Universitat de Barcelona
Podeu consultar la versión en català a: http://hdl.handle.net/2445/12191 ; i en castellà a: http://hdl.handle.net/2445/12190
Beyond the explicit reference to the Greek tragedy and Oedipus, the aim of this article is to show the clear relationship, in the author's opinion, between what the protagonists of the film maintain and the theories of the Greek Sophists about God, the law, etc. An accurate analysis both of their texts and the screenplay of Crimes and Misdemeanors reveals different sophistic roots, which, in this case, cannot be attributed to the constant presence of the Jewish legacy in W. Allen's work.
Working document
English
Filosofia grega; Tradició clàssica; Tragèdia grega; Sofistes (Filosofia); Cinematografia; Greek philosophy; Classical tradition; Greek tragedy; Sophists (Greek philosophy); Cinematography; Crimes and misdemeanors (Motion picture); Sophocles; Protagoras; Diagoras, of Melos; Critias, ca. 460-ca. 403 B.C.; Antiphon, ca. 480-411 B.C.; Crimes and misdemeanors (Pel·lícula cinematogràfica); Sòfocles, 496-406 aC; Protàgores, ca. 485-ca. 410 aC; Diàgores, de Melos; Críties, ca. 460-ca. 403 aC; Antifont, ca. 480-411 aC
http://hdl.handle.net/2445/12191
http://hdl.handle.net/2445/12190
cc-by-nc-nd, (c) Gilabert, 2008
http://creativecommons.org/licenses/by-nc-nd/3.0/es/
