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Image removed according to copyright law Figure 1: Baby the Stars Shine Bright (or BTSSB, Japanese label) Little Red Riding Hood, appliqué dress and hooded cape (red), 2006 Image removed according to copyright law Figure 2: Baby the Stars Shine Bright (or BTSSB, Japanese label) Little Red Riding Hood, appliqué dress (red), 2006 Page | 21
Image removed according to copyright law Figure 3: Baby the Stars Shine Bright (or BTSSB, Japanese label) Detail: Little Red Riding Hood, appliqué dress (red), 2006 Image removed according to copyright law Figure 4: Baby the Stars Shine Bright (or BTSSB, Japanese label) Detail: Little Red Riding Hood, appliqué dress (red), 2006 Page | 22
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: What is the Lolita Subculture? The
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 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:
Page 87 and 88:
One of the finest examples of Anglo
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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:
Page 97 and 98:
Page 99 and 100:
Page 101 and 102:
entire wardrobe of Kansai designs.
Page 103 and 104:
Merry Christmas, Mr Lawrence is kno
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It was, though, with the Yellow Mag
Page 107 and 108:
These designers, especially Kawakub
Page 109 and 110:
Page 111 and 112:
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:
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:
Page 131 and 132:
wider, “European” eyes, as well
Page 133 and 134:
Chapter Two The Japanese Lolita: A
Page 135 and 136:
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
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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
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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
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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:
Page 201 and 202:
Page 203 and 204:
To the Victorians, the Child was a
Page 205 and 206:
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:
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
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
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