Aware, as generally conceived in Japanese aesthetics, refers to the felt content within a particular work of art that drives the aesthetic value of that work. In this thesis presents a theory of art that places aware as central to the aesthetic experience in the Japanese as derived from Shinto and Buddhist ontology, as well as the aesthetic theories of Motoori Norinaga. This theory is then contrasted with the aesthetic theory of Susanne K. Langer as presented in Philosophy in a New Key, Feeling and Form, and Problems of Art, to provide a full explication of what it means to have an aesthetic experience or create art in the Japanese context.

Traditional theories of gender performativity, grounded in the tradition of Judith Butler, fail to capture the experience of encountering a gendered subject. By reducing gender to a series of discursive acts and ignoring the aesthetic dimension of gender, these theories neglect the possibility for alternative gender performances divorced from the materiality of the body, except through acknowledging the ficticious nature of gender as a consequence of citational acts. In contrast, this dissertation presents a theory of gender as aware, or the “aboutness” that emerges through the repeated citational acts that make present gender in our lived experience. Gender, therefore, does not possess any ontological essence except insofar as it is articulated by citational practices, without which it cannot exist. To this end, this dissertation argues for an expansion of our discourse on gender through appealing to Japanese aesthetic and poetic concepts of aware and mono no aware to demonstrate the aesthetic nature of gender. In so doing this dissertation will present gender as fundamentally aesthetic through appeal to no, kabuki, and the Takarazuka Revue, all sites which divorced gender form biological sex for the purpose of an aesthetic praxis.

Föreliggande uppsats är en religionsestetisk studie med fokus på den estetiska dimensionen inom shinto och dess historiska bakgrund. Studien söker en förklaring till nutidens estetiska shintodefinition genom att spåra den tillbaka till Motoori Norinagas (1730–1801) begrepp ”tingets patos” (mono no aware) och hans estetiska tolkning av det gudomliga. / The present essay is a religious aesthetic study focusing on the aesthetic dimension within Shinto and its historical background. The study seeks to find an explanation for the aesthetic Shinto definition of today by tracing it back to Motoori Norinaga's (1730–1801) concept “the pathos of the thing” (mono no aware) and his aesthetic interpretation of the divine.

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Магистерская диссертация выполнена на 112 страницах, состоит из введения, двух глав, заключения, списка литературы из 204 наименований. Объект исследования: феномен Невыразимого. Предмет исследования: проявление Невыразимого в поэтическом тексте. Работа посвящена исследованию онтолого-гносеологического статуса Невыразимого в поэтическом тексте с помощью объединения восточной (японской), западной и отечественной традиций феноменологии и герменевтики. В первой главе рассматривается история изучения поэтического с текста с древнейших времен до наших дней, предпринимается попытка дать определение поэтического текста, основываясь как на научных и философских подходах, так и через его автоопределения. Также в главе исследуются обстоятельства возникновения поэтического текста, в дальнейшем именуемые Опытом. В второй главе рассматриваются воплощения Невыразимого через переход из сферы Ничто в Бытие на различных уровнях (молчание, говорение, имя, вещь), после чего обозначается его пространственно-временное положение, протекающее в условиях диалога, и выводится особый способ бытия человека, основанный на процессе этого диалога (при-мирение). Заключение посвящено основным выводам по результатам исследования и обсуждению дальнейших перспектив исследования. / The master's thesis is made on 112 pages, consists of an introduction, two chapters, a conclusion, a list of references from 204 titles. The object of research: phenomenon of the Unfathomable. Subject of research: embodiment of the Unfathomable in poetry. The thesis is devoted to research ontho-epistemiological meaning of the Unfathomable in poetry through combining Japanese, Russian and European phenomenology and hermeneutics traditions. The first chapter discusses the historical perspective of studying poetry from Ancient Greek to nowadays, attempts to find a definition of poetry, basing not exceptionally on philosophical and science methods but its self-settings. Also, the chapter explores the conditions poetry appears, namely Experience. The second chapter is aimed at studying embodiment of Unfathomable from Nothingness to Being on different levels: silence–speaking, name, thing, with establishing space-time position of Unfathomable then, unique way of being is given as a sort of dialogue in juxtapositioning or intimacy – with-worldness. The conclusion is devoted to the main conclusions based on the results of the study and discussion of further prospects for the study.

The subject of this dissertation is funeral rites in the Murasaki Shikibu's novel, The Tale of Genji (Genji monogatari). The analysis of the text seeks to explore the author's depiction of the end of life, the afterlife, communication with spirits or souls of dead and to summarize the notes and descriptions of the proceedings of funeral rituals including 'before burial' and memorial ceremonies. The purpose of this dissertation is to create an overview of funeral rituals and ideas of death described in the text of Genji Monogatari. The Tale of Genji is considered a document which reflects contemporary thinking and can therefore be relied on for a study of funeral and memorial rituals. The main method used to develop the topic is a detailed analysis of theoretical, practical and aesthetic aspects of death described in the Genji Monogatari novel. The ideas of the Heian Court about death and the afterlife were mainly affecting the cult of ancestors, Shinto, Taoism, Buddhism and Shamanism, which also participated in the creation of the funeral cult. Ideas of the afterlife were also very diverse. The world of the living and the world of the dead, in the concept of old Japanese, were not strictly divided and spirits had access to all spheres of life. Communication with spirits of the living and the souls...