本論は、広島の平和記念施設の敷地において、原爆ドーム前身の物産陳列館設立（1915）から慰霊碑後方の「平和の灯」設置（1964）まで、一貫して、平和ではなく繁栄を目指す造営と展示がなされてきたことを明らかにした。また、原爆ドームは、慰霊碑がある南からの眺めでは、原爆犠牲者の象徴のように見做されるのに対し、原爆スラムがあった北からの相貌では、被曝後を生きるものとして捉えられていたことを指摘した。以上のことから、現代における記念碑の意味を問い直した。 / In this dissertation I revealed that there had been consistently construction and exhibitions aimed at prosperity rather than peace, from the establishment of the product display hall (1915), the predecessor of the Atomic Bomb Dome to the setting up of the "Peace Flame" behind the cenotaph (1964) on the site where the Hiroshima Peace Memorial Facility is located. In addition, it was pointed out that the atomic bomb dome was regarded as a symbol of the victims of the atomic bomb in the view from the south where the cenotaph is located, and the appearance from the north where the atomic bomb slum was made to live after exposure. From the above, the meaning of the monument in the present age was questioned again. / 博士(芸術学) / Doctor of Philosophy in Art Theory / 同志社大学 / Doshisha University
| Identifer | oai:union.ndltd.org:doshisha.ac.jp/oai:doshisha.repo.nii.ac.jp:00001625 |
| Date | 05 March 2020 |
| Creators | 越前 俊也, Toshiya Echizen |
| Source Sets | Doshisha University |
| Language | Japanese |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | application/pdf |
| Source | https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13142996/?lang=0 |
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