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Confronting a Patriarchal Hegemony Patriarchal control in Japan and the objectification or repression of Woman is partially exercised through visual media, particularly imagery from advertising and popular culture, again via the trajectory of the Cute. * Elise Tipton, writing in 2000, the time when the Lolita movement was beginning to peak, stated that “most [media depictions]… reinforce[d] the image of women as cute (kawaii), childlike, and by extension… powerless”. 142 Included in this type of imagery is the sexualised Woman-child (Fig. 75) which, in its abundance, creates an unstable environment for the Gothloli childlike adult to exist. However, while these types of images, specifically, effectively undermine both women and children, I strongly maintain that the Gothloli identity, aside from the fact that it may be connected culturally to this paradigm, is intended to operate differently and oppositionally. To begin with, according to Donald Ritchie, the actual attraction to Cute and adoption of a cute identity reflects in the individual a sense of purity. He claims that this “innocent rectitude is important [especially] to * Of course this is not specific to Japan. It is the type of imagery that prevails in Japan that is problematic, in that it often worships the Child-woman, or the Sexualised Child, and thus exacerbates the Lolita Complex, or the fascination by older men with young girls. This is the major discussion contained in this chapter and will be further explained. My argument, however, is that although the Gothloli is implicated in this type of imagery she, paradoxically, resists this connection. Page | 183
those Japanese still influenced by Confucian-based insistence upon goodness and integrity”. 143 In choosing to represent herself as a cute doll- like child, especially in relation to this argument, but also in any case, the Gothloli is determinedly not asking to be viewed as a man’s plaything. Even more significantly, she is in fact rebelling against this role. * Image removed according to copyright law Figure 75: Hentai Lolicon * This may appear to be a controversial opinion. However, I intend to develop this argument and explain this stance. At this point, I will say that although she may not intend to be seen as a man’s plaything, there is no doubt, especially due to her title of “Lolita” and the existence of the Lolita Complex as a dominating force, that the Gothloli is associated with sexual fantasy. These associations and conscious (dis)associations with sexual imagery, will be discussed in more detail in the body of this chapter. Page | 184
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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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One of the finest examples of Anglo
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In 1888, the renowned department-st
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According to Richard Cork and the m
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entire wardrobe of Kansai designs.
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Merry Christmas, Mr Lawrence is kno
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It was, though, with the Yellow Mag
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These designers, especially Kawakub
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In observing these images it is app
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As discussed, Visual kei is the mus
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However, the authentic Gothic Lolit
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During the Taishō era (1912 - 1926
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with English subtitles in 2006. Whi
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Lolita and Popular Culture Besides
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illustration, is closely related to
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wider, “European” eyes, as well
Page 133 and 134: Chapter Two The Japanese Lolita: A
Page 135 and 136: Image removed according to copyrigh
Page 137 and 138: commonly held sensibility not only
Page 139 and 140: Hina-Matsuri The Significance of Ni
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: This, argues Hasegawa, has caused
Page 187 and 188: Being a Woman in Japan As also disc
Page 189 and 190: The Shifting Position of Woman in C
Page 191 and 192: Year Changes of Mothers’ Age at C
Page 193 and 194: The Position of Woman in Historical
Page 195 and 196: Lolita as a New Form of Feminist Re
Page 197 and 198: In reference to the Japanese moveme
Page 203 and 204: To the Victorians, the Child was a
Page 207 and 208: Says “Loli-Bee”: Some people th
Page 209 and 210: That men are largely not attracted
Page 211 and 212: Lolita as a Radical Subculture In a
Page 213 and 214: Yuniya Kawamura highlights Dick Heb
Page 215 and 216: Resisting the Power of Pornography
Page 217 and 218: While examples of lolicon and or he
Page 221 and 222: The lolicon is also yet another pro
Page 223 and 224: understand that photographs of them
Page 225 and 226: The Gothloli expects and can feel p
Page 227 and 228: Writes Henville (somewhat contradic
Page 229 and 230: There is also much to be said in th
Page 231 and 232: notion that the fetishised French-m
Page 233 and 234: 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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