WEKO3
アイテム
「ヴィットリアーノ」の外と内 －ヴィットリオ・エマヌエーレニ世国立記念堂に見る〈ローマ〉
http://hdl.handle.net/10487/00016569
http://hdl.handle.net/10487/000165694129f0dd-f6f7-499e-ba66-3651d3e554de
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
01 「ヴィットリアーノ」の外と内 －ヴィットリオ・エマヌエーレニ世国立記念堂に見る〈ローマ〉 (800.0 kB)
|
|
| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2020-10-28 | |||||
| タイトル | ||||||
| タイトル | 「ヴィットリアーノ」の外と内 －ヴィットリオ・エマヌエーレニ世国立記念堂に見る〈ローマ〉 | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | Outside and Inside of the Vittoriano ： “Rome” concerning the National Monument to Vittorio Emanuele II | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | the Vittoriano | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Vittorio Emanuele II | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | nationalism | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Christianity | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | Mussolini | |||||
| キーワード | ||||||
| 言語 | en | |||||
| 主題Scheme | Other | |||||
| 主題 | the Pantheon | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| 著者 |
鳥越, 輝昭
× 鳥越, 輝昭 |
|||||
| 著者別名 | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 34958 | |||||
| 姓名 | Torigoe, J. I. Teruaki | |||||
| 言語 | en | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | “The Vittoriano,” the National Monument to Vittorio Emanuele II, invariably attracts the attention of the visitors to Rome by its enormity, its brilliant whiteness in an ochre-colored city, and the wide space surrounding it. This monument is an expression of the misfortune of the modern Italian monarchy and a portent of the shortness of its reign. The Italian kings found themselves confronting, as a result of the unification process, the Catholic Church in a country where the majority of people were Catholics. They could not easily expect the support of their people. The outside of the Vittoriano unintentionally reveals this predicament. It is full of reminders of the prosperity, glory, and military power of Ancient Rome and also full of indications of modern nationalistic ideals. In contrast, we cannot find anything that suggests Christianity on the outside of this enormous structure. Even the equestrian statue of the king, the focus of this monument, is not supported by God but by an old Roman goddess “Dea Roma.” The Vittoriano, inaugurated in 1911, was originally dedicated to the first king of Italy, Vittorio Emanuele II, who was regarded as “the liberator of the country and the founder of its unification.” A little later, in 1921, the tomb of an unknown soldier was added inside this monument, with its altar added on the outside. These additions were meant to commemorate all the soldiers who died for the country in the First World War. The tomb and the altar were not contradictory to the Vittoriano’s original purpose but rather intensified it, for both the glorification of the unification of the country and the commemoration of its dead soldiers were expressions of nationalism. The use of the Vittoriano as an expression of nationalism continued and was completed by Benito Mussolini. The Italian governments before him had already cleared congested residential areas in front and on each side of the monument, thus producing a wide space from which to admire this temple of nationalism. They had also newly redirected two main roads into the large square in front of the monument. Interestingly, the first act of the Italian dictator after his nomination as Prime Minister was to kneel and pray at the altar of the Vittoriano and, after that, to make a speech from its steps to his supporters who gathered in the square in front of it. Another interesting act of his regarding this monument of nationalism was moving his office to Palazzo Venezia in 1929 after his winning of the absolute majority of votes in a plebiscite. After this, he often delivered his speeches from the balcony of this palace, which looks up at the Vittoriano on its right. Thus the supporters who filled the square in front of him were made to be aware of his succession to and the furtherance of the unification achieved by Vittorio Emanuele II and his attempt at the rebirth of the Roman Empire. To make this rebirth visible, Mussolini constructed a road that connects the Vittoriano to the Colosseum. He constructed another road that connects the Vittoriano with the coast near Ostia, which was an important naval base for the Roman Empire in making the Mediterranean Sea “Mare Nostrum.” The Vittoriano can be compared with the Pantheon. This roundshaped Roman building, originally dedicated to many gods, was adopted as a Christian church in the early 7th century, when the Catholic Church was gaining ascendancy over the polytheistic civilization of Rome. From the 13th to the later 19th centuries, the Pantheon as the Church of Santa Maria dei Martiri had bell towers with the Christian cross added on the roof of the portico, as a sign of the dominance of Christianity. Whilst the city of Rome has the Pantheon, which reflects the ascendancy of Christianity, it also has the Vittoriano, which reflects the ascendancy of nationalism over Christianity. The Vittoriano has effectively concealed inside a minor intrusion of Christianity, a small Christian chapel for the Unknown Soldier in its crypt. The assault of nationalism on the Pantheon is a short but interesting story. In the 1880s, an inside chapel of the Pantheon, the one for the Holy Ghost, was replaced by the temple for Vittorio Emanuele II. Nationalism overpowered Christianity. Its overpowering is also noticeable in the removal in the same period of the cross-topped bell towers from above the façade of the Pantheon. Never again has there been a cross on the portico of this building, a sign of the weakened strength of the Church. However, the strength of the monarchical nationalism of Italy has also weakened, as was predicted on the outside of the Vittoriano. Umberto I, who succeeded Vittorio Emanuele II, also has a temple with his wife in one of the chapels of the Pantheon. However his temple is less ostentatious than his father’s and looks somewhat like other traditional tombs in a Christian church. Neither his son, Vittorio Emanuele III, nor his grandson, Umberto II, has a temple in the Pantheon. They were both expelled from the country in 1946 when monarchy was abolished in Italy, having their tombs in Egypt and France respectively | |||||
| 言語 | en | |||||
| 書誌情報 |
ja : 人文研究 en : Studies in humanities 号 184, p. 1-32, 発行日 2014-12-25 |
|||||
| ISSN | ||||||
| 収録物識別子タイプ | PISSN | |||||
| 収録物識別子 | 0287-7074 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN00123041 | |||||
| 著者版フラグ | ||||||
| 出版タイプ | VoR | |||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
| 出版者 | ||||||
| 出版者 | 神奈川大学人文学会 | |||||
| 言語 | ja | |||||
| 出版者 | ||||||
| 出版者 | The Society of Humanities at Kanagawa University | |||||
| 言語 | en | |||||
