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Parker, Ginny. “The Little-Girl Look is Big in Japan Now, Among the Brave: ‘Lolitas’ [sic] Dress as Baby Dolls, and Take a Lot of Guff; ‘This is the Real Me’”. The Wall Street Journal, September 17, 2004. http://cafe.gomorning.com/index.php?s= 40c700c6553b954e03fa4f8d51b95607&act=attach&type=post&id=608 (accessed January 29, 2010). Parker, Ginny. “Parasols and Pink Lace: Japan’s Lolita Girls; ‘I’d Like to Go Back in Time, Like to the Era of Marie Antoinette’, says 24-year-old Nurse”. The Globe and Mail, September 25, 2004: L8. Pate, Alan Scott. Japanese Dolls: The Fascinating World of Ningyō. Tokyo: Tuttle Publishing, 2008. Pate, Alan Scott. Ningyō: The Art of the Japanese Doll. Hong Kong: Tuttle Publishing, 2005. Peach Pit. Rozen Maiden. Vol. 1. Translated by Yuko Fukami. Adapted by Jerome Halligan. Los Angeles: TOKYOPOP, 2000. Peach Pit. Rozen Maiden. Vol. 2. Translated by Yuko Fukami. Adapted by Jerome Halligan. Los Angeles: TOKYOPOP, 2000. Pearce, Susan M. On Collecting: An Investigation into Collecting in the European Tradition. London and New York: Routledge, 1995. Perry, Chris. “Rebels on the Bridge”. Scribd, April 25, 2007. http://www.scribd.com/ doc/38260/Harajuku-Rebels-on-the-Bridge (accessed February 2, 2008). Phoenix, Woodrow. Plastic Culture: How Japanese Toys Conquered the World. Tokyo, New York and London: Kodansha International, 2006. Pinckard, Jane. “Playing Dress Up”. Zine, July, 2003. http://www.gamegirladvance.com/ zine/200307play/playing_dress_up.html (accessed September 13, 2006). Pollock, Griselda. “The Image in Psychoanalysis and the Archaeological Metaphor”. Chap. 1 in Psychoanalysis and the Image: Transdisciplinary Perspectives, 1 – 29. Malden, Oxford, and Carlton: Blackwell Publishing Ltd, 2006. Page | 267
Pooke, Grant and Diana Newall. “Psychoanalysis, Art and the Hidden Self”. Chap. 5 in The Basics: Art History, 115 – 135. London, and New York: Routledge, 2008. Rahman, Osmud, Liu Wing-sun, Elita Lam and Chan Mong-tai. “’Lolita’: Imaginative Self and Elusive Consumption”. Fashion Theory 15, no. 1 (2011): 7 – 28. Rashkin, Esther. “Vexed Encounters: Psychoanalysis, Cultural Studies, and the Politics of Close Reading”, introduction to Unspeakable Secrets and the Psychoanalysis of Culture, 1 – 24. Albany: State University of New York Press (SUNY), 2008. Richie, Donald. The Image Factory: Fads and Fashions in Japan. London: Reaktion Books, 2003. Ricorico (Yuri Okamoto and Rico Komanoya). Gothic Lolita Punk: A Stunning Showcase of the Cutting-edge Work from the Best Gothic Lolita Artists Working Today. Translated by Toru Moriya and Corene Cook. New York: Harper Collins. Rimmer, Dave. New Romantics: The Look. London: Omnibus Press, 2003. Robertson, Jennifer. “Doing and Undoing ‘female’ and ‘male’ in Japan: The Takarazuka Revue”. Chap. 6 in Japanese Social Organization, edited by Takie Sugiyama Lebra, 165 – 193. Honolulu: University of Hawai’i Press, 1992. Robertson, Jennifer Ellen. Takarazuka: Sexual Politics and Popular Culture in Modern Japan. Berkeley: University of California Press, 1998. Roces, Mina, and Louise Edwards. “Contesting Gender Narratives, 1970 – 2000”, introduction to Women in Asia: Tradition, Modernity and Globalisation, edited by Louise Edwards and Mina Roces, 1 – 15. Sydney: Allen & Unwin, 2000. Rose, Gillian. Visual Methodologies: An Introduction to the Interpretation of Visual Materials, 2 nd ed. London: Sage, 2007. Rosenblatt, Roger. “The Country of Missing Parts”. U. S. News & World Report 106, no. 9 (March 6, 1989): 10 - 12. Page | 268
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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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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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Says “Loli-Bee”: Some people th
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That men are largely not attracted
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Lolita as a Radical Subculture In a
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Yuniya Kawamura highlights Dick Heb
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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
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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: Muramoto, Hiro. “Japan’s Gothic
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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