『ケーテ・コルヴィッツにとっての彫刻－『ピエタ』を中心とした「追悼の形」をめぐる考察－』
大学美術教育学会誌第41 号　2009年3月　pp.229-236

戦争体験者の高齢化に伴う「戦争の記憶の風化と継承」の問題が多く指摘される中で、ドイツ表現主義の版画家、或いはアドルフ・ヒトラーに「退廃芸術家」の烙印を押された一人として知られている、ケーテ・コルヴィッツドイツ）を取り上げ、彫刻家としての足跡と業績をふまえつつ、特に1937-38年に制作された作品『ピエタ』を中心に、コルヴィッツにとっての彫刻、及び現代社会にとっての意義について考察した。

Sculpture for Käthe Kollwitz　 A Study of Kollwitz' Shape of Mourning through 'Pieta'
  Käthe Kollwitz (1867-1945) is regarded as a printmaker of the German Expressionist movement.  She was also a woman who was branded by Adolf Hitler as a degenerate artist. It is no exaggeration to say that she was an artist who was strongly influenced by the era, especially by wartime propaganda.
  The focus of this dissertation is on the essence and significance of Käthe Kollwitz' Artworks, especially 'Pieta' (1937-38) for modern society.  The study is based on her career and achievements as a sculptor.
  Kollwitz created sculptures as well as prints against a backdrop of human life and death.  Her figurative sculpture must have been "private and memorial cenotaphs" for someone or something special with her definite purpose rather than self-expression for herself.
  Therefore, figurative sculpture was Kollwitz' best medium for expressing what "Art is to Society."

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