THE CATEGORY OF MASCULINITY AND FEMININITY IN THE JAPANESE CLASSICAL LITERATURE
The problem of representation of gender stereotypes in literature, which are features of perception of social and sexual roles and are expressed in the concepts of ‘masculinity' and ‘femininity', is appealing from the point of view of their impact on the formation of poetic principles masurao-buri (masculine) and taoyame-buri (feminine) in classical Japanese poetry waka. The ideal of masculinity is most clearly embodied in the poetic anthology «Man'yoshu» (8th c.). The author names, the new genres, the ponderous rhetoric and many more afford us an opportunity to mark independence, individuality, activity and radicalism the signs of masculinity themselves. Seasonal headings instead of the author's, the sophistication of tropes, canonicity, sensuality, shift of attention from external to internal (markers of femininity), all of them characterize the tanka of the Heian period in the anthology «Kokinshu». In Japan, a country with a strong male lead, gender stereotypes strictly regulate the behavior (in particular, impose restrictions on the expression of feelings). Consequently, they defined the new genre of lyrical diary («Diary of a journey from Tosa» by Ki-no Tsurayuki). In the 18th century, the dichotomy of masculinity and femininity is reflected in the ideological and aesthetic debates of representatives of the «national schools» kokugaku-ha Kamo Mabuchi (the follower of belligerent simplicity of so-called ‘brave' style) and Motoori Norinaga (who supported feminine beauty). Kamo Mabuchi argued that the Japanese spirit is embodied in love. He thought that Kokinshu style was too effeminate and weak, compared to a free spirit of «Man'yoshu». Kamo Mabuchi, an adherent of the ‘male' style ( masurao-buri ), considered the main advantages of «Japanese heart», honesty and truthfulness ( naoki kokoro ). Motoori Norinaga was first to interpret the concept of aesthetic mono-no aware, favoring ‘feminine' style ( taoyame-buri ). He gave the Japanese poetry its nobility and refinement. However, the contradiction between ‘male' and ‘female' was not antagonistic but mutually complementary. Consistency with the two principles became the basis of Japanese classical literature.