Gilabert Barberà, Pau2010-04-192010-04-192008https://hdl.handle.net/2445/12192Podeu consultar la versión en català a: http://hdl.handle.net/2445/12191 ; i en castellà a: http://hdl.handle.net/2445/12190Beyond 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.13 p.166544 bytesapplication/pdfengcc-by-nc-nd, (c) Gilabert, 2008http://creativecommons.org/licenses/by-nc-nd/3.0/es/Filosofia gregaTradició clàssicaTragèdia gregaSofistes (Filosofia)CinematografiaGreek philosophyCrimes and misdemeanors (Pel·lícula cinematogràfica)Classical traditionSòfocles, 496-406 aCGreek tragedyProtàgores, ca. 485-ca. 410 aCSophists (Greek philosophy)Diàgores, de MelosCinematographyCríties, ca. 460-ca. 403 aCAntifont, ca. 480-411 aCCrimes and misdemeanors (Motion picture)SophoclesProtagorasDiagoras, of MelosCritias, ca. 460-ca. 403 B.C.Antiphon, ca. 480-411 B.C.info:eu-repo/semantics/workingPaperinfo:eu-repo/semantics/openAccess