts on Homer. The market spoke the loudest. In anticipation of the theatrical release of Christopher Nolan’s The Odyssey, sales of the epic poem were up 76 percent by mid-July of this year across every translation in print, according to Circana BookScan figures, and Emily Wilson’s version alone passed a million copies sold. Meanwhile, at Syracuse University, majors in classics and classical civilization were among the programs cut following an academic program review. Customers are pounding on the front door of the shop. Management is in the back, bricking up the workroom."
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