@article{oai:kanagawa-u.repo.nii.ac.jp:02000582,
 author = {鳥越, 輝昭},
 issue = {71},
 journal = {人文学研究所報, Bulletin of the Institute for Humanities Resarch},
 month = {Mar},
 note = {ミケランジェロ・アントニオーニは，映画監督として，時代との結びつきを失うことなく，自身の内面に時代の反響を捉えることを信条としていた。本稿では，アントニオーニの文章や発言を整理しながら，（1）時代をどのように認識していたか，（2）時代の反響を捉える内面はどのように組成されていたか，を探求した。アントニオーニは1950年代以降について，政治的・倫理的・社会的・身体的な不安定さを捉え，1970年代以降については閉塞・内向・暴力・残酷さを捉えていたことが明らかになった。（アントニオーニが多くを語らなかった）内面の組成については，出自・教育・経験，および映画・文学との関わり，に注目した。本稿ではさらに，映画作品のなかに「自身の倫理観」を注ぎ込むといったアントニオーニが，非宗教的でありながら極めて倫理的だったことを指摘した。, It was Michelangelo Antonioniʼs lifelong principle as a film director never to lose contact with his times, thereby catching their resonance within himself. Giving some order to his occasional writings and interviews, the present article made investigations about how he regarded his times and how his responsive mind had been formed. Antonioni perceived political, moral, social and physical instability in the 1950s and thereafter, and blocked-up feeling, introversion, violence and cruelty in the 1970s and thereafter. To fathom the formation of his mind, about which he was reticent, special attention was paid to his background and his relations to films and literature. The present article also argued that Antonioni, who acknowledged that he “poured his ethical views” in his films, was non-religious but deeply moral.},
 pages = {107--128},
 title = {アントニオーニにとって“シンチェリタ”とは何か（2） －自身と自身の作品とについて},
 year = {2024},
 yomi = {トリゴエ, テルアキ}
}