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河北99家企业将建设零碳工厂_我的网站

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一 | 为工业领域绿色低碳转型探索可复制、可推广的实践路径99家企业将建设零碳工厂日报讯（记者米彦泽）8月13日，省工信厅、省发展改革委、省生态环境厅、省国资委联合印发通知，公布了2026年度省零碳工厂建设名单，兰升生物科技集团股份有限公司等99家企业入选。“双碳”目标持续推进下，零碳工厂日渐成为制造业绿色转型风向标。

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]
。零碳工厂建设是指通过技术创新、结构调整和管理优化等减排措施，实现边界内二氧化碳排放的持续降低、逐步趋向于近零的过程。

二 | 省工信厅相关负责人介绍，零碳工厂不是绝对的“零”二氧化碳排放，而是在当前技术经济条件允许下，实现应减尽减并持续改进提升，保持工厂二氧化碳排放最低水平。值得注意的是，零碳工厂建设不是“申报即认定”，也不是“达标即结束”，而是以核心指标为牵引、以建设方案实施为重点、以年度自我评估和进展报送为支撑、以评估验收和持续披露为保障的全过程动态管理机制。

三 | 位于邢台市宁晋县的天环线缆集团有限公司，是2026年度省零碳工厂建设名单中的一员。作为国家级绿色工厂，天环线缆集团投资491万元通过空压机变频改造、电动叉车替代、光伏并网及太阳能照明推广等措施，年综合能耗显著下降。

四 | 在天环线缆集团副总经理刘娟生看来，建设零碳工厂，既是响应制造业绿色转型的应有之义，更是应对供应链碳足迹追溯的必然选择。

五 | 线缆制造核心工序拉丝、退火、挤塑、交联均为高耗能环节，生产工艺成熟但能耗基数大。“2024年我们在厂区安装了2.5兆瓦太阳能光伏板，通过绿电直连满足工厂白天生产用能，目前公司可再生能源使用量占比59.07%。”刘娟生介绍，未来两年，他们还将继续建设2兆瓦太阳能光伏+储能电站项目，将绿电使用比例提升至100%。除了能源端使用绿电，天环线缆集团还将继续在设备端发力。目前，该公司已将10台挤塑机的空压机更换为永磁变频螺杆空压机，可降低能耗30%。现在，他们正全面排查在用设备，完成1级能效设备升级替换，从源头降低生产能耗。天环线缆集团正在建设一体化能碳管理平台，对能源消耗和碳排放进行精细化、可视化管理，并为生产管理决策提供数据支持。通过一系列项目实施，该公司单位工业增加值碳排放可从目前的0.34吨二氧化碳/万元降至0吨二氧化碳/万元，进而实现零碳工厂建设目标。对于入选省级零碳工厂建设名单的企业，省将加强跟踪帮扶，指导企业补短板、强弱项，按照建设规划目标有序推进零碳工厂建设。统筹运用好现有政策，支持建设单位规模化实施绿色低碳改造、大规模设备更新等技术改造项目，优先推荐申报“两重”“两新”项目，具备条件的优先推荐申报国家零碳工厂。支持建设单位申请绿色金融融资需求。