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1 J. A. Simpson and E. S. C. Weiner (prep), The Oxford English Dictionary, 2 nd ed. Vol. XVII, Su – Thrivingly (Oxford: Clarendon Press, 1989), p. 902. 2 Ibid. 3 Laurie Schneider Adams, The Methodologies of Art: An Introduction (Boulder and Oxford: Westview Press, 1996), p. 179. 4 J. A. Simpson and E. S. C. Weiner, op. cit., p. 902. 5 Laurie Schneider Adams, op. cit., p. 179. 6 Jack Spector, “The State of Psychoanalytic Research in Art History”, The Art Bulletin 70, no. 1 (March 1988), pp. 49 – 50; citing Edgar Wind (1963) in David Summers, “Reply”, New Liteary History 17 (1985 – 1986), p. 341. 7 Masafumi Monden, “Transcultural Flow of Demure Aesthetics: Examining Cultural Globalisation through Gothic & Lolita Fashion”, New Voices 2 (December 2008), p. 22. 8 Ellen Mudie, “Turning Japanese: Manga Makeover”, Pulp 58 (Winter, 2008), p. 137. 9 Mariko Suzuki, “Gothic, Lolita, Visual-Kei, First Kansai then the World (via Harajuku)”, in Style, Deficit, Disorder: Harajuku Street Fashion, Tokyo, ed. Ivan Vartanian (San Francisco: Goliga Books, 2007), p. 135. 10 Philomena Keet, The Tokyo Look Book: Stylish to Spectacular, Goth to Gyaru, Sidewalk to Catwalk (Tokyo: Kodansha, 2007), p. 86; citing Mana. 11 Philomena Keet, The Tokyo Look Book: Stylish to Spectacular, Goth to Gyaru, Sidewalk to Catwalk (Tokyo: Kodansha, 2007), p. 86. 12 Mariko Suzuki, op. cit., p. 136. 13 Ibid. 14 Yuniya Kawamura , “Japanese Street Fashion: The Urge to be Seen and to be Heard”, in The Fashion Reader, eds Linda Welters and Abby Lillethun (Oxford and New York: Berg, 2007), p. 344. 15 Mariko Suzuki, op. cit., p. 135. 16 Philomena Keet, op. cit., p. 87 – 88. 17 Anna Jackson, “Art and Design: East Asia”, in The Victorian Vision: Inventing New Britain (London: V&A Publications, 2011), p. 303. 18 J. Mordaunt Crook, William Burges and the High Victorian Dream (London: John Murray, 1981), p. 52. 19 Siegfried Wichmann, Japonisme: The Japanese Influence on Western Art since 1858 (London: Thames and Hudson, 1981), p. 8. 20 Anna Jackson, “Art and Design: East Asia”, in The Victorian Vision: Inventing New Britain (London: V&A Publications, 2011), p. 306; citing Rutherford Alcock, The Capital of the Tycoon: A Narrative of Three Years’ Residence in Japan (1863). 21 Britannia Online Encyclopedia, “Shiba Kōkan”, http://www.britannica.com/EBchecked/topic/540232/Shiba-Kokan?view=print (accessed January 25, 2010). Page | 273
22 Ibid. 23 Britannia Online Encyclopedia, “Seiyō-gadan”, http://www.britannica.com/EBchecked/topic/532987/Seiyo-gadan (accessed January 25, 2010). 24 British Broadcasting Corporation Worldwide, Private Life of a Masterpiece: Series 3, Ep. 6: The Great Wave, Hokusai, DVD (London: BBC Active, 2007). 25 Ibid. 26 David Buckley, Strange Fascination: David Bowie, The Definitive Story (London: Virgin Books, 2005), pp. 112 – 113. 27 Paul Gorman, The Look: Adventures in Rock & Pop Fashion (London: Adelita, 2006), p. 121. 28 David Buckley, op. cit., p. 113. 29 New York University, “Van der Post, Laurens: The Seed and the Sower”. In The Literature, Arts and Medicine Database, http://litmed.med.nyu.edu/Annotation?action=view&annid=11760 (accessed May 9, 2011). 30 Paul Gorman, op. cit., p. 158. 31 Claire Wilcox, Vivienne Westwood (London: V&A Publications; 2004), p. 18. 32 Masafumi Monden, “Transcultural Flow of Demure Aesthetics: Examining Cultural Globalisation through Gothic & Lolita Fashion”, New Voices 2 (December 2008), p. 29; citing Jonathan Friedman, Cultural Identity & Global Process (London: Sage Publications, 1994), p. 100. 33 David Buckley, op. cit., p. 114. 34 Ian Buruma, A Japanese Mirror: Heroes and Villains of Japanese Culture (London: Penguin, 1985), p. 117. 35 Ibid., pp. 115 – 116. 36 Ian Buruma, A Japanese Mirror: Heroes and Villains of Japanese Culture (London: Penguin, 1985), p. 116. 37 Masafumi Monden, op. cit., p. 23. 38 Ibid., p. 24. 39 Ibid., p. 29. 40 Ibid., p. 38. 41 Patrick Macias and Izumi Evers, Japanese Schoolgirl Inferno: Tokyo Teen Fashion Subculture Handbook (San Francisco: Chronicle Books, 2007), p. 118. 42 Ibid., p. 119. 43 Ibid. 44 Ibid. 45 Mariko Suzuki, op. cit., p. 135. 46 Patrick Macias and Izumi Evers, op. cit., p. 122. 47 Tanya Godoy, Style, Deficit, Disorder: Harajuku Street Fashion, Tokyo, ed. Ivan Vartanian (San Francisco: Goliga Books, 2007), p. 142. Page | 274
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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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
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While examples of lolicon and or he
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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 and 270: Pooke, Grant and Diana Newall. “P
Page 271 and 272: Spooner, Catherine. Fashioning Goth
Page 273: Wilcox, Claire. Vivienne Westwood.
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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