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Dower, John. Embracing Defeat: Japan in the Wake of World War II. New York: W. W. Norton, 1999. Duits, Kjeld. “Graveyard Chic”. Japanese Streets, March 20, 2004. http://www.japanesestreets.com/reports/186/graveyard-chic (accessed September 4, 2006). Eisenstadt, S. N. Japanese Civilization: A Comparative View. Chicago and London: The University of Chicago Press, 1996. EMMA Trust. “Harajuku Girls”. Emma (Ethnic Multicultural Media Academy), June 6, 2005. http://www.emma.tv/lifestyle/fashion/harajuku_girls.aspx (accessed February 19, 2007). English Discussion Society. Japanese Women Now II. Kyoto: Women’s Bookstore Shoukadoh, 1996. Fehrenbach, Heide and Uta G. Poiger, eds. Transactions, Transgressions, Transformations: American Culture in Western Europe and Japan. New York: Berghahn Books, 2000. Feldman, Hannah J. L. “The Lolita Complex”. World Art (Australia) 2 (Summer, 1996): 52 – 57. Fuller, Peter. Art and Psychoanalysis. London: The Hogarth Press, 1988. Gagné, Isaac. “Urban Princesses: Performance and ‘Women’s Language’ in Japan’s Gothic/Lolita Subculture”. Journal of Linguistic Anthropology 18, no. 1 (2008): 130 – 150. Garger, Ilya. “One Nation Under Cute”. Psychology Today 40, no. 2 (March/April, 2007): 32 – 33. http://www.psychologytoday.com/articles/pto-20070319-000004.html (accessed July 8, 2008). Gates, Barbara T. Victorian Suicide: Mad Crimes and Sad Histories. Princeton: Princeton University Press, 1988. Geoffroy-Schneiter, Bérénice. Geishas [sic]. New York: Assouline, 2002. Page | 259
Giamo, Benedict. “The Myth of the Vanquished: The Hiroshima Peace Memorial Museum”. American Quarterly 55, no. 4 (2003): 703 – 728. Giang, Vivian. “Where East Meets West: Anime Cults, Japanese Tunes on Radio and Women Who Dress Like Elegant Gothic Lolitas [sic]; Japanese Pop Culture is Big Around Here”. The Edmonton Journal (Alberta), May 7, 2005. http://community.livejournal.com/ egl/6038481.html (accessed September 13, 2006). Godoy, Tiffany. Style, Deficit, Disorder: Harajuku Street Fashion, Tokyo. San Francisco: Chronicle Books, 2007. Goldman, Eric. “‘Knowing’ Lolita: Sexual Deviance and Normality in Nabokov’s Lolita”. Nabokov Studies 8 (2004): 87 – 104. Gorman, Paul. The Look: Adventures in Rock & Pop Fashion. London: Adelita, 2006. Gorman, Paul. The Look: Adventures in Rock & Pop Fashion. London: Sanctuary Publishing, 2001. Griffiths, Richard. “Wicked Wardrobes: Youth and Fashion in Aotearoa New Zealand”. In Cultural Studies in Aotearoa New Zealand: Identity, Space, and Place, edited by Claudia Bell and Steve Matthewman, 229 – 250. South Melbourne: Oxford, Oxford University Press, 2004. Hane, Mikiso. Eastern Phoenix: Japan since 1945. Boulder: Westview Pres, 1996. Hardy Bernal, Kathryn. “Lolita in Japan: An Innocent Goth”. MQ (Museum Quarterly): The Quarterly Magazine of Auckland War Memorial Museum, no. 112 (Spring): 33. Hasegawa, Yuko. “Post-identity Kawaii: Commerce, Gender and Contemporary Japanese Art”. In Consuming Bodies: Sex and Contemporary Japanese Art, edited by Fran Lloyd, 127 – 141, London: Reaktion Books, 2002. Page | 260
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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Page 111 and 112:
Page 113 and 114:
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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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 and 258: Anonymous. “Japanese Youth Subcul
Page 259: Chuang, Bevan K. Y., and Kathryn A.
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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