The Lolita Complex: - Scholarly Commons Home

More documents

Recommendations

Info

Figure 9: Paul Moon Rogers Kathryn Hardy Bernal, Gothic Lolita (wearing Gothic, Lolita + Punk, Japanese label) with James Percy, WE Block, AUT University, Auckland, New Zealand, 2008 Page | 59
The Gothic Lolita will usually wear a dress but may wear a skirt and blouse and is able to choose shorter puffed sleeves or shorter black socks. Ideally she wears the classic Victorian-style band headdress but substitutes may include a miniature black top hat (cocked to one side of the head), a black bonnet, a black satin or velvet Alice band, or a large black bow attached to a headband. She will occasionally wear a short black soft- tulle/lace-net mourning veil but, as this is more an adult’s accessory rather than a child’s, it is not common. Her parasol will also be black with ruffles and or lace. To accentuate the little girl persona but tending towards the macabre, the Gothic Lolita will carry, if she carries anything, a teddy bear with a gruesome element such as perhaps a chain around its neck or a morbid- looking doll (Fig. 10). Page | 60
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
Page 7 and 8:
Figure 9: Paul Michael Moon Rogers,
Page 9 and 10: Figure 26: Claude Monet, Waterlilie
Page 11 and 12: Figure 43: Yu~Ki, bassist for Malic
Page 13 and 14: Figure 65: Suigintou, Rozen Maiden
Page 15 and 16: Figure 83: Lolicon, http://blogs.ne
Page 17 and 18: on the Lolita subculture that we wo
Page 19 and 20: 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
Page 27 and 28: established trajectories, and rewri
Page 29 and 30: . How the subculture is perceived b
Page 31 and 32: The Literature As the Lolita subcul
Page 33 and 34: My methods for compensating for a l
Page 35 and 36: and Louise Edwards, “Contesting G
Page 37 and 38: make it my next major research proj
Page 39 and 40: That is, I deal with the Abstract a
Page 41 and 42: Adams’ particular definition of t
Page 43 and 44: Online Communities My involvement i
Page 45 and 46: Doll Collecting I have been a doll
Page 47 and 48: After moving back to Sydney tempora
Page 49 and 50: The Lolita Complex A Japanese Fashi
Page 51 and 52: So-called Lolita * The Lolita Subcu
Page 53 and 54: Though reasons for adopting the Lol
Page 55 and 56: The Lolita Fashion Identity Since t
Page 59: A true Gothic Lolita thus adheres t
Page 63 and 64: The Sweet Lolita In a sense the tru
Page 65 and 66: If the Sweet Lolita’s dress is no
Page 67 and 68: Figure 14: Kathryn Hardy Bernal (we
Page 73 and 74: Given that Mana branded his collect
Page 75 and 76: Japan and the Western World Critics
Page 77 and 78: Early Encounters in Art & Design Be
Page 79 and 80: The shift in these dynamics occurre
Page 81 and 82: Court superseded Pugin’s stall as
Page 87 and 88: One of the finest examples of Anglo
Page 91 and 92: In 1888, the renowned department-st
Page 93 and 94: According to Richard Cork and the m
Page 101 and 102: entire wardrobe of Kansai designs.
Page 103 and 104: Merry Christmas, Mr Lawrence is kno
Page 105 and 106: It was, though, with the Yellow Mag
Page 107 and 108: These designers, especially Kawakub
Page 111 and 112:
Image removed according to copyrigh
Page 113 and 114:
In observing these images it is app
Page 115 and 116:
As discussed, Visual kei is the mus
Page 117 and 118:
However, the authentic Gothic Lolit
Page 119 and 120:
During the Taishō era (1912 - 1926
Page 121 and 122:
Page 123 and 124:
with English subtitles in 2006. Whi
Page 125 and 126:
Lolita and Popular Culture Besides
Page 127 and 128:
illustration, is closely related to
Page 129 and 130:
Page 131 and 132:
wider, “European” eyes, as well
Page 133 and 134:
Chapter Two The Japanese Lolita: A
Page 135 and 136:
Page 137 and 138:
commonly held sensibility not only
Page 139 and 140:
Hina-Matsuri The Significance of Ni
Page 141 and 142:
Bunraku Another tradition, bunraku
Page 143 and 144:
Kitano’s Dolls Three tragedies, b
Page 145 and 146:
[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
Page 151 and 152:
Hearn was struck by the realism and
Page 153 and 154:
The impulse to collect… makes sen
Page 155 and 156:
Pearce reiterates this notion of lo
Page 157 and 158:
A Means to Escape the Real World I
Page 159 and 160:
These pressures, combined with the
Page 161 and 162:
For the Gothloli, this special priv
Page 163 and 164:
Kawaii does not, therefore, transla
Page 165 and 166:
childish objects; and the idea that
Page 167 and 168:
A potential explanation for the see
Page 169 and 170:
Masanobu Sugatsuke, editor of Compo
Page 171 and 172:
There are several areas of concern
Page 173 and 174:
Chapter Three: Challenging The Loli
Page 175 and 176:
young woman, my claim is that the G
Page 177 and 178:
“Kasutei” chooses the Lolita st
Page 179 and 180:
In my honest opinion she was nothin
Page 181 and 182:
That the Gothloli is not willing to
Page 183 and 184:
This, argues Hasegawa, has caused
Page 185 and 186:
those Japanese still influenced by
Page 187 and 188:
Being a Woman in Japan As also disc
Page 189 and 190:
The Shifting Position of Woman in C
Page 191 and 192:
Year Changes of Mothers’ Age at C
Page 193 and 194:
The Position of Woman in Historical
Page 195 and 196:
Lolita as a New Form of Feminist Re
Page 197 and 198:
In reference to the Japanese moveme
Page 199 and 200:
Page 201 and 202:
Page 203 and 204:
To the Victorians, the Child was a
Page 205 and 206:
Page 207 and 208:
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:
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 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
show all

The Lolita Complex: - Scholarly Commons Home

Create successful ePaper yourself

Delete template?

Save as template?