@article{oai:teapot.lib.ocha.ac.jp:00039672,
 author = {伊集院, 令子 and IJUIN, Reiko},
 journal = {人間文化論叢},
 month = {},
 note = {application/pdf, 紀要論文, This article deals with Husserl's analysis of attention at the winter semester 1904/05 from the point of view of the genetic phenomenology. In Husserl, the concept of attention covers a wide range of phenomena. This concept not only covers the concept of concentration, but also covers that of interest. This paper reveals that Husserl's analysis has double character ; on the one side this text lies under the context of the development toward the transcendental phenomenology. On the other side this text has many germs of genetic phenomenology. The aim of this paper is the attempt to apply this analysis to the genetic phenomenology of picture-consciousness (Bildbewusstsein). The key to clarify the mystery of the genesis of picture-consciousness is to illuminate the relation between picture-consciousness and rhythm. In this article, I explain why many modern artists have still today never abandoned the method of drawing, from the point of view of the role of rhythm in picture-consciousness.},
 pages = {103--111},
 title = {注意とリズム},
 volume = {8},
 year = {2005}
}