The Battle for Britain: Citizenship and Ideology in the Second World War

Roche, Maurice; Morgan, David Gwynn; Evans, Mary Anna

doi:10.2307/591872

Cited by 2 publications

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“…Indeed, several commentators have turned this contention on its head, claiming that the film is in fact '[a]lluding to an old tradition', according to which 'blindness [is] symbolic of inner sight'. 14 'As Judah's self-deception becomes greater', Edward Quattrocchi observes, 'Ben conversely grows in wisdom and compassion, as his glasses become more opaque and his eyesight deteriorates.' 15 On this view, there remains a sense in which Ben suffers physical impairment, but the symbolic significance of that impairment is radically transformed.…”

Section: The 'Just' Readingmentioning

confidence: 99%

Getting Away with Murder? "Crimes and Misdemeanors" and Alternative Conceptions of Justice

Burley

2020

AesthInv

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As with most great works of art, great films are typically amenable to multiple interpretations, and there need be no determinate answer to which interpretation is ‘right’ or even the ‘best’. Yet some interpretations can render a work more compelling—perhaps more morally or religiously deep—than others. And that might be one reason for preferring the interpretation in question. This article focuses on Woody Allen’s Crimes and Misdemeanors, which has often been construed as an attempt to illustrate the thesis that crime sometimes pays (or, at any rate, that it is not the case that crime necessarily does not pay). I call this the unjust reading of the film and contrast it with the just reading. I argue, however, that both these readings presuppose a consequentialist conception of justice that is not the only conception available. Reinterpreted from a perspective of intrinsic justice, the film gains a depth that is unavailable in the light of the other interpretations.

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Section: The 'Just' Readingmentioning

confidence: 99%

Getting Away with Murder? "Crimes and Misdemeanors" and Alternative Conceptions of Justice

Burley

2020

AesthInv

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Biography and Autobiography

Saunders

2021

The Oxford Handbook of Virginia Woolf

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This chapter explores the centrality of biography and autobiography to Woolf’s reading and writing life, and to her cultural milieu, in which experiments in life-writing were a crucial aspect of the modernist reaction against the Victorian era. It examines Woolf’s deep engagement in her fiction with life-writing forms, from the bildungsroman of The Voyage Out to the play with conventional biographical forms of Jacob’s Room, Orlando, The Waves, and Flush and the autobiographical foundations of To the Lighthouse. It also examines her biography of Roger Fry, and her own experiment in memoir-writing, the posthumously published ‘A Sketch of the Past’, in the context of concerns with the nature of memory, identity, and sexuality.

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The Battle for Britain: Citizenship and Ideology in the Second World War

Cited by 2 publications

References 0 publications

Getting Away with Murder? "Crimes and Misdemeanors" and Alternative Conceptions of Justice

Getting Away with Murder? "Crimes and Misdemeanors" and Alternative Conceptions of Justice

Biography and Autobiography

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