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Black, Eleanor. “Misery, Inc.”. Idealog, no. 4 (July/August, 2006): 50 – 55. http://idealog.co.nz/magazine/july-august-2006/features/misery-inc (accessed August 7, 2006). Blythe, Blonde. Big Eye Art: Resurrected & Transformed. London and New York: Merrell, 2008. Brill, Dunja. Goth Culture: Gender, Sexuality and Style. Oxford and New York: Berg, 2008. Brinton, Mary C. “Christmas Cakes and Wedding Cakes: The Social Organization of Japanese Women’s Life Course”. Chap. 3 in Japanese Social Organization, edited by Takie Sugiyama Lebra, 79 – 107. Honolulu: University of Hawai’i Press, 1992. Buckley, David. Strange Fascination: David Bowie, The Definitive Story. London: Virgin Books Ltd., 2005. Burgel, Sheila. “Dark and Lovely”. Bust 44 (April /May, 2007): 75 – 79. Buruma, Ian. A Japanese Mirror: Heroes and Villains of Japanese Culture. London: Penguin, 1985. Bushaway, Bob. By Rite: Custom, Ceremony and Community in England 1700 – 1880. London: Junction Books Lt, 1982. Calloway, Stephen. The House of Liberty: Masters of Style and Decoration. Oxford: Clarendon Press, 1998. Cameron, Deborah. “Where There’s a Frill, There’s a Way to Keep Men at Bay”. The Sydney Morning Herald, July 29, 2006. http://www.smh.com.au/news/world/wheretheres-a-frill-theres-a-way-to-keep-men-at-bay/2006/07/28/1153816380872.html (accessed March 25, 2007). Casteras, Susan P. Images of Victorian Womanhood in English Art. Cranbury: Associated University Presses, 1987. Page | 257
Chuang, Bevan K. Y., and Kathryn A. Hardy Bernal. “Loli-Pop in Auckland: Engaging Asian Communities and Audiences through the Museum”. Sites: A Journal of Social Anthropology & Cultural Studies 5, no. 2 (2008): 81 – 110. Clough, Peter, and Cathy Nutbrown. A Student’s Guide to Methodology: Justifying Enquiry. 2 nd ed. London, Los Angeles, New Delhi, and Singapore: Sage, 2007. Cork, Richard. “The Great Wave, Hokusai”. Ep. 6 in The Private Life of A Masterpiece, ser. 3. DVD. Produced by Bob Bentley. London: British Broadcasting Corporation, 2007. Cossette House and Aniplex. Le Portrait de Petite Cossette. Vol. 1. Translated by Aska Yoshizu. Adapted by Gina Ferenzi and Tim Seeley. Illustrated by Asuka Katsura. Los Angeles: TOKYOPOP, 2004. Crook, J. Mordaunt. William Burges and the High Victorian Dream. London: John Murray (Publishers) Ltd, 1981. Curl, James Stevens. The Victorian Celebration of Death: The Architecture and Planning of the 19 th -Century Necropolis with Some Observations on the Ephemera of the Victorian Funeral and a Special Chapter on Cemeteries and Funeral Customs in America. Detroit: The Partridge Press, 1972. Davis, Frederick Hadland. Myths and Legends of Japan (1913). New York: Dover Publications, Inc., 1992. De la Durante, Leland. “Lolita in Lolita, or the Garden, the Gate and the Critics”. Nabokov Studies 10 (2006): 175 – 197. Dela Peña, Joseph L. “Otaku: Images and Identity in Flux”. East Asian Language and Civilization Honors Thesis, College of Arts and Social Sciences, University of Pennsylvania, 2006. CUREJ: College Undergraduate Research Electronic Journal (May 17, 2006). http://repository.upenn.edu/curej/9 (accessed September 13, 2006). De Lorme, Maureen. Mourning Art & Jewellery. Atglen: Schiffer Publishing Ltd, 2004. Page | 258
Page 1 and 2:
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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Page 101 and 102:
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
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Chapter Two The Japanese Lolita: A
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commonly held sensibility not only
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Hina-Matsuri The Significance of Ni
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Bunraku Another tradition, bunraku
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Kitano’s Dolls Three tragedies, b
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[They] became especially popular du
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have taken on certain attributes of
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dolls) that had been delivered to J
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Hearn was struck by the realism and
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The impulse to collect… makes sen
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Pearce reiterates this notion of lo
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A Means to Escape the Real World I
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These pressures, combined with the
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For the Gothloli, this special priv
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Kawaii does not, therefore, transla
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childish objects; and the idea that
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A potential explanation for the see
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Masanobu Sugatsuke, editor of Compo
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There are several areas of concern
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Chapter Three: Challenging The Loli
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young woman, my claim is that the G
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“Kasutei” chooses the Lolita st
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In my honest opinion she was nothin
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That the Gothloli is not willing to
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This, argues Hasegawa, has caused
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those Japanese still influenced by
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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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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 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: Anonymous. “Japanese Youth Subcul
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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