@article{oai:kanagawa-u.repo.nii.ac.jp:00006060,
 author = {鳥越, 輝昭},
 issue = {55},
 journal = {人文学研究所報, Bulletin of the Institute for Humanities Research},
 month = {Mar},
 note = {In this article dealing with the etchings of Rome produced by Giovanni Battista Piranesi, I have put forth three points :（1） In many of the prints depicting Roman ruins he represents such nature that “reclaims” its own territory from the Roman civilization;（2） in a number of his other prints, however, he reverses this process and, by the use of his imagination, tries to reclaim nature to reestablish the civilization;（3） his preference for the ascending phase of the Ancient Rome was exceptional in the 18th-century historiography on Rome and it resembles both the tendency found in the Renaissance and that found in the 19th century.　As to the first point, I have argued that behind his expressive etchings of Roman ruins there is his love for the Ancient Roman civilization derived from his reading of Latin classics as well as his dislike for its destruction brought about by the Christian society. This love and dislike is noticeable in a print depicting the Roman Forum, in which he neglects Christian churches and highlights the Ancient Roman remains.　To prove my second point, I have paid attention to such etchings that attempted to present the Capitol Hill and the Pantheon as if they were in their prime. In this type of prints, Piranesi was an architect of imagination who made full use of his knowledge of classical literature.　Piranesi had a tendency to overlap the actual sight of Rome with its imagined past, and partly because of this he continued to be influential in the following generations. He was contrastive to his onetime mentor, Giuseppe Vasi, a cartographer who liked to depict the 18th-century Rome as it was and was soon forgotten.　As for my third point, Piranesiʼs love of Livy and his love for the pre-imperial Rome was what was also noticeable in Machiavelli and his contemporary Florentines. Interestingly, the similar preference disappears from the Roman histories written by Montesquieu and Gibbon and reappears in those works written by Michelet and Mommsen in the 19th century., Departmental Bulletin Paper},
 pages = {1--20},
 title = {奪い返す「自然」と抗う想像力  －ピラネージのローマ表象をめぐって－},
 year = {2016}
}