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Hatt, Michael, and Charlotte Klonk, “Psychoanalysis”. Chap. 9 in Art History: A Critical Introduction to its Methods, 174 – 199. Manchester, and New York: Manchester University Press, 2006. Hebdige, Dick. “Posing… Threats, Striking… Poses: Youth, Surveillance, and Display (1983)”. In The Subcultures Reader, edited by Ken Gelder and Sarah Thornton, 393 – 405. London and New York: Routledge, 1997. Hebdige, Dick. Subculture: The Meaning of Style. London: Routledge, 1979. Hell, Kyshah. “Elegant Gothic Lolita”. Morbid Outlook, July, 2002. http://www.morbidoutlook.com/fashion/articles/2002_07_gothiclolita.html (accessed September 28, 2004). Henville, Francis. “Gothic Lolita”. Think Magazine: Subculture, no. 20. http://www.think.cz/ issue3/20/1.html (accessed February 6, 2007). Herbold, Sarah. “Fantasies of Lo”. Nabokov Studies 10 (2006): 199 – 201. Hirano, Koji. “Loli Goth Pop”. WWD (Women’s Wear Daily), October 21, 2004: 62S. Hodkinson, Paul. Goth: Identity, Style and Subculture. Oxford and New York: Berg, 2002. Hongo, Jun. “Child Porn Scantily Disguised as Art?: Photos of Pre-Teen Girls in Thongs now Big Business”, The Japan Times, May 3, 2007. http://search.japantimes.co.jp/cgi-bin/ nn20070503fl.html (accessed October 26, 2007). Holson, Laura M. “Gothic Lolitas [sic]: Demure vs. Dominatrix”. The New York Times, March 3, 2005. http://community.livejournal.com/egl/6038481.html (accessed September 13, 2006). Iida, Yumiko Rethinking Identity in Modern Japan: Nationalism as Aesthetics. New York: Routledge, 2002. Page | 261
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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
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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
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
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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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Page 59 and 60:
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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Page 131 and 132:
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
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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 and 260: Chuang, Bevan K. Y., and Kathryn A.
Page 261: Giamo, Benedict. “The Myth of the
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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