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I will return to analysing these connections between the Gothloli and the Doll and explain my reasoning for these theories after the next section and continuing on to the next chapter. But before examining potential relationships between the loss of the childhood doll, trauma and bereavement, reading into the psychological links between these aspects and how they relate to one’s place in the world, it is important to discuss the role that dolls play in historical Japan. While the Doll is pertinent to and resonates with the Gothloli, it is evident that a powerful relationship with ningyō is also traditionally Japanese. According to Alan Scott Pate: Ningyō have played a far more important role in Japanese culture than one might initially imagine. From the dawn of Japanese history right down to the present day ningyō have been woven into the very fabric of Japanese society serving a multitude of roles from talismanic to onanistic, from high art to child’s play and nearly every conceivable shade in between…. Ningyō represent a category of objects that goes far beyond our limited concept of Doll. 51 This connection supports my opinion that the image of the Japanese Lolita, while it is partially drawn aesthetically from Western design elements and relates to a particular notion of Western Gothic, is loaded with meanings that are also inherently Japanese and belies strong Japanese affinities and influences. Page | 137
Hina-Matsuri The Significance of Ningyo Culture in Japan The importance of doll culture in Japan can be observed in the prominence of ningyō festivals. One of the most notable occasions is the centuries-old Hina-matsuri. Held annually on the 3 rd of March, also known as Girls’ Day, Hina-matsuri comprises the exhibition of ningyō which depict historical figures from Japan’s noble Heian past (794 – 1185), and features the imperial couple, or dairi-bina, presiding over attendants such as ladies-in-waiting, entertainers and ministers, surrounded by an abundance of offerings, including rice cakes and sake, to keep the dolls’ “spirits” satiated. These hina dolls are displayed in formal settings as well as households all over Japan for the purpose of bringing good health and growth to families raising girl children. What is striking about the event, in context with this current discussion, is that Girls’ Day is both a celebration of dolls and girls. That Japan has held a special day for over three-hundred years specifically for little girls demonstrates that a fascination with the little-girl identity and love for little girls is not something new. Page | 138
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SCHOOL OF ART AND DESIGN A thesis s
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Contents Attestation of Authorship
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3.12 The Means to Shock 235 Conclus
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Figure 9: Paul Michael Moon Rogers,
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Figure 26: Claude Monet, Waterlilie
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Figure 43: Yu~Ki, bassist for Malic
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Figure 65: Suigintou, Rozen Maiden
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Figure 83: Lolicon, http://blogs.ne
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on the Lolita subculture that we wo
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methodological approach relates clo
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What is the Lolita Subculture? The
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Image removed according to copyrigh
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Taking into consideration the styli
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established trajectories, and rewri
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. How the subculture is perceived b
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The Literature As the Lolita subcul
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My methods for compensating for a l
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and Louise Edwards, “Contesting G
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make it my next major research proj
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That is, I deal with the Abstract a
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Adams’ particular definition of t
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Online Communities My involvement i
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Doll Collecting I have been a doll
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After moving back to Sydney tempora
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The Lolita Complex A Japanese Fashi
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So-called Lolita * The Lolita Subcu
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Though reasons for adopting the Lol
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The Lolita Fashion Identity Since t
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A true Gothic Lolita thus adheres t
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The Gothic Lolita will usually wear
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The Sweet Lolita In a sense the tru
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If the Sweet Lolita’s dress is no
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Figure 14: Kathryn Hardy Bernal (we
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Given that Mana branded his collect
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Japan and the Western World Critics
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Early Encounters in Art & Design Be
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The shift in these dynamics occurre
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Court superseded Pugin’s stall as
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Page 87 and 88: One of the finest examples of Anglo
Page 89 and 90: Image removed according to copyrigh
Page 91 and 92: In 1888, the renowned department-st
Page 93 and 94: According to Richard Cork and the m
Page 101 and 102: entire wardrobe of Kansai designs.
Page 103 and 104: Merry Christmas, Mr Lawrence is kno
Page 105 and 106: It was, though, with the Yellow Mag
Page 107 and 108: These designers, especially Kawakub
Page 113 and 114: In observing these images it is app
Page 115 and 116: As discussed, Visual kei is the mus
Page 117 and 118: However, the authentic Gothic Lolit
Page 119 and 120: During the Taishō era (1912 - 1926
Page 123 and 124: with English subtitles in 2006. Whi
Page 125 and 126: Lolita and Popular Culture Besides
Page 127 and 128: illustration, is closely related to
Page 131 and 132: wider, “European” eyes, as well
Page 133 and 134: Chapter Two The Japanese Lolita: A
Page 137: commonly held sensibility not only
Page 141 and 142: Bunraku Another tradition, bunraku
Page 143 and 144: Kitano’s Dolls Three tragedies, b
Page 145 and 146: [They] became especially popular du
Page 147 and 148: have taken on certain attributes of
Page 149 and 150: dolls) that had been delivered to J
Page 151 and 152: Hearn was struck by the realism and
Page 153 and 154: The impulse to collect… makes sen
Page 155 and 156: Pearce reiterates this notion of lo
Page 157 and 158: A Means to Escape the Real World I
Page 159 and 160: These pressures, combined with the
Page 161 and 162: For the Gothloli, this special priv
Page 163 and 164: Kawaii does not, therefore, transla
Page 165 and 166: childish objects; and the idea that
Page 167 and 168: A potential explanation for the see
Page 169 and 170: Masanobu Sugatsuke, editor of Compo
Page 171 and 172: There are several areas of concern
Page 173 and 174: Chapter Three: Challenging The Loli
Page 175 and 176: young woman, my claim is that the G
Page 177 and 178: “Kasutei” chooses the Lolita st
Page 179 and 180: In my honest opinion she was nothin
Page 181 and 182: That the Gothloli is not willing to
Page 183 and 184: This, argues Hasegawa, has caused
Page 185 and 186: those Japanese still influenced by
Page 187 and 188: Being a Woman in Japan As also disc
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The Shifting Position of Woman in C
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Year Changes of Mothers’ Age at C
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The Position of Woman in Historical
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Lolita as a New Form of Feminist Re
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In reference to the Japanese moveme
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To the Victorians, the Child was a
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Says “Loli-Bee”: Some people th
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That men are largely not attracted
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Lolita as a Radical Subculture In a
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Yuniya Kawamura highlights Dick Heb
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Resisting the Power of Pornography
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While examples of lolicon and or he
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The lolicon is also yet another pro
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understand that photographs of them
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The Gothloli expects and can feel p
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Writes Henville (somewhat contradic
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There is also much to be said in th
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notion that the fetishised French-m
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calling Hime Your Royal Highness or
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the rong [sic] age”. * And simila
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Just as she takes on the identity o
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pornographic activity is not openly
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Little Girl: “Don’t try to play
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Is this the Beginning or the End? O
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In 2003, the Japanese Lolita subcul
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and youth (post-school-aged) commun
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The question Chuang and I raised wa
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Just as the Aoki Sydney Powerhouse
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dresses we bought in Japan. The fin
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But, is this the end or just the be
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Anonymous. “Japanese Youth Subcul
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Chuang, Bevan K. Y., and Kathryn A.
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Giamo, Benedict. “The Myth of the
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Ivy, Marilyn. Discourses of the Van
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Lambourne, Lionel. The Aesthetic Mo
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Muramoto, Hiro. “Japan’s Gothic
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Pooke, Grant and Diana Newall. “P
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Spooner, Catherine. Fashioning Goth
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Wilcox, Claire. Vivienne Westwood.
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22 Ibid. 23 Britannia Online Encycl
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78 Frederick Hadland Davis, op. cit
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118 Yuniya Kawamura, op. cit., p. 3
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176 Ibid., p. 55. 177 Ibid., p. 54.
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224 Jane Pinckard, op. cit. 225 Ibi
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