臺灣博碩士論文加值系統

本篇論文主要探討蘿莉塔風潮與跨文化影響，共五個部分。首先先分析納博科夫《蘿莉塔》的寫作手法，並進一步分析與現今蘿莉塔時尚的差異之處。此外，日本外務省任命三名可愛大使積極將可愛文化推廣至世界各地，其努力效果十分卓越，近年來也持續擴大推廣。
再來主要說明納博科夫《蘿莉塔》在文學作品上的影響力，大眾媒體皆有蘿莉塔的身影，卻是以完全不同的面貌呈現，除了主流的蘿莉塔風格及次要風格在日本街頭隨處可見外，在台灣同人誌也可以看到迷裝扮動漫界裡穿著蘿莉塔風格的主角。另外，其中一位可愛大使青木美沙子建立日本蘿莉塔協會，透過大眾媒體及網路，藉由網站及臉書推廣可愛文化和蘿莉塔時尚，各國的迷皆可加入成為一員，且世界各地都有協會大使輔佐。最後，探討社會大眾對蘿莉塔的普遍想法，以及日本文化對台灣的影響，接著總結前面的觀點及想法。

This thesis researches transcultural influences between Vladimir Nabokov’s Lolita and Lolita fashion in Japan. There are five parts of the thesis. The first part is about to interpret the differences between Humbert Humbert’s Lolita in Vladimir Nabokov’s Lolita and the world-famous Lolita. Then mass media and the Japanese government actively promote kawaii cultures to the world by kawaii ambassadors. Through hard work of these kawaii (cute) ambassadors, Lolita fashion successfully becomes one of the Japanese subcultures.
The relationship between Nabokov’s Lolita and other texts—novels, manga and movies—is in the second part. Novala Takemoto, a Japanese female writer, is greatly influenced by Nabokov’s Lolita. She has written a light novel, Shimotsuma Story—Yankee Girl & Lolita Girl, in 2002. Comparing Nabokov’s Lolita and Novala Takemoto’s Lolita, it shows that Lolita has different appearances from different cultures. The third part is about how Lolita fashion influences pop cultures—cosplay, manga and pop music. Some people think Lolita is cosplay. In this part, it explains the differences between cosplay and Lolita. Also, it shows details of four main styles of Lolita fashion.
The fourth part is about the association that is created by Aoki Misako, one of the kawaii ambassadors. By consuming and wearing Lolita outfits, Lolita girls satisfy their imaginations and perform their identities to others. Also, the association gives them the space to share and communicate with other countries’ Lolita girls. The last part is about people’s common sense of Lolita and how Japanese culture influences other countries, especially Taiwan. Then, this part sums up and reorganizes the ideas of the thesis as a transcultural survey.

ABSTRACT I
CHINESE ABSTRACT II
ACKNOWLEDGEMENTS III
I. INTRODUCTION: FROM LITERATURE TO CULTURE 1
II. LOLITA: GIRLS’ LITERATURE 10
III. POPULAR CULTURE : LOLITA FASHION 16
A. COSPLAY 23
B. MANGA 37
C. POP MUSIC 44
IV. THE IMAGINATIVE SELF AND PERFORMING IDENTITY 50
A. SENSIBILITY 52
B. RELIGIOUS ECSTASY OF FASCINATION 55
C. IMMACULATE NOBILITY 65
V. CONCLUSION 67
WORKS CITED 71

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