@article{oai:tsukuba.repo.nii.ac.jp:00038550,
 author = {BOVO, Elena},
 journal = {Inter Faculty},
 month = {},
 note = {Nowadays the crowd no longer takes to the streets and overruns the squares and public places, or at least only occasionally. My intent in this paper is not to study the concept of ‘crowd’ as such, even supposing this were possible, nor is it to undertake a lexical analysis of the term ‘crowd’. I shall adopt a different point of view, partial, as any point of view is bound to be. At a specific historical period, the turning point of the nineteenth century, and in a restricted area of the world, Italy and France, the crowd, or what is meant by the term ‘crowd’, was a source of terror and fascination. Today, this very same term has none of its past resonance and strength, nor does it conjure up the same powerful images as it did then. However, it is precisely these images, which will always go beyond the strict meaning of the term to which they refer whilst being inextricably bound to it, that I shall discuss. From an examination of two emblematic Italian paintings of the period, my analysis will focus on the famous Psychology of Crowds by Gustave Le Bon published in 1895. What of his sharp and troubling analysis of crowd behavior is still pertinent to the world we live in today?  要旨 今日、街が群衆によって占領されることが珍しくなった。本稿は「群衆」という概念、またはその語彙を研究することを目的としていない。その代わりに「群衆」というもの自体に別の視点を提供したいと思う。１９世紀の転換期、イタリアとフランスでは「群衆」という言葉のイメージの元には魅了または恐怖があった。今日ではこの単語がかつて持っていた力やイメージは残されていない。しかし、本稿ではまさに当時の魅了と恐怖のイメージについて論じたい。このイメージは「群衆」という語にとって本質的なものではあるが、しかし常に「群衆」の狭義の意味からはこぼれ落ちるものである。イタリアで１９世紀の転換期に描かれた２枚の象徴主義の絵画の研究を元に、本稿はギュスターブ・ルボンが１８９５年に著した『群集心理』に焦点をあてる。ルボンが分析した群衆心理は現代、どのような形で残されているのだろうか。},
 pages = {11--21},
 title = {Entre terreur et fascination : la foule dans le monde d’hier Terror or Fascination:  The Crowd in Nineteenth Century Europe},
 volume = {5},
 year = {2014}
}