“嗨，姐妹，我能借用你的風格嗎？：歌德蘿莉潮流在亞洲及其外沿地區之跨文化、跨文本發展研究”

Abstract

本文旨在探討香港、日本和中國以及全球青年扮成日本漫畫書和動畫卡通、視頻游戲、電視秀、流行音樂樂隊中人物角色的歌德蘿莉主題裝束的風尚。文章將檢視個體追隨“歌德蘿莉”裝扮活動的根本原因和那些指引他們的多重跨文化、跨種族、跨文本的文學與歷史影響。作為一項進行中的大規模研究項目的一部分，本次研究測試了斯通的通過對幻想社會化進程理解得出的個人發展與呈現外觀得體性的主張，同時也再次審視了艾澈兒的關於通過公開、私隱以及秘密自我穿著來溝通、探索個性的著作。這也同時考察了游戲理論——空泛想象中空想傾向與表現在歌德蘿莉個性描繪中的作用，質疑了服裝作為掙脫自我限制而獲得多重身份催化劑的緣由。訪問在選擇性的指導下進行，系選取香港和東京那些在私家場合以及公開場地或有組織的主題活動中都經常穿著歌德蘿莉裝束的人士。研究提問包括——對於歌德蘿莉參與者而言扮演一身外角色的意味何在，促使他們進行裝扮的原因，他們是怎樣去選定一個角色的，是否有一特定創意表達形式的存在，他們用於創意指引、亞文化反叛、秘密或公開表達自己的依據資源，他們為什麼又是怎樣應用裝扮來追求某個特別的哥德式幻夢的，以及在特定裝束下的性別社會化作用。研究證明歌德蘿莉裝扮作為跨文化、跨言語經驗在諸多文化節點中因參與者的不同而產生不同的體現，這些不同取決于人口統計學與心理學特徵的剖解——身份的再次認定；從已知現實的逃脫，亦即對於重拾“可愛”童年無邪的嘗試；和那些引人注目的、常常間接依附於亞洲及其外沿地區中的清晰可靠的亞文化共同體。

This paper explores the trend for young adults in Hong Kong, Japan and China and globally to dress up in themed costumes as Gothic Lolitas assuming the persona of characters from Japanese comic books (manga) and animated cartoons (anime), video games, television shows, pop music bands. The paper will explore the underlying reasons why individuals pursue this ‘Goth-Loli” dress-up activity and the multiple trans-cultural, trans-national, trans-textual literary and historical influences that guide them.The study, which is part of an ongoing large scale research project tests out Stone’s ideas of the appropriacy of appearance in the development and presentation of self via the capacity of fantastic socialization processes, whilst also revisiting Eicher’s work on communicating and exploring identity through the dressing of public, private and secret selves. It also examines play theory, the role of fantasy-proneness and the manifestation of the fantastic imagination in the personality profiles of Goth-Lolitas, and questions why dress is used as a catalyst for escaping the boundaries of self and acquiring multiple identities.Interviews were conducted with a selection of Gothic Lolitas in Hong Kong and Tokyo who regularly dress in a range of costumes in both private domestic spaces and public places or at organized themed events. Research questions included, what it means for Gothic Lolita participants to assume another persona, what motivates them to dress up, how they decide to choose a particular character, whether it is a form of creative expression, what resources they use for creative guidance, sub-cultural rebellion, secret or overt expressions of self, why and how they employ dress to pursue a particular Gothic fantasy and the role of gender socialization in this type of costuming.Findings suggest that dressing up as a Gothic Lolita is transcultural, multi-vocal experience across cultural sites representing different things to different participants, depending on demographic and psychographic profiles, includ