MINERVAE

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MINERVAE

MINERVAE

@minervaeorg

◆ An independent publication covering history, politics and culture. Read more at: https://t.co/Fv22QwQdyr

Europe Katılım Mayıs 2026
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MINERVAE
MINERVAE@minervaeorg·
MINERVAE wasn't created overnight. For years, we consumed politics the way most people do: one headline after another, one controversy replacing the last. Over time, something changed. The more we read, the less interested we became in reacting to the next headline. We wanted to build something rather than simply react. That search led us beyond daily politics and into history, philosophy, literature, architecture and the great books that shaped the West. And Minerva’s owl seemed like the right companion for that journey. MINERVAE grew out of that realization and is our attempt to build the kind of publication we were looking for but couldn't find. If any part of that story sounds familiar, welcome.
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MINERVAE
MINERVAE@minervaeorg·
Fair enough. I should probably clarify that I've never read Wilson's work. English isn't my first language, so my familiarity with her comes from interviews and excerpts. My point wasn't about Wilson herself. It was about the OP's argument and my reading of Homer and Nolan's adaptation.
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Dwee Bwae
Dwee Bwae@DweeBwae·
@minervaeorg @Carter_Shade Fair, I suppose. You never said seeking glory willingly. I still hold that you have an even more shallow view of her take than she has on the text itself. Removing the theme from the movie and saturating it with shame did not make it a more palatable movie.
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MINERVAE
MINERVAE@minervaeorg·
@DweeBwae @Carter_Shade 1) I actually don't like The Hobbit. 2) That's not the plot of The Hobbit either. Bilbo gets dragged into an adventure against his will, and spends most of the book wanting to get back home.
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MINERVAE
MINERVAE@minervaeorg·
2026 presented us with one summer and two standards. Under one, inherited stories belong to humanity as a whole. [...]. Under the other, inherited stories are understood as expressions of particular civilizations whose distinctive character deserves to be preserved with unusual care. [...] That may be the most enduring question left by the summer of 2026: by what principle we decide what each story is allowed to change before it becomes something else. Read the full text at: minervaeorg.substack.com/p/the-ship-of-…
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MINERVAE
MINERVAE@minervaeorg·
People keep using this image as if critics believed there was a magical wall around Greece that prevented contact with other civilizations. There wasn't. There actually were seas, deserts, mountain ranges, storms, pirates, disease, bandits, and Bronze Age logistics. Ancient societies were generally less mobile, not more because Geography was measured in risk, not kilometers. Most people lived and died within a relatively small radius of where they were born. Long-distance travelers were the exception—not evidence that Bronze Age Greece had the demographic profile of a 21st century global city.
Fahhh@yowtfahhh

They're Greeks btw.

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MINERVAE
MINERVAE@minervaeorg·
Authenticity has become an aesthetic value in its own right. The remaining question is whether that value is now being applied consistently across the civilizations contemporary cinema chooses to represent. "The Ship of Odysseus" is now available at: open.substack.com/pub/minervaeor…
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lerven
lerven@lavish_lerven·
@minervaeorg @Theone321321 @MattWalshBlog you're both media illiterate or bots in the Odyssey, Odysseus comes home and Argus recognizes him. Argus is too old to get up, and Odysseus cannot go over to pet him since it would give away his disguise, so he just walks on by. It's a moment of pathos, a stab in the heart
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Matt Walsh
Matt Walsh@MattWalshBlog·
In “Apocalypto,” Mel Gibson transports you into the mind of a Mayan 500 years ago. In “The Northman,” Robert Eggers transports you into the mind of a Viking a thousand years ago. In “The Odyssey,” Christopher Nolan transports you into the mind of a liberal woman in 2017.
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MINERVAE
MINERVAE@minervaeorg·
@turnip_turns @Daeluin @theastrofiend_ I'm not saying Nolan's Odysseus isn't worthy of returning home. I'm saying the adaptation makes what Odysseus did in Troy the central core of the character. Homer doesn't. That's the difference.
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MINERVAE
MINERVAE@minervaeorg·
Well, what people see on the screen is the artistic creation of a director and a private company. But instead of creating characters to tell the story he wanted to tell, Nolan chose to adapt characters and a story that have been consolidated for millennia. If you systematically replace the work's mythology, ethics, worldview and central motivations with modern ones, at what point are you no longer adapting The Odyssey, but simply using its characters to tell a different story?
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Xeno
Xeno@xenocma·
@minervaeorg @thepersona98 @theastrofiend_ Yea and it’s an awesome modern interpretation. We also still have all of his guilt due to losing his companions and wanting to go home. Don’t understand the problem here lol, besides hating any bit of change.
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MINERVAE
MINERVAE@minervaeorg·
@KeithWoodsYT Robert Pattinson is on a generational run, he steals the show on everything he's on. Nobody will even remember he was once part of the Twillight Saga.
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Keith Woods
Keith Woods@KeithWoodsYT·
One of the only enjoyable parts of Nolan's Odyssey was Robert Pattinson as Antinous. He's theatrical and menacing and seems like he genuinely enjoys being evil, sort of reminded me of Ian McDiarmid as Palpatine. But he stands out because the other casting is so awful. Tom Holland and Matt Damon especially communicate zero emotional depth in their roles. Holland plays Telemachus like a bright eyed child and doesn't even register any emotion on meeting his father for the first time in 20 years, a scene that was shockingly flat given the stakes. Matt Damon plays Odysseus with the same blank, pained expression for three hours. He projects only pain and weariness, which matches how it feels sitting through this for 3 hours.
Duffyevsky ☦@TheIllegit

elite sophisticated cinephiles and rw chuds when Odyssey enjoyer midwits walk in the room

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Michael Molina
Michael Molina@mikexil·
@minervaeorg @theastrofiend_ ive seen the film three times now. im not following your assessment of nolans version. have you seen the film? i only ask because youre a blue check account, which tend to bend the truth for interactions
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MINERVAE
MINERVAE@minervaeorg·
@thepersona98 @theastrofiend_ Nowhere in the poem portrays Odysseus as psychologically tormented or feeling guilt by what the he and the Greeks did at Troy. That's modern interpretation, not Homer's.
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Jo
Jo@thepersona98·
@minervaeorg @theastrofiend_ You are wrong. Nolan’s Odysseus suffers of what war cost him as well plus all the consequences of Trojan war like sea people and civilization downfall.
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MINERVAE
MINERVAE@minervaeorg·
That's precisely the difference. Homer never frames Odysseus as a man psychologically consumed by what the Greeks did at Troy. Zeus and Athena consistently present him as a hero worthy of returning home. Nolan turns Troy into the central source of his moral injury. That's a fundamentally different interpretation.
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FF
FF@Theone321321·
@minervaeorg @MattWalshBlog i don't really get that last critique, considering the original story also did the "aww the dying dog misses his master" thing
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