Япония: цивилизация, культура, язык 2022

ЯПОНИЯ: цивилизация, культура, язык 2022 524 However, one key concept here is that of “role”: these are roles both genders perform according to an agreed-upon convention. 21 st century Japan is no longer a stage for submissive women who cater to the needs of their men, but rather a place where women choose their battles, and the one for being able to touch or carry the mikoshi appears not to be worth fighting. Similarly, men who are only happy to share household responsibilities with their wives must play the part of “manly men” during the festival, which is nothing but an elaborate stage for the re-enactment not only of ancient myths, but also of ancient beliefs and practices. The idea that men are strong protectors and true believers who offer their purified bodies to the deities is as much a convention as the concept that the deities are temporarily more present than usual among mortals for the duration of the matsuri. 2. Beyond the Painted Screens The next question the present study will address is that of the connection between ordinary men, who have ordinary jobs and live ordinary lives with the exception of the sacred matsuri time, and geisha—rigorously trained artists who ply their trade daily. The answer is that both categories strive to perform a gender, to embody the perfect image of a man or woman as dictated by “traditional” Japanese culture. The word “traditional” would require some explaining here—it is the translation of 伝統文化 dentô bunka (traditional culture) used by both categories to refer to patterns of thought and behavior transmitted from one generation to another, and often encountered in various books (both fiction and non- fiction/ research) as embodying the concept of Japaneseness. Geisha have long been a source of fascination for both the Japanese and non-Japanese alike. When Japan opened its borders and started exporting culture in the beginning of the Meiji Period (late 19th century), geisha became a symbol of