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Sakurai, Tetsuo. “The Generation Gap in Japanese Society since the 1960s”. In Japan’s Changing Generations: Are Young People Creating a New Society?, edited by Gordon Mathews and Bruce White, 15 – 30. London and New York: Routledge/Curzon, 2004. Sasagawa, Ayumi. “Centred Selves and Life Choices: Changing Attitudes of Young Educated Mothers”. In Japan’s Changing Generations: Are Young People Creating a New Society?, edited by Gordon Mathews and Bruce White, 171 – 187. London and New York: Routledge/Curzon, 2004. Schattschneider, Ellen. “The Bloodstained Doll: Violence and the Gift in Wartime Japan”. Journal of Japanese Studies 31, no. 2 (2005): 329 – 356. Shamoon, Deborah. “Situating the Shōjo in Shōjo Manga: Teenage Girls, Romance Comics, and Contemporary Japanese Culture”. Chap. 6 in Japanese Visual Culture: Explorations in the World of Manga and Anime, edited by Mark W. MacWilliams, 137 – 154. Armonk, New York, and London: M. E. Sharpe, Inc., 2008. Shinri, Faith. “Kamikaze Revisited: The Futile Martyrdom of the Lolita”. May 15, 2003. http://www.lerman.biz/asagao/gothic_lolita/research4.html (accessed March 13, 2007). Simpson, J. A., and E. S. C. Weiner, prep. The Oxford English Dictionary, 2 nd ed. Vol. XVII, Su – Thrivingly. Oxford: Clarendon Press, 1989. Soros, Susan Weber, ed. E. W. Godwin: Aesthetic Movement Architect and Designer. New Haven and London: Yale University Press, 1999. Sparrow, William. “Sex in Depth: Japan’s Lolita Merchants Feel the Heat”. Asia Times, February 23, 2008. http://www.atimes.com/atimes/Front_Page/JB23Aa02.html (accessed October 1, 2008). Spector, Jack. “The State of Psychoanalytical Research in Art History”. The Art Bulletin 70, no. 1 (March, 1988): 49 – 76. Spooner, Catherine. Contemporary Gothic. London: Reaktion, 2006. Page | 269
Spooner, Catherine. Fashioning Gothic Bodies. Manchester: Manchester University Press, 2004.. Stoffel, Stephanie Lovett. Lewis Carroll and Alice. London: Thames and Hudson, 1997. Sugimoto, Yoshio. An Introduction to Japanese Society, 2 nd ed. Cambridge, New York, Melbourne, Madrid, and Cape Town: Cambridge Universioty Press, 2003. Sumire, trans. “History of Gosuloli Timeline”, Rococo 1 (2004): 90 – 93. http://hillieras.ld.infoseek.co.jp/gothloli/timeline.html (accessed August 5, 2008). Suzuki, Mariko. “Gothic, Lolita, Visual-Kei: First Kansai then the World (via Harajuku)”. In Tiffany Godoy. Style Deficit Disorder: Harajuku Street Fashion, Tokyo, edited by Ivan Vartanian, 134 – 137. San Francisco: Goliga Books, 2007. Takahashi, Mizuki. “Opening the Closed World of Shōjo Manga”. Chap. 5 in Japanese Visual Culture: Explorations in the World of Manga and Anime, edited by Mark W. MacWilliams, 114 – 136. Armonk, New York, and London: M. E. Sharpe, Inc., 2008. Takemoto, Novala. Kamikaze Girls. Translated from the original Japanese edition, Shimotsuma Monogatari (2002), by Akemi Wegmüller. San Francisco: VIZ Media LLC, 2006. Takemoto, Novala. Kamikaze Girls. Translated and adapted by Tomo Kimura. Illustrated by Yukio Kanesada. Shôjo Beat Manga ed. San Francisco: VIZ Media LLC, 2006. Talmadge, Eric. “‘Lolita’ Subculture Thumbs its Nose at Japanese Society”. The Seattle Times, August 4, 2008. http://seattletimes.nwsource.com/html/living/2008087188 _tokyololita04.html (accessed October 10, 2008). Talmadge, Eric. “Too Cute: ‘Little Girl’ the Hot Style in Japan; How to Look Like Lolita”. The Advertiser (Adelaide, South Australia), August 4, 2008: 24. Tan, Lincoln. “Cosplayers’ Craze Grows”. The New Zealand Herald, July 15, 2008. http://www.nzherald.co.nz/festivals/news/article.cfm?c_id=197&objectid=10521591& pum=1 (accessed July 16, 2008). Page | 270
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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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 97 and 98:
Page 99 and 100:
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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Page 123 and 124:
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
Page 147 and 148:
have taken on certain attributes of
Page 149 and 150:
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
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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 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: Pooke, Grant and Diana Newall. “P
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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