人變豬
Samantha Morton says her ODYSSEY sequence used practical effects.
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Telemachus was the original horrid teenage son...
🎥 The Odyssey with Mary Beard - Dan Snow meets acclaimed classicist Mary Beard to discuss the significance and meaning of the Odyssey historically and today. Streaming now on History Hit.
Mary Beard. 更複雜更有趣的《奧德賽》：。 除第一卷，她認為電影忽略兩重要女性《奧德賽》卷七，卷八，： Did you catch Queen Arete and Princess Nausicaa in The Odyssey? ----除了讀全文翻譯本之外 台灣80年代翻譯的牛津學者的作品 (羅青譯《荷馬：詩魂貫古今》本書論及荷馬筆下的所有女性 (時報出版 1984)) Nausicaa 公主思春幾處，可參考 。 第一卷中一個關鍵時刻是忒勒馬科斯告訴他的母親佩涅洛佩“說話是男人的事”，並把她趕到樓上——她認為這是西方歷史上第一個兒子讓母親噤聲的例子。對她作品的影響：這段經歷直接啟發了她創作暢銷書《女性與權力》，她在書中追溯了厭女症的歷史根源； 。性別鴻溝：他告訴她“講故事是男人的專屬”，並指示她專注於紡織等家務勞動，這確立了一個古老的先例，即公共話語權完全屬於男性。現代影響：比爾德在其講座和著作《女性與權力》中都著重探討了這一具體場景，認為這種根深蒂固的文化反射——要求女性「閉嘴」——在現代公共生活中依然存在。 在BBC廣播四台的全新系列節目中，瑪麗·比爾德將目光投向古希臘，超越神祇、英雄和赤腳哲學家，探索那些啟發了傳奇和文學作品的普通人的故事。 瑪麗將透過六位普通人的故事，生動地展現古希臘，揭示神話傳說之外，古希臘人真實的日常生活、愛情、政治和信仰。 《身為希臘人》| 在BBC Sounds收聽瑪麗比爾德表示，她擔心極右翼勢力會利用古典歷史作為政治武器。新書 Talking Classics: The Shock of the Old - Mary Beard 經濟學人等走書評. A Woman’s Voice. Chelsea Manning
補讀《奧德賽》卷七，卷八，關於Mary Beard說電影忽略兩重要女性： Did you catch Queen Arete and Princess Nausicaa in The Odyssey?
Mary Beard. 更複雜更有趣的《奧德賽》： 除第一卷，她認為電影忽略兩重要女性： Did you catch Queen Arete and Princess Nausicaa in The Odyssey? ----除了讀全文翻譯本之外 台灣80年代翻譯的牛津學者的作品 (羅青譯《荷馬：詩魂貫古今》 (時報出版 1984)) Nausicaa 公主思春幾處，可參考 。 第一卷中一個關鍵時刻是忒勒馬科斯告訴他的母親佩涅洛佩“說話是男人的事”，並把她趕到樓上——她認為這是西方歷史上第一個兒子讓母親噤聲的例子。對她作品的影響：這段經歷直接啟發了她創作暢銷書《女性與權力》，她在書中追溯了厭女症的歷史根源； 。性別鴻溝：他告訴她“講故事是男人的專屬”，並指示她專注於紡織等家務勞動，這確立了一個古老的先例，即公共話語權完全屬於男性。現代影響：比爾德在其講座和著作《女性與權力》中都著重探討了這一具體場景，認為這種根深蒂固的文化反射——要求女性「閉嘴」——在現代公共生活中依然存在。 在BBC廣播四台的全新系列節目中，瑪麗·比爾德將目光投向古希臘，超越神祇、英雄和赤腳哲學家，探索那些啟發了傳奇和文學作品的普通人的故事。 瑪麗將透過六位普通人的故事，生動地展現古希臘，揭示神話傳說之外，古希臘人真實的日常生活、愛情、政治和信仰。 《身為希臘人》| 在BBC Sounds收聽瑪麗比爾德表示，她擔心極右翼勢力會利用古典歷史作為政治武器。新書 Talking Classics: The Shock of the Old - Mary Beard 經濟學人等走書評. A Woman’s Voice. Chelsea Manning
\\羅青編譯《荷馬：詩魂貫古今》 (時報出版 1984)《荷馬史詩研究》學生書局1994。 葛瑞芬的小書，聯經與時報禿出版。 Homer on Life and Death 賈斯柏·格里芬 克拉倫登出版社，1980年 - 文學評論 - 218頁 本書闡述了荷馬史詩如何賦予人物和行為意義，並詮釋世界及其居民的生活。作者以人物刻畫、死亡和神祇等核心主題為切入點，論證了當前關於「口頭詩歌」局限性的觀點並不成立，並指出荷馬體現了一種獨特而深刻的世界觀。
賈斯柏·格里芬
補讀《奧德賽》卷七，卷八，關於Mary Beard說電影忽略兩重要女性： Did you catch Queen Arete and Princess Nausicaa in The Odyssey?
Mary Beard. 更複雜更有趣的《奧德賽》： 除第一卷，她認為電影忽略兩重要女性： Did you catch Queen Arete and Princess Nausicaa in The Odyssey?
Did you catch Queen Arete and Princess Nausicaa in The Odyssey?
These “extraordinary, prominent and powerful" women from Homer’s ancient Greek epic poem are glaringly missing from Nolan’s film.
In this episode, celebrated classicist Mary Beard explains to host Carter Sherman why the film’s approach to women left her...disappointed.
Watch Stateside with Kai and Carter now, wherever you get your podcasts: https://www.youtube.com/@statesidepodcast
Queen Arete is primarily introduced and approached in Book 7 of Homer’s [The Odyssey].
著名古典學家瑪麗·比爾德一生都與荷馬史詩《奧德賽》結緣，她14歲時第一次閱讀了這部古希臘語作品。關於《奧德賽》的見解：初次邂逅：比爾德最初在女子高中時覺得這部作品晦澀難懂，但最終還是被它深深吸引。讓佩涅洛佩噤聲：比爾德認為，《奧德賽》第一卷中一個關鍵時刻是忒勒馬科斯告訴他的母親佩涅洛佩“說話是男人的事”，並把她趕到樓上——她認為這是西方歷史上第一個兒子讓母親噤聲的例子。對她作品的影響：這段經歷直接啟發了她創作暢銷書《女性與權力》，她在書中追溯了厭女症的歷史根源。
Insights on The Odyssey
- First Encounter: Beard initially found the text tough at an all-girls high school, but it ultimately won her over.
- Silencing Penelope: A key moment for Beard occurs in Book 1 when Telemachus tells his mother Penelope that "speech is man's business" and sends her upstairs—which she identifies as the first recorded instance of a son silencing his mother in Western history.
- Influence on Her Work: This specific interaction directly inspired her best-selling book Women and Power while she traced the historical roots of misogyny.
Classicist Mary Beard uses Penelope from Homer's Odyssey as the foundational Western example of women being systematically silenced and excluded from public discourse. [1, 2]
The Telemachus and Penelope Scene
- The Interruption: In Book One of the Odyssey, Penelope comes downstairs to the main hall to object to a song performed by an entertainer. [1]
- The Silencing: Her adolescent son, Telemachus, immediately commands her to return to her private quarters. [1]
- The Gender Divide: He tells her that "stories are the preserve of men" and instructs her to focus on domestic labor like weaving, establishing an ancient precedent that public speech belongs strictly to men. [1, 2]
- Modern Impact: Beard famously centers this specific vignette in her lectures and her book Women & Power, arguing that this deep-seated cultural reflex to tell women to "shut up" persists in modern public life.
古典學家瑪麗·比爾德以荷馬史詩《奧德賽》中的佩涅洛佩為例，闡述了西方女性如何被系統性地噤聲並排除在公共話語之外。忒勒馬科斯與佩涅洛佩的場景：打斷：在《奧德賽》第一卷中，佩涅洛佩下樓來到大廳，反對一位藝人演唱的歌曲。噤聲：她正值青春期的兒子忒勒馬科斯立刻命令她回到自己的房間。性別鴻溝：他告訴她“講故事是男人的專屬”，並指示她專注於紡織等家務勞動，這確立了一個古老的先例，即公共話語權完全屬於男性。現代影響：比爾德在其講座和著作《女性與權力》中都著重探討了這一具體場景，認為這種根深蒂固的文化反射——要求女性「閉嘴」——在現代公共生活中依然存在。
---
在BBC廣播四台的全新系列節目中，瑪麗·比爾德將目光投向古希臘，超越神祇、英雄和赤腳哲學家，探索那些啟發了傳奇和文學作品的普通人的故事。
瑪麗將透過六位普通人的故事，生動地展現古希臘，揭示神話傳說之外，古希臘人真實的日常生活、愛情、政治和信仰。
《身為希臘人》| 在BBC Sounds收聽
In a new series for Radio 4, Mary Beard looks beyond the gods, heroes and barefooted philosophers of Ancient Greece in search of the stories of the ordinary people who inspired the legends and the literature.
Mary will bring ancient Greece to life through the stories of six ordinary people, revealing what daily life, love, politics and faith were really like beyond the myths and legends.
Being Greek | Listen on BBC Sounds
“很多古典學專業學者都感到羞愧。”
瑪麗比爾德表示，她擔心極右翼勢力會利用古典歷史作為政治武器。
她做客最新一期的《交流》節目。您可以在任何播客平台收聽。連結在個人簡介中。
“A lot of professional classicists feel ashamed.”
Mary Beard says she worries about the far right weaponising the classical past.
She joins us on the latest episode of The Exchange. Listen wherever you get your podcasts. Link in bio.
致瑪麗·比爾德 ·
羅伊·泰平
·
15分鐘
·
女性之聲
瑪麗·比爾德教授（榮譽退休女爵士）出版《女性與權力》一書時，並非表達個人觀點。她揭示的是一種根深蒂固的歷史結構，而這個結構至今仍在塑造著我們。她發現的並非一系列孤立的事件，而是一種模式，一種反覆出現以至於幾乎顯得理所當然的模式。
幾個世紀以來，女性在公共場合發言，進入的是一個從未為她們設計的空間。她們的言論並未得到平等的評價。發言本身就招致評判。權威長期以來都由男性定義，而女性的聲音打破了這種既定的認知。人們的反應往往遵循著熟悉的套路：她可能會被嘲笑、被忽視或被排擠。重要的不僅是她說了什麼，而是她竟然說了出來。
引人注目就意味著承擔風險。發言會帶來關注，而關注會帶來曝光。這種曝光往往會帶來遠超過分歧的後果。女性面臨著被排斥、名譽受損或信譽逐漸喪失的困境。許多人做出了調整，並非出於軟弱，而是出於覺悟。她們降低了音量，措辭更加謹慎，不再理所當然地展現自我，而是精心策劃。
比爾德的論點在此變得特別尖銳。沉默常被視為一種自然的缺失，彷彿某些聲音根本不會發出。但她指出事實並非如此。沉默是人為製造的，是長期持續施加壓力最終塑造行為的結果。看似平靜的背後，往往隱藏著某種束縛。
認識到這一點，一切都將改變。如果沉默是人為建構的，那麼它並非一成不變。它有其歷史，而任何有歷史的事物都可以被審視和質疑。我們的任務不僅是找回那些被壓制的聲音，更要理解最初將它們壓制下去的力量。
這些力量並未消失。它們的形式有所改變，但仍清晰可辨。那些言詞犀利、充滿權威的女性，還是會受到不同的評判標準。自信也可能被解讀為咄咄逼人。直率有時會被貼上「過激」的標籤。語言變得更加委婉，但模式依然存在。
然而，有些事情已經開始改變。一旦這種模式被命名，就很難再被忽視。曾經看似不可避免的事情，現在看來似乎是刻意為之。當人們看清女性的本質時，那些要求她們柔化自身姿態或限制自身權威的期望開始動搖。
這正是比爾德作品的意義。它並沒有提供簡單的解決方案，而是揭露了一個塑造了幾代行為的體系。這種揭露創造了反抗的可能性。它讓人們能夠看清結構本身，而不是只生活在其中。
隨之而來的問題無法迴避：如果沉默是後天習得的，那麼它也可以被打破。這個過程不太可能一帆風順，它將伴隨著阻力、不適和衝突。然而，它也為不同的事物開闢了空間。
女性的聲音一旦被壓制，就不會再保持不變。它會帶著對壓制它的根源的覺察而重現。它不僅包含說話的行為，也包含被傾聽的意義。
A Woman’s Voice
When Professor Emerita Dame Mary Beard published Women & Power, she was not setting out a personal opinion. She was identifying a structure that runs deep through history and continues to shape the present. What she uncovered was not a series of isolated incidents but a pattern, one that has been repeated so often it can appear almost natural.
For centuries, women who spoke in public entered a space that was never designed with them in mind. Their words were not assessed on equal terms. The very act of speaking invited judgement. Authority had long been defined in male terms, and a woman’s voice unsettled that expectation. The response followed a familiar line. She might be mocked, dismissed, or pushed aside. What mattered was not simply what she said, but that she said it at all.
To be visible was to take a risk. Speaking brought attention, and attention brought exposure. That exposure often carried consequences that went beyond disagreement. Women faced exclusion, damage to reputation, or the steady erosion of their credibility. Many adjusted, not out of weakness but out of awareness. Voices were lowered. Language became careful. Presence was managed rather than assumed.
This is the point where Beard’s argument sharpens. Silence is often treated as a natural absence, as if some voices simply do not emerge. She shows that this is not the case. Silence is produced. It is the result of pressure applied consistently over time until it shapes behaviour. What looks like quiet is often the outcome of constraint.
Recognising that changes everything. If silence has been constructed, then it is not fixed. It has a history, and anything with a history can be examined and challenged. The task is not only to recover voices that were pushed aside, but to understand the forces that pushed them there in the first place.
Those forces have not disappeared. They have shifted in form but remain recognisable. Women who speak with authority are still judged by different standards. Confidence can be recast as aggression. Directness can be labelled as excess. The language has become more subtle, but the pattern is still there.
Something has begun to change, though. Once the pattern is named, it becomes harder to ignore. What once seemed inevitable starts to look deliberate. Expectations that women should soften their presence or limit their authority begin to lose their hold when they are seen clearly for what they are.
This is where the significance of Beard’s work lies. It does not offer an easy solution. Instead, it exposes a system that has shaped behaviour for generations. That exposure creates the possibility of resistance. It allows people to see the structure rather than simply living within it.
The question that follows is unavoidable. If silence is learned, then it can also be unlearned. That process is unlikely to be smooth. It will involve resistance, discomfort, and moments of conflict. Yet it also opens space for something different.
A woman’s voice does not return unchanged once it has been constrained. It emerges with an awareness of what sought to contain it. It carries not only the act of speaking, but the knowledge of what it means to be heard.
The University of Chicago Press
https://press.uchicago.edu › ucp › books › book › chicago
The incomparable Mary Beard is back, and she's talking all things classics. Why the ongoing fascination with the ancient world?Read more
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Mary Beard (classicist) - Wikipedia
https://en.wikipedia.org/wiki/Mary_Beard_(classicist)
Winifred Mary Beard, OBE, FSA, FBA (born 1 January 1955) is an English scholar and classicist. She is Professor of Classics at the University of Cambridge, a fellow of Newnham College, and Royal Academy of Arts Professor of Ancient Literature.
Early life · Career · Personal life · Books
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蕭爾斯·伊麗沙白·曼寧[4]（英語：Chelsea Elizabeth Manning，1987年12月17日－），本名巴特利·愛德華·曼寧（英語：Bradley Edward Manning），生於美國奧克拉荷馬州，曾為美國陸軍上等兵，於2010年時因涉嫌將美國政府的機密文件外洩給維基解密網站而遭美國政府逮捕，判刑35年。於2017年，獲美國總統歐巴馬特赦減刑，並於同年5月17日獲釋出獄。
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