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eyeliner brush, oakmoss resinoid, oakmoss absolute, oatmeal abrasive, oatmeal soap, waterproof mascara, eyebrow pencil, soybean note, eyelash curler, etc. ;

N + Prep. + N (14 units):

yield of oil, yield of concrete, yield of absolute, trail of scent, tenacity of fragrance, depth of fragrance, bottle of perfume, attar of roses, etc.;

N-N + N (12 units):

o-w emulsifier (oil-water emulsifier), w-o emulsifier (water-oil emulsifier), etc .;

N + NN (4 units):

cake eyeliner, zinc pyridinethione, etc.

Even more rare (occasional) are the following patterns of nouns’ combination:

N/N + N (1 unit):

o/w emulsion (oil/water emulsion);

N + N-N (1 unit): cake eye-shadow.

Among the word-formation patterns of three-component terms of perfume and cosmetics industry various combinations of adjectives and nouns are quite frequently used:

Adj + N + N (21 units):

bitter orange fragrance, yellow cherry note, alcoholic perfume solution, white currant note, false lashes effect, wild poppy oil, etc .;

N + Adj + N (10 units):

violet essential oil, flax essential oil, geranium essential oil, jasmine essential oil, etc.;

Adj + NN (6 units):

yellow beeswax, radiant lipstick, nacreous lipstick, ultrathin eyeliner, fake eyelashes

etc.;

N-Adj + N (6 units): gamma-linolenic acid, licorice-like flavour, talc-free powder,

etc.;

Adj + Adj + N (5 units):

apocrine sweat glands, fragrant essential oil, soft floral note, sweet spice note, woody oriental note.

Among the occasional word-formation models which are based on adjectives and nouns’ combinations, the following can be enumerated:

Adj.-Adj + N (1 unit): aldehydic-floral perfume;

Adj.-N + N (1 unit): brazil-nut note;

NAdj + N (1 unit): oakmossy note, etc.

The combinations of other parts of speech are presented in the following wordformation patterns (listed according to the frequency of use):

N-Ved + N (10 units):

lime scented perfume, pistachio-scented perfume, animal-derived ingredient, fig-based fragrance, hibiscus-scented perfume, mint-scented perfume, etc.

V-Prep + N (6 units):

make-up base, make-up case, make-up sponge, make-up remover, etc.;

N + Ving + N (4 units):

sachet filling machine, vacuum capping machine, vacuum distilling column, vacuum filling machine;

Num. + N + N (3 units):

quaternary ammonium derivative, quaternary ammonium compound, quaternary ammonium surfactant;

Prep. + V + N (2 units):

after shave lotion, after shave balm; 94

N + V-Prep. (2 units):

cake make-up, face make-up;

Prep + N + N (1 unit): after bath powder;

Adv + Ved + N (1 unit): easily absorbed cream;

Ved + N + N (1 unit):

concentrated fragrance mixture, etc.

Four-component terminological units are relatively few in the terminology of perfume and cosmetics industry (36 terminological units, or 3.6% of the sample). They include the following word-formation patterns:

N + N + N + N (14 terms):

litsea cubeba fruit oil, mandarin orange perfume ingredient, lemon balm perfume ingredient, water lily perfume ingredient, rose mallow perfume ingredient, rose hip blossom scent, lemon tree perfume ingredient, etc.

Adj + Adj + N + N (1 unit): black elder perfume ingredient;

Adj + N + N + N (6 units):

wild strawberry perfume ingredient, daily detox face wash, red apple perfume ingredient, white tobacco perfume ingredient, etc.

N + Adj + N + N (2 units):

cyperus scariosus perfume ingredient, rose Japanese perfume ingredient;

N + Conj. + N + N (2 units):

face and throat oil, hair and body wash;

N + NN + N (2 units):

gas chromatography profile, vacuum emulsification method;

N + Ving + N + N (1 unit):

night blooming cereus fragrance;

NN + N + N (1 unit):

maidenhair fern extract and others.

Five-component terms (9 units) are formed according to different occasional patterns:

Adj + N + N + Adj + N (1 unit):

St. John's wort essential oil;

Adj + NN + N + N (1 unit):

fulvous seaweed perfume ingredient;

N/N + Ved + N + N (1 unit): alcohol/water based perfume solution;

N + N + Adj + Adj + N (1 unit): moroccan camomile organic essential oil;

N + N + Prep. + Adj + N (1 unit): lip brush for even coverage;

N-N + N + N + N (1 unit): mirabelle-plum tree fragrance note;

Ving + N + Prep + N + N (1 unit): cleansing wipes for makeup removal, etc.

The charts clearly show the ratio (quantity and percentage) of English terms of perfume and cosmetics industry according to the number of components (terminological elements) (see Annex. Chart №3).

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Chart №4.

The ratio (quantity and percentage) of perfume and cosmetics industry terms according to the number of components

The ratio (quantity and percentage) of perfume and cosmetics industry terms according to the number of components

One-component

Two-component

Three-component

Four-component

Five-component

As can be seen from the chart, according to the quantity criteria more than a half of terminological units (55.2%) are two-component terms while the percentages of onecomponent terms (20.2%) and three-component terms (20%) are approximately equal. The fourand five-component terms are far less numerous (3.7% and 0.9%, respectively).

In conclusion, the analysis of morphological structure of one-component and oneword terms of perfume and cosmetics industry, as well as the study of structural and wordformation patterns of multi-component terminological units of this domain allowed to determine the most frequent and the least frequent (occasional) word-formation patterns used to create terms. One-word terms are usually created by ellipsis, suffixation; less frequently by prefixation or both prefixation and suffixation, as well as by conversion. As for multicomponent terms of the analyzed sphere, the predominant pattern of the word-formation is syntactic derivation of terms (as compared to the morphological and morphosyntactic patterns of word-formation). This syntactic derivation is generally based on various combinations of nouns, nouns with adjectives, with or without prepositions. In the perfume and cosmetics terminology one-word noun terms largely prevail. The predominance of twocomponent terms as compared to the one-, three-, fourand five-component units has been pointed out. The approximately equal ratio of oneand three-component terms is also notable.

Bibliographic list

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C.Glassen, D. Howes, A. Synnott. – NY: Routledge, 1994. – 256 p.

3.Rhode D. The Beauty Bias: The Injustice of Appearance in Life and Law / D. Rhode.

– NY: Oxford University Press, 2010. – 273 p.

4.Restivo S. Science, Technology and Society: An Encyclopedia / S. Restivo. – NY: Oxford University Press, 2005. – 728 p.

5.Alimuradov O.A., Latu M.N. Dinamicheskie protsessy v terminologicheskikh

sistemakh (na materiale sovremennykh angloyazychnykh terminosistem) / O.A.

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Alimuradov, M.N. Latu // Aktual'nye problemy filologii i pedagogicheskoy lingvistiki. – 2012. – № 14. – S. 250-259.

6.Alimuradov O.A., Latu M.N. K voprosu ob universal'nykh i individual'nykh kharakteristikakh terminosistem (na materiale angloyazychnoy voenno-istoricheskoy terminologii) / O.A. Alimuradov, M.N. Latu // Yazyk. Tekst. Diskurs. – 2008. – № 6. – S. 250-255.

7.Alimuradov O.A., Latu M.N., Razduev A.V. Osobennosti struktury i funktsionirovaniya otraslevykh terminosistem (na primere terminosistemy nanotekhnologiy) / O.A. Alimuradov, M.N. Latu, A.V. Razduev: kollektivnaya monografiya. (2-e izd., ispravl. i dopoln.). – Pyatigorsk: SNEG, 2012. – 128 s.

8.Alimuradov O.A., Shlepkina M.A. Innovatsionnye leksicheskie protsessy v sisteme stereotipnykh konstruktsiy sovremennogo angloyazychnogo delovogo diskursa: abbreviatsiya i sokrashchenie / O.A. Alimuradov, M.A. Shlepkina // Filologicheskie nauki. Voprosy teorii i praktiki. – 2010. – № 1-1. – S. 20-29.

9.Danilenko V.P. Izomorfizm mezhdu slovo- i frazoobrazovanii / V.P. Danilenko // Nauchnyy vestnik. Voronezhskiy gosudarstvennyy arkhitekturno-stroitel'nyy universitet.

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10.Latu M.N. Angloyazychnaya voennaya terminologiya v ee istoricheskom razvitii: strukturno-semanticheskiy i kognitivno-freymovyy aspekty / M.N. Latu: dis. … kand. filol. nauk: 10.02.04. – Pyatigorsk, 2009. – 222 s.

11.Razduev A.V. Perspektivy standartizatsii angloyazychnoy spetsializirovannoy leksiki sfery nanotekhnologiy / A.V. Razduev // Vestnik Pyatigorskogo gosudarstvennogo lingvisticheskogo universiteta. – 2012. – № 3. – S. 79-87.

12.Razduev A.V. Sovremennyy angliyskiy pod"yazyk nanotekhnologiy: strukturnosemanticheskaya, kognitivno-freymovaya i leksikograficheskaya modeli / A.V. Razduev: dis. … kand. filol. nauk: 10.02.04. – Pyatigorsk, 2013. – 242 s.

13.Kurgalina M.V., Laenko L.V. Angliyskie zvukovye atributy s suffiksami -ing/ed: k probleme chasterechnoy differentsiatsii / M.V. Kurgalina, L.V. Laenko // Nauchnyy vestnik. Voronezhskiy gosudarstvennyy arkhitekturno-stroitel'nyy universitet. Seriya «Sovremennye lingvisticheskie i metodiko-didakticheskie issledovaniya». – 2014. – Vyp. № 1(21). – S. 7483.

14.Latu M.N. Nominatsiya v razvivayushchikhsya terminosistemakh / M.N. Latu: Monografiya. – Pyatigorsk: SNEG, 2015. – 192 s.

15.Alimuradov O.A. Znachenie, smysl, kontsept i intentsional'nost' / O.A. Alimuradov: avtoref. dis. … dok-ra filol. nauk. – Rostov-na-Donu, 2004. – 47 s.

16.Alimuradov O.A. Kontsept i lingvisticheskaya semantika. Znachenie, smysl, kontsept i intentsional'nost': sistema korrelyatsiy / O.A. Alimuradov. – Saarbruken: LAP LAMBERT, 2011. – 316 s.

17.Gorbunova N.N. Sovremennaya angloyazychnaya terminosistema sfery menedzhmenta: strukturno-semanticheskaya i kognitivno-freymovaya kharakterizatsiya /

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s.

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Scientific Newsletter of Voronezh State University of Architecture and Civil Engineering

INTERCULTURAL COMMUNICATION

UDC 821.521

Moscow State University of International Relations Post-graduate Student

of the Philosophical Department Natalya Yevgenyevna Parieva e-mail: parieva.natalia@mail.ru

N.E. Parieva

SPECIALITY OF “TIME” PERSEPTION IN CLASSICAL

JAPANESE LITERATURE

The article deals with the speciality of “time” perception by the famous authors of classical Japanese prose. Classical Japanese literature has a thousand year history. During this long period, Japanese prosaic literature did not remain indiscrete. It was changing while reflecting keenly the changes in feudal state realities.

Before appearing the literature where the author’s personal attitude to the current events prevails poetic and historical consciousness depended on the time scale, the time of historical consciousness dominated in writing culture. With time the texts with reference to Buddhism, temple writings, the confluence of Buddhist mythology acquired historic narration features. They were full of dates of important historical events, i.e. they were narrated according to historical and calendar time. It is a well-known fact that with the appearance of brightly expressed author’s consciousness in Japanese fiction the transition from historical time to art time one took place, which indicated the tendency toward the introversion and contraction of time perception in Japanese authors’ works. Nevertheless, there are quite often the examples of the Japanese fiction works in which the "objective" time determines the passage of the "subjective" time. This is one of the examples of time syncretism which is a characteristic feature of classical literary works by Japanese authors.

Key words: Japan, time, objective time, subjective time, chronology, literature, Japanese literature, prose, composition.

Classical Japanese literature emerged in the eighth century and existed until the second half of the nineteenth century. During such a long time Japanese literature did not remain homogeneous, it was changing, reflecting keenly the changes that occurred in the life of a feudal state.

The peculiarities of the perception «of time» by some well-known authors of classical Japanese prose are considered in this article.

In «Kodziki», "Japan of syoki", which represent the collection of myths, legends, ancient songs, and fairy tales, while being the historical chronicle (the vivid example of syncretism of ancient literature), time is differentiated between the "event" time (the mythological one) and the "historical" time. Meshcheryakov A.N. notes that in the first place the

«event» time is characterized by the quality but not the quantity [1, p.26].

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© Parieva N.E., 2016

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The list of certain events in their time sequence, which are important for a historical chronicle, is gradually expanding. The narrative about the gods of the Plain of the High sky is consistently changing to a description of the life of the first emperors and their close people’s divine ancestors. The frequent fixation of the important for the history events is observed. Great significance the Historical genealogy of Japanese emperors acquires

Such chronology represents a basic principle of a text forming:

In the winter, of the initial year of rule of the sovereign of Siraka, in the 11th month. Vodate, from the Yama-be-no murazi, the governor of the sovereign in the province of Parima arrived to the capital and asked for permission [of the sovereign] to come out to meet him…

…In the summer of the year 2 in the 4th month Sovereign Oke was proclaimed the crown prince.

…In the year 5 the sovereign of Siraka died. The sovereign [Oke] ceded the Celestial

Empire to Sovereign Voke. And he still remained the crown prince

…In the summer of the year 3 in the 4th month Sovereign Voke died.

In the spring of the initial year [of the rule of the new sovereign] on a day Kinoto-no tori of an initial month. When new moon fell on the day Kanoto-no mi, the crown prince acceded to the throne in the Iso-no kami-piro-taka-no miya´s palace» [1*, p.388].

In the winter, on the day Midzunoto-no usi of the 10th month, when new moon fell on a day of Midzunoe-no ne Yamato-takeru-no mikoto started a campaign [1*, p.247]..

The most ancient monuments of a Japanese script Kodziki and "Nihon syoki" were created in the period of domination of historical consciousness in writing culture, therefore the composition of texts of this chronicle represents the sequence where the text tense, i.e. the order of pieces representing events, is created in accordance with a procedure of events in real time [2].

Reproduction of events in strict time sequence finds an incarnation in not only Japanese chronicles, but the first treatises belonging to Buddhism. The Buddhist sutras acquire a form of historical narrative about the spreading a Buddhist doctrine on the Japanese islands or a form of temple chronicles. The anthologies, the collections of Buddhist legends are under the influence of «chronological» perception of the world.

One can assume that before an emergence of classical Japanese literature poetic and historical consciousness depended on and subordinated to a timeline.

In Х-ХI centuries the attitude to time and its perception are undergoing a certain transformation. Development of literary works of individual character namely of essay and diary literature that emerged in the Kheian period served as the reason for such a change (the period in history of Japan from 794 to 1185). Kheian kheian in literal translation means

«peace, calm», it was the name of the capital of Japan where in that time the imperial court was situated.

The Kheian epoch is the Golden Age of Japanese culture, time of formation of traditions and literature.

The end on the tenth – the beginning of the eleventh century – accounts for the flowering of prose of the Kheian epoch. In the Kheian epoch the whole cohort of the most talented authors emerges in whose works the genre, style, and aesthetic features of Japanese literature were formed. Such literary genres as Stories, novels, short stories, and essays appeared

D.G. Glaveva [3] defines the structure of literary prose of the Kheian period as monocentric and deeply human. The Prose tells about the most different situations and moments of life of the aristocratic society. The authors of the majority of works are women and

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the works written by them were intended for the in-group of aristocracy, so one can say that the authors of literature of Kheian period are its consumers themselves.

Because women were the principal authors of this type prose, there is nothing surprising in the fact that the lyrical principle dominates in the majority of the works. It is ex-

pressed Most clearly in the genre «of diary prose» Nikki: "Diary of fleeting life"

by Mitsuna –no khakha, "Diary" by Murasaki Sikibu. The work written in «Nikki's» genre can be presented as the notes written by the author about the events he witnessed or in which she participated. These can be the notes on life events, trips."Diary of travel from Tosa" by Key – No Tsurayuki is an example of such notes. These works represent a kind of autobioraphies , in the first place because in the first place each of the authors is preoccupied with their own first-hand experience which gives the prose of Kheian period monocentric character.

Describing appearance, clothes, manners, the speech of a particular person, emotional experiences connected with a certain event, holiday, ceremony, the author demonstrates subjective notions about the subjects of observation. Thus, having shown his personal perception of a certain real situation, the author is creating specific artistic space which exists in a certain artistic (subjective) time. In the other words, "«narrowing» of a view is evident here" [3, p.83].

D.G. Glaveva speaks about the tendency of the introversion and reduction of perception of time in the literary monuments of Khaien period, i.e. because of «narrowing» of their view to the limits of an Emperor’s palace, a tendency towards gradual shrinking of visual perception to the limits of the individual microcosmos is expressed. Such introvertization of a view has a direct relationship with the change of apperception of time, i.e. a transition from external "objective" time to the «inner» subjective time, is occurring. In other words, with an emergence of literature of the Kheian epoch where an author's personal attitude towards occurring events prevails, a transfer from historical, real time to a artistic time begins occuring.

The concept «of artistic time» in Japanese literature demonstrates the notion of "subjective" time which differs from external time – "objective", i.e. it is regarded by an author of diary literature or fiction as the very inner time connected indissolubly with his or her emotions, perception of the world, not depending on the outside world and time.

Unlike chroniclers, the authors of stories, short stories, diaries, and essays are narrating about the facts that they saw with their eyes. This trend is typical of Western literature [4; 5]. Heroes, the events, and facilities of their works seemingly exist, having come to the sight of a storyteller. It is Because of this the poetess, lady-in-waiting, Murasaki Sikibu refuses to describe one or another event, commenting this by the fact that she was not present in person to see it. In other words, the fact that happened is true only when it is observed.

Sai Syonagon began a new literary genre dzuikhitsu (dzuikhitsu – "following

the brush") with her work "Pillow books" which preserved its popularity even in modern Japan. «An essay» is the analogue of a similar genre in European literature. The main feature that unites the genres of "essay" and "diaries" is setting to reality. The chronological datings in such works confirm the reality of what is happening.

In "Pillow books" the author's role of personal time is being largely dominated. Sai Syonagon is seemingly mixing calculus systems. Despite the organization of her memories and feelings being in accordance with real march of time, there are fragments not lending themselves to temporary establishment – reasonings about people surrounding a writer, events, things, her memories, etc.

A reader's glance is focused not so much on external events but on the state of soul of an author, her world view, aesthetic value system, spiritual world, emotions, admiration for the reality surrounding her:

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About the most wonderful things in the world: What can be more magnificent than Kamo's temple celebrations in Ivasimidzu? [2*, p.163].

The fact that amazes more strongly one´s hearing: A beating of coaches on the first day of a New Year, cries of birds, someone's cough in the dawn of this day. [2*, p.136]

The things that cannot be compared between each other: The summer and the winter. The night and the day. Bad weather and sunny weather. Old age and youth. White and black ones. Favorite and hateful [2*, p.73].

Sai Syonagon begins her narrative with introduction where she gives a short characterization of seasons and expresses her admiration for natural phenomena. After the introduction the author symbolically begins her work from the first day of a New Year, continuing to describe traditions and a lifestyle of an aristocratic estate in the first days of the first month:

On the first day of a New Year the cleared sky joyfully becomes bluer, light spring haze transfigures everything around;

On the eighth day of a New Year great liveliness reigns. A loud beating of coaches is audible…;

The fifteenth day is a holiday when, according to the custom, "the viands of the full moon" are presented to the sovereign. [2*, p.7]

But the description of a natural course of time in this work is interrupted by the repeated return from an author's memories to the reality which seemingly upsets the course of events, at the same time, forming its own time perspective, perspective of inner time.

One can assert that the event dating in a work is inferior to a chronological dating (one can assign to the chronological dating not only dates, but the names of celebrations, ceremonies, rites available in a calendar).

Subjectivisation of a view in "Pillow books" is strengthened by its introspective orientation because the events were not selected in accord with the objective timeline, but by the degree of their influence on a writer's state of mind.

In other words, personal time of Sai Syonagon is coming to the first plan.

Nevertheless even chronological fixation of certain events takes place in the narrative. Many records of "Pillow books" are dated referring to days and months:

When in time of the first moon I isolate myself in the temple for prayer, I wish that all around was bound by the hard frost and covered with snow... [2*, p.138];

Once during the ninth moon all the night long before a dawn a rain… [2*, p.152] poured;

during the second moon in the State Council the manage proceedings called «the inspectorate» … [2*, p.153] are accomplished..

On a dark moonless night, during the fifth month of a year, loud voices suddenly resounded... [2*, p.157].

during the eighth moon I saw a young woman... [2*, p.204].

In the evening before the fifth day of the fifth moon a servant in a red dress goes... [2*, p. 223].

On the twenty-fourth day of the twelfth moon due to the empress’s bounties a celebration of Memory of holy names of Buddha was held [2*, p.283].

Because some of the above listed events play an important role in state affairs and life of the nation, their chronological fixation is necessary. The similar disposition is observed in the works by different authors, beginning with the first written monuments of Japanese literature andending with modern works.

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The autobiographical «Unasked story» written by Nidzyo over one hundred years after

the ending of a Kheian epoch is considered among belongs to the genre of - nikky

and was created completely in compliance of a literary tradition of Kheian period, clearly indicating what great influence on the subsequent development of Japanese literature this culture had.

D.G. Glaveva [3] notes that in any diary the description of these or other events cannot exist without two primary factors: time sequence and a subject who perceives. But one can keep a diary differently: the attitude to the principles of time count can be individual, not repetitive, the same can be said about the event selection. V.N. Goreglyad [6] comes to a conclusion that if the event outlined in a diary can be correctly set in time, the objective time turns out to be more important. But, if the noted fact can only be correlated with other facts, the author of a diary’s personal time comes forward.

Objective time is vividly expressed in "Unasked story ", i.e. exact chronological fixation of the major events is present.

In the very beginning of a diary Nidzyo names the date since which all the subsequent narrative events begin:

The night went by, the new year 8 of Bunei began… [3*, p.205].

Each event which is important or plays not the least role in "Unasked story" is dated by the days. Such phenomenon can be explained by the fact that Nidzyo was a lady-in- waiting, a favourite of ex-Emperor Guo-Fukakusy (1243-1304), therefore the significant events that were occurring in the court such as the birth of the crown prince, princess, the death of the monk emperor played large role in the fate not only of Nidzyo herself, but of all the state. We can conclude that such events are represented in an accepted chronological scale:

…The monk sovereign, without having manifested any strive to hibernate away from this world, after all died in hour of the Rooster on the eighteenth day of the second moon of the year 9 of Bunei being fifty-three years old [3*, p.220].

The father at once awoke, turned a long hard look at me, pronounced:

- It is interesting to whom I am destined to be embodied in the new birth? - And he did not finish speaking as his breath stopped. It happened in the hour of the Dragon, on the third day of the eighth moon of the year 9 of Bunei [3*, p.229].

On the twelfth moon according to the started custom everyone in the court is very busy

– they are having prayers, divine services arecontinually being held... [3*, p.246].

Hour precision, the indication of the year emphasizes the importance, supremacy of described events in the life of the author and the state. At the same time subjective, personal time of an author is present. Nidzyo's diary is not a mere enumeration of facts significant for the court, palace life in a certain length of time ( the work covers a small period of time, to which detailed nature of a description of events is owed) because Nidzyo's view is directed at her own microworld formed by her personal interests, observations, and needs.

The described events in a work are directly related to concrete experiences of Nidzyo, but «the series of events» is primary. It is it that provokes an author's one or another memory or an experience of it. Thus objective time defines a course of inner time in a work.

The events of a diary are the most important and crucial moments in Nidzyo's life. The author herself is the narrative centre, all other things are peripheric and move around

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this center. Therefore, despite the presence of a vividly expressed objective time, the author‘s inner, subjective time is also important.

Nidzyo does not live in an agreement and harmony with herself, her soul and body are separated: Her body belongs to the sovereignand her soul belongs to Akebono, a an official of the sixth, lower class. The thoughts about herself constantly occupy Nidzyo:

It was so made in our world that every day, every night brings new torments; they say that the sufferings are plentiful, but it seemed to me as if only my fate got all the sorrow of the world...

Periodic reorientation of a view is occurring from chronological focus at a course of events to the immersion in the inner world of human emotions. The Inner time is in the first place expressed in the representation of Nidzyo's state of mind in a connection with the events mentioned in a work:

Therefore, tomorrow, when this night melts as a ghostly dream, I will have to go through such torment! –I suffered from this thought in advance [3*, p.209].

In the beginning of the eleventh moon I returned to the palace, but I completely stopped liking the life in court... [3*, p.241].

Full of sadness, we talked about the past and present.

–The current year is particularly unhappy, we happened to suffer many sorrowful events so that the sleeves did not have time to dry [3*, p.232].

The role of the author’s subjective time over the objective time is increasing in such passages. The accent is placed on the emotional part. Not the events themselves are described but experiences associated with them.

Describing events that were occurring in circles of aristocracy, the authors of the Kheian epoch «narrowed» their own view to the limits of an imperial palace, which led to certain introversion of perception of time and short-sightedness of perception of the surrounding space.

But over time significant changes occur in literature – an author's view expands up to the description of the way of life of the representatives of the third estate, and it is not limited by the life of aristocracy and an imperial court.

The period of Guenroku (1688-1704) is included in the history of Japan as time of a flowering of culture of this country. Ikhara Saikaku was the author of prose which widely and fully reflected life contemporary to his creation.

His prosaic works where the world view of the third estate, ethical and aesthetic views of ordinary citizens were vividly recorded still are popular.

The stories of the "Five women that made love" collection are not considered neither the genre of an essay nor the diary prose. The works of Ikhara Saikaku remained in Japanese

literature under the name "Oukiyo-dzosi" ( ) – "Tales of the perishable world". The dating of the described events creates an impression, that the similar incidents actually occurred, or the author was an eyewitness to them, and passed by word of mouth, which allowed the author to transfer what he had heard to the paper.

Е. Pinus notes that the first four stories of the series "Five women that made love” are written on the basis of the real stories which became the cause for sensational trials. These events occurred during Ikhara Saikaku’s life , therefore, having dated them, the writer retained not only names of characters, but names of trade shops and blocks in stories.

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