By Frenchy Lunning & Thomas Lamarre & Brian Bergstrom & Christine L. Marran
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In so doing, it also recognizes the transgressive subtext that was present even within Yoshimoto Banana’s shōjo literature of the 1980s and 1990s, but which was discounted in its marketing and critical reception, both of which highlighted its relation to postmodernism and lack. Yoshimoto’s novels came to symbolize this supposedly postmodern shōjo, but she seems to ﬁnd in Takemoto an articulation of willfulness that generally went unrecognized within her own work, which may help explain her enthusiastic endorsement of Mishin.
Photograph by Joe Kramm. Courtesy of the Minneapolis College of Art and Design. 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.
As popular cultural artifact, the character presents feminine identity as a classiﬁcation: a type and a totality that come complete with sets, lights, and costumes, an identity that encloses and shuts down any deconstruction of meaning. The Loli performer emerges from the great constellation of shōjo culture but constitutes a pastiche of mythic idealized femininities from modern patriarchic culture. As an imagined gender pastiche, the Loli deploys the overcoded Victorian feminine costume as a constructed feminine identity that, in being a child, paradoxically becomes seductive as a subversively sexual subject, while being socially situated as asexual or under the ruffles 15 If we look deep under the ruffles, within the swirl of constellated objects and the myriad signs of this hyperbolic feminine character, we find a dark space of paradox, ambiguity, and loss.