DOCSLIB.ORG

Do You Like Shopping?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Do You Like Shopping? When identity projects go wrong – an exploration of identity- inconsistent consumption using techniques of neutralisation Yuanqing Du A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Bristol Business School, Faculty of Business and Law, University of the West of England, Bristol January 2020 1 2 Abstract The research relates to identity projects and the question of why consumers still purchase identity-inconsistent products. Specifically, the research aims to explore what happens when identity projects goes wrong. Identity projects is the theory that consumers actively seek to create, enhance, transform or maintain a sense of identity (Belk 1999). Much research in the literature focuses on how identity constructs help consumers positively while the research on the stigmatisation of individual responsibility of ‘wrong identity’ remains scarce (Larsen and Patterson, 2018). This research borrows the theory of neutralisation (Sykes and Matza, 1957) from criminological studies to explore what happens when identity projectsion goes wrong. Specifically, the research seeks to investigate how consumers view and justify their identity- inconsistent purchases. Despite its popularity, the theorisation of neutralisation is still largely understudied. The majority of research on neutralisation tends to only focus on additional techniques, while the question of where these techniques are intended for is left unasked (Maruna and Copes, 2005). This research aims to enrich the literature by investigating the function and purposes of each neutralising technique in consumer behaviour. Using 48 semi-structured in-depth interviews on 24 female university students’ fashion consumption, the findings confirm that neutralising techniques have been used widely to shield consumers from the guilt arising from identity-inconsistent consumption. Further analysis indicates consumers do not always relate consumption with their identity projects, thus challenging identity projects’s strong position in terms of an ‘active concern of identity creation’. Rather, through the technique of neutralisation, consumers create a sense of narrative for future identity inconsistent consumption. 3 4 ACKNOWLEDGEMENT The completion of this doctoral research could not be finished without helps from others. Therefore, I would like to show my appreciations to: My director of study Professor Tim Hughes and supervisor Dr Fiona Spotswood, for their continuous support, encouragement and feedback; My 24 participants for their time and effort in completing the 48 interviews. Particularly I wish to thank Anastasia Voronkova for her constructive critiques on data analysis; My parents for all the mental support; My partner Robert Brooks for putting up with me throughout the journey; And special thanks to Piccolino, Soya, Hina and Pixel for being wonderful pets to see me through the difficult years of my PhD. Thanks coffee! 5 Abbreviation list In alphabetic order ASA – Asian AtHL – Appeal to higher loyalties AtAV – Appeal to alternative values CDSER – Comparison-driven self-evaluation and restoration CtC – Condemnation of condemners DoI – Denial of injury DoOF – Denial of original form DoR – Denial of responsibility DoV – Denial of victim EUR – European LARPING – Live action role playing NT – Neutralisation techniques PG – Postgraduate UG – Undergraduate 6 Style list In alphabetic order Bohemian – Although it embraces a sense of flowing liberty in décor choices and can be associated with eclectic style, Bohemian style is more than that. The word “Bohemian” comes from the French word for “gypsy,” and it applies to those who live unconventional (usually artistic) lives examples. Hipster – A hipster is someone whose fashion choices and music interests fall outside the mainstream. In the 1960s, hipster mainly referred to low- slung, hiphugging pants, but by the 1990s it described an urban subculture made up mostly of young and educated bohemian types living in gentrified neighbourhoods. Lolita – is a fashion subculture from Japan that is highly influenced by Victorian and Edwardian children's clothing and styles from the Rococo period. A very distinctive property of Lolita fashion is the aesthetic of cuteness. This clothing subculture can be categorized into three main substyles: 'gothic', 'classic', and 'sweet’ Mori – 'Mori' means forest in Japanese, and mori girls look like fairytale forest wanderers in their loose dresses, vintage prints and quaint accessories. Mori girls choose to live their lives on their own terms, stopping to appreciate the little things that others overlook amidst the hustle and bustle of daily life. Normcore – Normcore is a unisex fashion trend characterized by unpretentious, normal-looking clothing. Preppy – Preppy is a subculture in the United States associated with old private North-eastern university-preparatory schools. The terms are used to denote a person seen as characteristic of a student or alumnus of these schools. Characteristics of preps in the past include a particular subcultural speech, vocabulary, dress, mannerisms, etiquette, reflective of an upper-class upbringing. Tomboy – A tomboy is a girl who exhibits characteristics or behaviours considered typical of a boy, including wearing masculine clothing and 7 engaging in games and activities that are physical in nature and are considered in many cultures to be unfeminine or the domain of boys (Source: Wikipedia) 8 Contents Abstract ...................................................................................................... 3 ACKNOWLEDGEMENT ................................................................................. 5 Abbreviation list .......................................................................................... 6 Style list ...................................................................................................... 7 Preface ...................................................................................................... 13 Chapter 1 Introduction .............................................................................. 16 1.1 Introduction – Consumption and identity research .......................... 16 1.2 Problem identification and research questions ................................ 20 1.3 Contributions .................................................................................. 23 1.4 Doctoral research overview ............................................................. 24 Chapter 2 Literature review ...................................................................... 27 2.1 Introduction – self, identity and consumption ................................. 27 2.2 Approaches to self-identity and consumption ................................. 35 2.2.1 The personal sense of self – extended self into possessions ....................................................................................... 35 2.2.2 Multiple identities .................................................................... 41 2.2.3 Social identity ........................................................................... 47 2.2.4 Identity consumption in marketplace ....................................... 52 2.3 Neutralisation theory ...................................................................... 56 2.3.1 Introduction.............................................................................. 56 2.3.2 Theory of neutralisation in criminology .................................... 57 2.3.3 Problems of neutralisation theory research .............................. 60 2.3.4 The Potential of neutralisation.................................................. 64 2.2.5 Theory of neutralisation in consumer research ......................... 70 Chapter 3 Methodology ............................................................................ 81 3.1 Research aim and research questions .............................................. 81 9 3.2 Research philosophy........................................................................ 81 3.2.1 Introduction.............................................................................. 81 3.2.2 Philosophical assumptions ........................................................ 82 3.2.3 The role of theory ..................................................................... 90 3.2.4 Conclusion ................................................................................ 93 3.3 Research methods and procedures ................................................. 94 3.3.1 Recruiting procedures............................................................... 95 3.3.2 First in-depth semi-structured interview ................................. 102 3.3 Data management and analysis ..................................................... 107 3.4 Research Rigour............................................................................. 109 3.4.1 Validity ................................................................................... 110 3.4.2 Relevance ............................................................................... 113 3.4.3 Reflexivity ............................................................................... 114 3.4.4 A reflexive account ................................................................. 116 3.4.5 Research Ethics ....................................................................... 118 3.5 Summary ....................................................................................... 119 Chapter 4 Research
Load more

Recommended publications
  • “Down the Rabbit Hole: an Exploration of Japanese Lolita Fashion”
    “Down the Rabbit Hole: An Exploration of Japanese Lolita Fashion” Leia Atkinson A thesis presented to the Faculty of Graduate and Post-Doctoral Studies in the Program of Anthropology with the intention of obtaining a Master’s Degree School of Sociology and Anthropology Faculty of Social Sciences University of Ottawa © Leia Atkinson, Ottawa, Canada, 2015 Abstract An ethnographic work about Japanese women who wear Lolita fashion, based primarily upon anthropological field research that was conducted in Tokyo between May and August 2014. The main purpose of this study is to investigate how and why women wear Lolita fashion despite the contradictions surrounding it. An additional purpose is to provide a new perspective about Lolita fashion through using interview data. Fieldwork was conducted through participant observation, surveying, and multiple semi-structured interviews with eleven women over a three-month period. It was concluded that women wear Lolita fashion for a sense of freedom from the constraints that they encounter, such as expectations placed upon them as housewives, students or mothers. The thesis provides a historical chapter, a chapter about fantasy with ethnographic data, and a chapter about how Lolita fashion relates to other fashions as well as the Cool Japan campaign. ii Acknowledgements Throughout the carrying out of my thesis, I have received an immense amount of support, for which I am truly thankful, and without which this thesis would have been impossible. I would particularly like to thank my supervisor, Vincent Mirza, as well as my committee members Ari Gandsman and Julie LaPlante. I would also like to thank Arai Yusuke, Isaac Gagné and Alexis Truong for their support and advice during the completion of my thesis.
    [Show full text]
  • Lolita Fashion, Like Other Japanese Subcultures, Developed As a Response a to Social Pressures and Anxieties Felt by Young Women and Men in the 1970S and 1980S
    Lolita: Dreaming, Despairing, Defying Lolita: D, D, D J New York University a p As it exists in Japan, Lolita Fashion, like other Japanese subcultures, developed as a response a to social pressures and anxieties felt by young women and men in the 1970s and 1980s. Rather than dealing with the difficult reality of rapid commercialization, destabilization of society, n a rigid social system, and an increasingly body-focused fashion norm, a select group of youth chose to find comfort in the over-the-top imaginary world of lace, frills, bows, tulle, and ribbons that is Lolita Fashion. However, the more gothic elements of the style reflect that behind this cute façade lurks the dark, sinister knowledge that this ploy will inevitably end, the real world unchanged. Background: What is Lolita Fashion? in black boots tied with pink ribbon. Her brown If one enters the basement of street fashion hair has been curled into soft waves and a small hub Laforet in Harajuku, Tokyo, one will come pink rose adorns her left ear. across a curious fashion creature found almost exclusively in Japan: an adult woman, usually Although the women (and occasionally men) in in her late teens or early twenties, dressed like Laforet look slightly different, they all share the a doll. Indeed, the frst store one enters, Angelic same basic elements in their appearance: long, Pretty, looks very much like a little girl’s dream curled hair, frilly dresses, delicate head-dresses doll house. The walls and furniture are pink or elaborate bonnets, knee-socks, round-toed and decorated with tea-sets, cookies, and teddy Mary Janes, round-collared blouses and pouffy, bears.
    [Show full text]
  • A Monster Chases You Through the Graveyard. It Taunts You, Always with a Smile and Two Mismatched Eyes Staring out from the Darkness
    A monster chases you through the graveyard. It taunts you, always with a smile and two mismatched eyes staring out from the darkness. It comes with flickering ghost-light and yowling laughs. It dresses like an entertainer, but tonight you’re the entertainment. Claws run down your shoulder and you turn, only for another slash across the opposite hip. The cat plays with you, toying and laughing. A gentle kick to the back sends you stumbling forward, and you break into a run. Originally from Japan, the nekomata are a strange bloodline of chostcallers and mediums who take the form of the split-tailed cats of folklore. They deal with the dead and when they can, they taunt the living. Fickle and curious, the graveyard cats are dance with the dead and cause hauntings, as well as act as mediums to relay messages between the living--or damned--and the dead. Often dressing like geisha or in the gothic lolita fashion, these strange yokai Mekhet often sit in graveyards, happily conversing with the dead and mocking the living and kindred alike. They deal in secrets like all of their clan, but where others pull them from the mind, this bloodline of primarily female felines prefers to use ephemeral entities as Background: In ancient Japan, domestic cats that lived long enough were said to become nekomata, their tails splitting in two. These cat yokai would dance and cause poltergeist activity, and were often accompanied by the same pale glowing light that was often known as the kitsune- bi or foxfire. Other legends say that the yokai known as nekomata originated in the mountains, and that they were the size of dogs, and would devour unsuspecting villagers.
    [Show full text]
  • LI-MASTERSREPORT-2018.Pdf (3.780Mb)
    Copyright by Yi Li 2018 The Report Committee for Yi Li Certifies that this is the approved version of the following report: Lolitas, Not Living Dolls APPROVED BY SUPERVISING COMMITTEE: Dennis Darling, Supervisor Mary Bock Lolitas, Not Living Dolls by Yi Li Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2018 Dedication I dedicate this report to my grandma, who taught me how to be a strong and independent woman. Acknowledgements First, I would like to thank all the Lolita fans who helped me with this project, especially Tiffany Thomas, Tiffany Grenier, Lindsey Browning, Audrey Browning, Tianjie Pei, Xue Wang, Sae Saito, Brooke Sharretts, Kathy Cao, for sharing so many wonderful stories with me. Also, I would like to thank Professor Dennis Darling and Doctor Mary Bock for their guidance and encouragement. Finally, I would like to thank my parents, grandpa, and all my friends for being there for me all the time. v Abstract Lolitas, Not Living Dolls Yi Li, M.A. The University of Texas at Austin, 2018 Supervisor: Dennis Darling Lolita fashion is a subculture starting in Japan during 1990s. It is based on Victorian and Edwardian children’s clothing with a Rococo influence. Although Lolita fashion appears to be extremely delicate and feminine, many Lolita fans do not like to be simply described as “living dolls”. They all have different motivations and different attitudes towards this culture. And this culture allows them to be tough and strong inside while sweet outside.
    [Show full text]
  • The Art of Impression Management in the Atlanta Lolita and Japanese Street Fashion Community
    Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 12-17-2014 The Fashion of Frill: The Art of Impression Management in the Atlanta Lolita and Japanese Street Fashion Community Chancy J. Gatlin [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Recommended Citation Gatlin, Chancy J., "The Fashion of Frill: The Art of Impression Management in the Atlanta Lolita and Japanese Street Fashion Community." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/anthro_theses/87 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE FASHION OF FRILL: THE ART OF IMPRESSION MANAGEMENT IN THE ATLANTA LOLITA AND JAPANESE STREET FASHION COMMUNITY by CHANCY J. GATLIN Under the Direction of Emanuela Guano, PhD ABSTRACT The Atlanta Lolita and Japanese Street Fashion Community is a multifaceted fashion community that developed in the early 2000s. The majority of the members wear Lolita fashion which is a fusion of Victorian era dress, Rococo costume, and various Japanese street fashions. Lolita fashion developed on the streets of Tokyo Japan in the 1990s and has since spread across the world. The Atlanta Lolita and Japanese Street Fashion Community heavily relies on the building and maintenance of impressions by its members. In this thesis, I analyze face-to-face and virtual community organization, fashion, and photography to illustrate how members of the community build their impressions, how they are maintained, or how they are threatened.
    [Show full text]
  • Page 129 EVENTS REVIEW the Dark Glamour Of
    Page 129 EVENTS REVIEW The D ark Glamour o f Neo­Victorian Gothic Gothic: Dark Glamour Exhibit, curated by Valerie Steele New York Fashion Institute of Technology, 5 September 2008 ­ 21 February 2009 “Your mind is in disturbia” sang the reigning princess of R&B music, Rihanna, as she opened the 2008 MTV Video Music Awards on September 7th. Clothed in high­fashion black leather and feather bondage gear, she and an entourage of back­up dancers miming zombies gyrated around the stage as she asked seductively, “Am I scaring you tonight?” If the performance, which resurrected Michael Jacksons’s Thriller with a touch of S&M, frightened the audience it was with no more than a pleasantly titillating thrill as Rihanna’s macabre Gothic­inspired musical opening effectively upstaged the return of Britney Spears and kept more than 8.4 million viewers riveted to the screen. MTV, perennial source of all things trendy, used its opening entertainment as a clever marketing tool, for Rihanna’s performance responded to the Gothic vampire craze present in contemporary youth culture, particularly the culture of adolescent girls. The popularity of Stephanie Meyer’s Twilight series of fantasy novels has positioned the author as the J.K. Rowling of “tweens” and teens. Twilight, first book in the series, sold over 1.5 million copies, and the final installment, Breaking Dawn , sold 1.3 million within 24 hours of its release. Not coincidentally, a movie adaptation of Twilight opens in November. Even HBO, a network with programming geared more toward adults, has staked (pun intended) its claim to vampire narratives, premiering this Fall its drama True Blood , based on a series of Southern vampire mysteries by Charlaine Harris.
    [Show full text]
  • The Three Epochs of Hong Kong Lolita Subculture: Cultural Hybridization and Identity Construction
    IAFOR Journal of Cultural Studies Volume 6 – Issue 1 – 2021 The Three Epochs of Hong Kong Lolita Subculture: Cultural Hybridization and Identity Construction Shuk-fan Fanny Wong Senior Instructor, University of Macau Wai-sum Amy Lee Associate Professor, Hong Kong Baptist University 87 IAFOR Journal of Cultural Studies Volume 6 – Issue 1 – 2021 Abstract Lolita is identified as a female oriented subculture phenomenon which came about in the 1990s in Harajuku, Japan. Youths in Hong Kong, because culturally and geographically in close proximity to Japan, will usually adapt their neighboring city Tokyo’s cultural movements. This paper explores the development, meaning, significance of Lolita phenomena in Hong Kong from the postmodern historical and socio-cultural points of view. By assembling and examining the ethnographic data from face-to-face interviewees and materials from online resources between 2014 and 2017, we reviewed and proposed that there are three major epochs of Lolita subculture development in Hong Kong. The study concludes that the changes in online practices over the past two decades lead to the transformation of Lolita identity within the group. It also indicates that the development of Hong Kong Lolita subculture shows a positive impact of cultural hybridization. Moreover, through the active practice on virtual platforms, the group creates an imagined community for the participants to share their beliefs and dreams freely. Keywords: cultural hybridization, gender performance, Hong Kong Lolita, personal identity, subculture, subcultural history 88 IAFOR Journal of Cultural Studies Volume 6 – Issue 1 – 2021 Introduction Lolita, with the doll-like and Western classical costumes, was a Japanese born youth subculture around the 1990s.
    [Show full text]
  • Le Livre 1 Milky Ange Unofficial Fanbook
    leby milkylivre ange 6 styles of maid dresses for every theme, situation, and occasion Milky Ange Unofficial Fanbook Volume 1 for ALL MAID LOVERS Classic Style Maid Claris Cafe Style Maid Kirsten Y AN • MILK GE • Romantic Style Maid Renee Classic Style Maid Rita • U • NO K FFIC BOO IAL FAN Tyrolean Style Maid Fenella Romantic Style Maid Florianne Claris Long by milky ange Outfit Design © 2019 Kijishiro Corp Character Illustration © 2019 Shiho Sakura milky ange 100% Original Maid Dress & Lolita Fashion 4 | VOLUME 1 5 CLARIS LONG CLASSIC STYLE MAID DRESS BLACK | ICY BLUE A classical style maid dress with shoulder frill and yoke. Shoulder yoke features pin tuck and lace. Lace details are also added to the stand collar and cuffs to further emphasize the classical look. Comes with pinned deep red bow tie with tulle lace. 6 | VOLUME 1 100% ORIGINAL MAID DRESS & LOLITA FASHION 078.778.4169 WWW.MILKY-ANGE.COM 7 CLASSIC STYLE MAID CLARIS LONG Black AC-0265 (S) ¥28,080 AC-0266 (ML) ¥30,240 AC-0267 (XL) ¥32,400 HEADBAND 04 AC-0052 ¥3,780 CAPE VIVI AC-0400 (S-ML) ¥19,440 AC-0401 (XL-XXL) ¥21,600 LACE TRIMMED PANNIER WITH 3 STEEL HOOPS AC-0156 ¥14,040 DRAWER TINA AL-0223 ¥10,800 LEGWEAR 05 (White lace top thigh high stockings) AC-0353 ¥4,320 8 | VOLUME 1 100% ORIGINAL MAID DRESS & LOLITA FASHION 078.778.4169 WWW.MILKY-ANGE.COM 9 CLARIS LONG CLASSIC STYLE MAID DRESS BLACK | ICY BLUE Set Includes • Maid dress, apron, and removable bow tie.
    [Show full text]
  • Paintings of Women Catalogue
    Paintings of Women – Mapping Our Own Future 2020 Online Exhibitions Arts Project Australia is proud to present — Paintings of Women — Paul Hodges is a figurative artist who has a Unless otherwise stated, penchant for painting theatrical, modern and artworks are for sale can can be historical women. It's a passion that stems from his purchased through our website. long-time interest in theatre, ballet and popular Prices quoted are unframed culture. He recalls an early influence of participating & don’t include framing and in a life drawing class at RMIT in Melbourne many shipping fees. years ago. The challenge of painting women drives Artworks can either be mailed him, "It's hard to do a drawing or painting of a or stored safely until we return. woman and make it a good painting." Many years of In-person collection is only visiting the Melbourne Arts Centre and seeing available if accessibility is an theatre and ballet performances was pivotal in issue, until government influencing his creative practice. restrictions are lifted. 60% of sales go to the artists In recent years, Hodges has been fascinated by 40% of sales go to APA to Asian clothing subcultures, particularly from China support our studio and artists and Japan. "I am fascinated by the Lolita fashion movement," he says. The Lolita subculture is categorised by three main styles: 'gothic', 'classic', and 'sweet'. "I've seen it in the city in Melbourne too–women dressing up in anime and Lolita fashion. I think it has links to pre-romanticism and [while originating in the 1990s] it has its roots in fashion from old times." Images courtesy of the Paul Hodges (b 1974, Melbourne) is an artist and Arts Project accomplished mid-career artist.
    [Show full text]
  • Saccharide Cuteness in Japanese Society Kimberlee Coombes Advisor
    Consuming Hello Kitty: Saccharide Cuteness in Japanese Society Kimberlee Coombes Advisor: Professor Eve Zimmerman April 22, 2016 © 2016 Kimberlee Coombes Submitted to The Wellesley College Japanese Language and Culture Department in partial fulfillment of the Honors requirements 1 Table of Contents Introduction 5 Chapter 1: Cuteness is the “Mark” of the Shōjo 1.1 Introduction 10 1.2 What is Cute? 13 1.3 Sweet and Cute 16 1.4 Scary and Cute 18 1.5 Pathetic and Cute 21 1.6 The Shōjo 22 1.7 Kawaii is feminine 25 1.8 Consumers of Cuteness 26 1.9 Emergence of Cute 28 1.10 “Kawaii Syndrome” 30 Chapter 2: Becoming Alice 2.1 Introduction 31 2.2 Ribbons and Girlhood 34 2.3 History of Lolita 35 2.4 Lolita Subgenres 36 2.5 Classic/Traditional Lolita 37 2.6 Sweet Lolita 38 2.7 Gothic Lolita 39 2.8 Male Lolitas? 39 2.9 Delicate Rebellion 39 2.10 The Lolita Community 40 2.11 Becoming the Cute Object 44 2.12 Alice’s Voyage to Japan 45 2.13 Wonderland is the Girl’s Cocoon 46 2.14 Alice in Harajuku 48 2.15 Joy of Life Station 49 2.16 Alice on Wednesday 50 2.17 6%Dokidoki 51 2.18 Queue Decora Fashion 52 2.19 Lolicon 53 2.20 Maid Café 54 2.21 Unnecessary Men 56 Chapter 3: 3.1 Introduction 58 3.2 Uchida Shungiku 58 3.3 The Pathetic and Cute Chiyomi 60 3.4 Dollhouse Cocoon 61 2 3.5 Paper Cup and Bottle Cap 62 3.6 Trauma 62 3.7 The Nightmare 64 3.8 Because She Was Small 66 3.9 Yoshimoto Banana 67 3.10 Izumo 68 3.11 Scary and Cute 68 3.12 Tsugumi the Zashiki Warashi 69 3.13 Within the Veranda 70 3.14 Haunted Mailbox 71 3.15 Rabbit Hole 72 Bibliography 75 3 Acknowledgements First of all, I thank Professor Eve Zimmerman not only for her guidance and encouragement throughout this thesis process, but also for her support during my time at Wellesley.
    [Show full text]
  • Lolita Latina an Examination of Gothic and Lolita Style in the Mexican Environment
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Lolita Latina An Examination of Gothic and Lolita Style in the Mexican Environment A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Visual and Material Culture College of Creative Arts Massey University Wellington, New Zealand Kathryn Adèle Hardy Bernal 2019 Abstract This thesis, completed for the award of Doctor of Philosophy in Visual and Material Culture, Ph.D., examines the development of the fashion-based Mexican Gothic and Lolita movement, and its evolution from its subcultural Japanese roots. It asks, “What are the cultural conditions that encourage this movement to flourish in the Mexican environment?” In turn, “What does Mexican culture contribute to Mexican Gothic and Lolita style?” And, “What does Mexican Gothic and Lolita style say about Mexican culture, society, and beliefs?” The Gothic and Lolita movement is currently thriving in Mexico as an authentic, independent, creative, handmade fashion industry, yet to be co-opted into mainstream culture. With the do-it-yourself aspect of the movement comes its own, unique, cultural flavour. As such, it transforms and rearranges meanings of the original subcultural style in order to make new statements, which subvert the meanings, and understandings, of the Japanese Lolita identity. Analyses of Mexican Gothic and Lolita styles, in context with the Mexican environment, culture, and belief systems, as well as the operation of the Mexican Gothic and Lolita industry, are major focal points of this study.
    [Show full text]
  • Chapter Two Types, Stereotypes and Hate Crimes
    PEOPLE’S DEMOCRATIC REPUBLIC OF ALGERIA MINISTRY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH UNIVERISTY OF TLEMCEN FACULTY OF LETTERS AND LANGUAGES DEPARTMENT OF ENGLISH GOTHIC WORLD BETWEEN REALITY AND MYTH Extended Essay Submitted to the Department of English as a Partial Fulfillment of the Requirements for the Master’s Degree in Literature and Civilisation Presented by: Supervised by: Miss. Soumia BOUMECHRA Dr. Yahia ZEGHOUDI Board of Examiners: Pr. Amine BELMEKKI President University of Tlemcen Dr. Yahia ZEGHOUDI Supervisor University of Tlemcen Dr. Abdelkader BENSAFA Examiner University of Tlemcen Academic Year: 2015-2016 DEDICATION To my angels, my mother and my grandma, who really supports me along the journey. To my brother and little Sister. To my soulmates, Fatima and Manel. ACKNOWLEDGMENTS First of all, I thank Allah for blessing, protecting, and guiding me to proceed successfully. I would like to express my gratitude to my supervisor Dr. Yahia ZEGHOUDI who kindly guided me to complete my memoire. Very special thanks to the chairman examiner Pr. Amine BELMEKKI and the examiner Dr. Abdelkader BENSAFA for devoting their precious time to read and evaluate my work. Sincere thanks to all my teachers, and my classmates for their moral support through the past few years. Without forgetting my dearest friends, Manel and Témocha to whom I am indebted for providing me with insightful advice, moral support, and for continuously encouraging me and pushing me to my limits to complete this work. Finally, my deepest gratitude and thanks go to my Mother Sabiha, Grandma Aicha, my brother Mossaab and sister Meryem and all who helped me during my hard times.
    [Show full text]