By Frenchy Lunning & Thomas Lamarre & Brian Bergstrom & Christine L. Marran

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16 f renc hy l u nning of shōjo forms. For example, the Kewpie doll (often dressed in cosplay) can appear on keitai phone charms and in other miscellaneous toylike objects. Her resemblance to a feminized Buddha is unmistakable, yet her subject position is also unmistakably that of the shōjo. fig6 Appearing on souvenirs in arcades and stores everywhere, even outside temples, the Kewpie face conjures forth an American history, while meshing with the face of the shōjo. The Kewpie reinforces the shojo’s kawaii power through the proliferation of objects, through her flexible and adaptable singularity, and through her ubiquitous image.

G4 g4 Yet like most cultural artifacts from the Victorian period, and in fact like most artifacts of shōjo culture, this image of femininity is full of contradictions and ambiguities, hidden powers and subversive sexualities. The artifacts of this feminine culture were structured through the eccentricities of the male gaze, under the overrationalized and instrumental patriarchy of the time. Then as now, whether the designers were male or female, the effect figure 4. ” The highly eroticized girl culture from the Victorian period.

Something is encountered—a person, an image, a song, an outfit—that throws into relief the protagonist’s unique sensibility. This apparent uniqueness is felt as a dislocation in era, the consequence of an existence carried out crosswise to history and society. The object of fascination shimmers in the protagonist’s imagination, catalyzing a reorganization of priorities, compelling acts commensurate with the intensity of the emotions it evokes. This is a desire that communicates solely through the language of extremity, the center of a sensibility that disdains the ordinary for being ordinary, that values only the extraordinary.

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