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There are tow reasons why classification and explanations of the socalled honorific prefix o in dictionaries of Japanese are quite confusing. One reason is that editors stick to erroneous concept of so-called keigo consisting of three categories. and another reason is that they do not take language change into consideration. Why so-called? Why erroneous? Because the primary function of so-called keigo in classical Japanese was not to show respect to some person/s but to define the agent/s or patient/s of the verb, or whom the object/s belong to. Compared to Modern Japanese, first person and second person pronouns in classical Japanese were very scarce and frequencies of use were rather rare if never. In the course of Middle Age, first person and second person pronouns increased by and by and came into use, so the primary function of so-called keigo shifted to show politeness, and three categories melted into one.

The uniqueness of the majority of Japanese Buddhists as a whole is that it does not overly emphasize the necessity of observing precepts. There seems to be two reasons for this: the strong influence of Natural Religion and the prevalence of Honen's teaching in the thirteenth century, who introduced a new form of Buddhism, oriented toward lay people, who could not observe such rules in their daily lives. In Natural Religion, hijiri, a type of holy men, used to separate themselves from worldly affairs and carry out ascetic practices during times of spiritual union with indigenous deities, though apart from these occasions, their lives were just the same as those of ordinary people. However, as Buddhist priests began to be influenced by this viewpoint, they became quite open about their sexuality, although such behavior violated their precepts. Honen, whose teaching was revolutionary within the history of Buddhism, abandoned the idea of getting rid of sexual desires and instead, introduced a form of salvation, which embraced human sexuality as it is. Shinran, his follower, went even further and challenged his own sexuality in a very concrete way, by marrying and having children. Owing to this, Jodoshinshu followers, who regard him as their founder, have acknowledged and accepted the Japanese Buddhism and Sexuality marriage of their clergy and in return, the priest and his wife, as a couple, have promoted the teaching. When considering Japanese Buddhist sexuality, these two factors cannot be overlooked, especially when Honen introduced this new teaching into the lives of ordinary people. However, I should also like to deal with this theme, as expressed in the Tale of Genji, before these concepts came to be applied in public life as well as that of Ikkyu, who lived in the fifteenth century.

This article focuses many different aspects of sexuality in Heian Period. The point is here that the literature in this period reveals the variety and modification in sexuality in view of restriction, deviation, taboo, and violation. It is the Heian literature that has certain sovereign powers, sexual taboo, shaman taboo, incest taboo, and so on, and this presents the human reality that cannot avoid from committing these taboos inevitably. Futhermore, this aspect of conflict is associated with the plot and the basic part of subject revealed in the works to create a core part in each work. The issue of sodomy was not openly mentioned in the works until the middle period of the Heian. "Torikaebaya Monogatari", written in the latter period of the Heian, depicts the world of the sexuality that complicates with human sexual desire through the description of women in men's attire, men in women's attire, homosexuality, and heterosexuality. Here we see that the works are trying to reveal the Heian literary proposition in terms of human agony and self-salvation based on the absurdity of human existence. The sexuality of the Heian period's literature has various aspects of the human reality reflecting many sides of social restriction and taboos according to their own literary and logical development.

The purpose of this study was to discuss the gender-related issues of women in the Japanese Middle Ages, including sexual restrictions, sexual awareness and sexual life. And it's specifically attempted to delve into the effect of Ie on women in the medieval times when patriarchism characterized by Ie became prevailing among all the people involving noblemen, warriors and commoners. Ie gave weight to the paternal line, and maternity, namely giving birth to a child, was accentuated to retain Ie. This kind of view of maternity forces women to remain faithful, and that phenomenon resulted in making them subordinate to men. Such a sexual restriction on women, who were member of Ie, also exercised an influence on nonmembers. Women who had special jobs, including Nyobo, Yujyo and Shirabyoshi, were relatively liberal in sexual life, but literary works often described them as those who remained faithful to particular men and were dedicated to religious life as Buddhists for the sake of their dead sweethearts. This showed that the consciousness of Ie and androcentrism affected across the board in the medieval times. Divorce and remarriage were also closely related to family estate, and there were lots of restrictions on the divorce or remarriage of women who inherited their husband's property. The effort to retain and protect family estate ended up controlling females. Furthermore, adultery issue was also under the influence of androcentric sexual awareness. The immoral conduct of men was rarely regarded as a social issue, and men who had immoral sexual relations with married women were mostly punished by their husbands. And in many cases, those who had sexual relations of married women at the women's houses were murdered by their husbands, since wives were looked upon as part of family estate and immoral conduct was viewed as damaging family property. As discussed above, the effort to retain Ie was one of the crucial factors to put restraints on femininity and make woman subordinate to man.

The New Paradigm of love themes in novels appeared in Japan, in the 1880s having been influenced by the Christianity and Western Literature. It classified love into three levels. The highest level is Platonic Love. On the contrary, Sexual Love was said to be the lowest by writers who were influenced by them. Due to that fact, some women who did love with only the appetite for sex without the platonic something were described as queer married women or widows without virginity. They were not an ideal type of love in the New Paradigm. Therefore, a schoolgirl was the new heroine who came out in the Japanese novels of the 1890s. But, there were some gaps between the real world and the ideal world. For that reason, there were many more women who regreted that situation after having sex with their lover than some women who achieved their true, ideal love. (They haven't regreted their behavior until they knew about the New Paradigm.) You can find the former characters through Yoshiko of [The Sheet], Sigeru of [The Adolescency] and the latter is found with Umeko of [The pilar of fire]. Then some heroine who accepted their appetite for sex appeared in 1910s. But there were some differences. There were some women as Yoko [A Certain Women] who felt a desolate aspect and the others were women like Naomi [A love story of Naomi] who desired just sex without any considerations about Sexual Love. In other words, Naomi was a character who reminded us of sexual love against Platonic love of the new paradigm in early modern time. MisimaYukio, YisiharaSintaro who were created by Showa handed down another paradigm: sexual love was not the lowest level.

It is recognized that Junichiro Tnizaki is ‘唯美主義(aestheticism)’. Needress to say, it is decided by his works. But on the other hand he belong to ‘古典主義(classicalizm)’. He often discribe a man who can't pull out of the beauty of woman on the background of traditional theory of Japan. So he is criticized ‘惡魔主義(evilism)’, ‘封建主義(feudalism)’ and ‘贅澤者(a high liver)’. This essay mainly discass about a point of view of <sex> about “痴人の愛(The madmans love)”In the first place I analized about the class of charactors and the situation of the day and age in the work. In the second place I refered about the education of Naomi and the result. In the third place I discassed about troubles of Jeoge. In the last analysis I concluded that the sex conciousness of Junichiro Tanizaki is influenced by the theory of traditional Japanese culture. That is to say the worship of woman of Junichiro Tnizaki is essentially made by traditional theory although his conciousness of beauty was influenced by the age of worship of the West.

Endo's life-long search for the image of God in the Catholic monotheism has made a new genre of Christian literature which lacked in Japanese literary circles. His main theme is the relation between the presence of God in the Japanese and Christian religion in Japan. He approaches it as the fighting between human soul and body. Endo, who hates the paternal image of the western Christian religion, visualizes Jesus as a maternal God of Love. His literature is characterized by this change of image of God. We can find, in his early works, the antagonistic structure between good and evil, crime and punishment, the weak and the strong, soul and body, in short the antagonism between man and God. But its antagonistic structure is transformed into a reconcilable one in the middle works, and a harmonious one in the last works. This can be said as a transformation from the paternal God who judges and punishes to the maternal God who forgives. At the same time, it can be said that he has succeeded in making a universal truth of Catholicism by considerations from an oriental angle. 'My Jesus' visualized by Endo is 'a maternal God' who always consoles men of grief and agony, who forgives and tolerates even sinners, accompanies them eternally. We feel at ease with Endo's Jesus in that he tolerate us who are weak and evil. The image of Jesus in Endo's works is not the Almighty, but humane God who everyone is familiar with. It is not suggested that Endo originated the image embodied by his considerations, but he was the first to commit them in writing, at least in Japan.

『HARUSAMEMONOGATARI』is a 10 short story series which was finished in 1808, and UEDA Akinari polished it out 1 year before he died in 1809. It was issued 30 years after『Ugetsumonogatari』, his masterpiece, was published in 1776. 『HARUSAMEMONOGATARI』reminds us『Ugetsumonogatari』as regard not only title but also style. However when it comes to the content,『Ugetsumonogatari』describes an illusive world, and『HARUSAMEMONOGATARI』is a work with realistic style. During those 30 years, UEDA Akinari hardly did his work as a novelist. on the other hand he made a reputation as a writer among ‘Kamigata’. In those days, he debated with MOTOORI Norinaga on an essay of ‘Hinogami’ and a phonology of antiquity. And he concentrated on the study of Japanese classical literature. Furthermore, he threw away his manuscripts in an old well in 1807, since he couldn't stand valueless works. However it is irony that he continued to write and finished『HARUSAMEMONOGATARI』in 1808. So, this study looked into the purpose he wrote『HARUSAMEMONOGATARI』, and what his writing meant to UEDA Akinari himself. We can see his intention for creative writing in the introduction. In this study the author's creative intention and his ‘Monogatari view’ was examined. From this point of view, we can interpret the author's intention to an imitation of Monogatari type which was based on reality arisen by the author's knowledge and belief. That is not just an imitation of a pseudo classical style novel but Monogatari. We can say that UEDA Akinari's intention to an imitation of Monogatari type was ‘Uhigoto’, because no writers did such works with that interpretation. Also,『HARUSAMEMONOGATARI』was written by his early perception. That is, Monogatari was worthless as ‘Soragoto’, and the value of Monogatari should be based on truth and be imparted to the descendants. Therefore, we can see that he expressed 『HARUSAMEMONOGATARI』indirectly as a form of Monogatari for his ideological intention.