- Page 1 and 2:
SCHOOL OF ART AND DESIGN A thesis s
- Page 3 and 4:
Contents Attestation of Authorship
- Page 5 and 6:
3.12 The Means to Shock 235 Conclus
- Page 7 and 8:
Figure 9: Paul Michael Moon Rogers,
- Page 9 and 10:
Figure 26: Claude Monet, Waterlilie
- Page 11 and 12:
Figure 43: Yu~Ki, bassist for Malic
- Page 13 and 14:
Figure 65: Suigintou, Rozen Maiden
- Page 15 and 16:
Figure 83: Lolicon, http://blogs.ne
- Page 17 and 18:
on the Lolita subculture that we wo
- Page 19 and 20:
methodological approach relates clo
- Page 21 and 22:
What is the Lolita Subculture? The
- Page 23 and 24:
Image removed according to copyrigh
- Page 25 and 26:
Taking into consideration the styli
- Page 27 and 28:
established trajectories, and rewri
- Page 29 and 30:
. How the subculture is perceived b
- Page 31 and 32:
The Literature As the Lolita subcul
- Page 33 and 34:
My methods for compensating for a l
- Page 35 and 36:
and Louise Edwards, “Contesting G
- Page 37 and 38:
make it my next major research proj
- Page 39 and 40:
That is, I deal with the Abstract a
- Page 41 and 42:
Adams’ particular definition of t
- Page 43 and 44:
Online Communities My involvement i
- Page 45 and 46:
Doll Collecting I have been a doll
- Page 47 and 48:
After moving back to Sydney tempora
- Page 49 and 50:
The Lolita Complex A Japanese Fashi
- Page 51 and 52:
So-called Lolita * The Lolita Subcu
- Page 53 and 54:
Though reasons for adopting the Lol
- Page 55 and 56:
The Lolita Fashion Identity Since t
- Page 57 and 58:
Image removed according to copyrigh
- Page 59 and 60:
A true Gothic Lolita thus adheres t
- Page 61 and 62:
The Gothic Lolita will usually wear
- Page 63 and 64:
The Sweet Lolita In a sense the tru
- Page 65 and 66:
If the Sweet Lolita’s dress is no
- Page 67 and 68:
Figure 14: Kathryn Hardy Bernal (we
- Page 69 and 70:
Image removed according to copyrigh
- Page 71 and 72:
Image removed according to copyrigh
- Page 73 and 74:
Given that Mana branded his collect
- Page 75 and 76:
Japan and the Western World Critics
- Page 77 and 78:
Early Encounters in Art & Design Be
- Page 79 and 80:
The shift in these dynamics occurre
- Page 81 and 82:
Court superseded Pugin’s stall as
- Page 83 and 84:
Image removed according to copyrigh
- Page 85 and 86:
Image removed according to copyrigh
- 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 95 and 96:
Image removed according to copyrigh
- Page 97 and 98:
Image removed according to copyrigh
- Page 99 and 100:
Image removed according to copyrigh
- 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 109 and 110:
Image removed according to copyrigh
- Page 111 and 112:
Image removed according to copyrigh
- 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 121 and 122:
Image removed according to copyrigh
- 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 129 and 130:
Image removed according to copyrigh
- Page 131 and 132:
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 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
- 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 199 and 200: Image removed according to copyrigh
- Page 201 and 202: Image removed according to copyrigh
- Page 203 and 204: To the Victorians, the Child was a
- Page 205 and 206: Image removed according to copyrigh
- 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 219 and 220: Image removed according to copyrigh
- 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: Writes Henville (somewhat contradic
- Page 231 and 232: notion that the fetishised French-m
- Page 233 and 234: calling Hime Your Royal Highness or
- Page 235 and 236: the rong [sic] age”. * And simila
- Page 237 and 238: Just as she takes on the identity o
- Page 239 and 240: pornographic activity is not openly
- Page 241 and 242: Little Girl: “Don’t try to play
- Page 243 and 244: Is this the Beginning or the End? O
- Page 245 and 246: In 2003, the Japanese Lolita subcul
- Page 247 and 248: and youth (post-school-aged) commun
- Page 249 and 250: The question Chuang and I raised wa
- Page 251 and 252: Just as the Aoki Sydney Powerhouse
- Page 253 and 254: dresses we bought in Japan. The fin
- Page 255 and 256: But, is this the end or just the be
- Page 257 and 258: Anonymous. “Japanese Youth Subcul
- Page 259 and 260: Chuang, Bevan K. Y., and Kathryn A.
- Page 261 and 262: Giamo, Benedict. “The Myth of the
- Page 263 and 264: Ivy, Marilyn. Discourses of the Van
- Page 265 and 266: Lambourne, Lionel. The Aesthetic Mo
- Page 267 and 268: Muramoto, Hiro. “Japan’s Gothic
- Page 269 and 270: Pooke, Grant and Diana Newall. “P
- Page 271 and 272: Spooner, Catherine. Fashioning Goth
- Page 273 and 274: Wilcox, Claire. Vivienne Westwood.
- Page 275 and 276: 22 Ibid. 23 Britannia Online Encycl
- Page 277 and 278: 78 Frederick Hadland Davis, op. cit
- Page 279 and 280:
118 Yuniya Kawamura, op. cit., p. 3
- Page 281 and 282:
176 Ibid., p. 55. 177 Ibid., p. 54.
- Page 283:
224 Jane Pinckard, op. cit. 225 Ibi