Hrebinko Allred Sculco Dettloff Bonnivie (FR or VN) Tremelling Sufka Cetka (trinket) Szeto (HK) Monast (FR or VN) Dalrymple (Scottish) Lucchese Keating Pirmoradi Karina Nutella Socorro (Sp. Woman's name) Couts Syphrit Stith Tarpley Feijoo Freda Josephine McDonald June 3, 1906 St. Louis, Missouri, U.S. Empress Nam Phương (4 December 1914 – 16 September 1963), born Marie-Thérèse Nguyễn Hữu Thị Lan https://fr.wiktionary.org/wiki/nhaqu%C3%A9 The ten years leading up to WWII, 1929 to 1939, was known as the “golden years” of civil aviation 1930s hb / 1930s VN --> france, guangzhou, hk île flottante The age of huge, ocean-crossing zeppelins came to an end in 1937, when the Hindenburg — the largest craft of its type ever built — erupted in flames while landing in New Jersey. Dozens died. 1950s (jet set) 1990s The Guangdong–Hong Kong–Macao Greater Bay Area (GD-HK-MO; simplified Chinese: 粤港澳大湾区; traditional Chinese: 粵港澳大灣區; pinyin: Yuègǎngào dàwānqū) also referred to as the Greater Bay Area (GBA), is a megalopolis, consisting of nine cities and two special administrative regions in South China. It is envisioned as an integrated economic area aimed at taking a leading role globally by 2035.[1] https://randomwire-com.translate.goog/shenzhen-before-and-after/comment-page-1/?_x_tr_sl=fr&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp https://mywonderfulfamily-fr.translate.goog/2017/10/24/le-couvent-des-oiseaux/?_x_tr_sl=fr&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp http://belleindochine.free.fr/CouventDesOiseaux.htm http://chimca.free.fr/index.htm http://belleindochine.free.fr/ProstitutionJaponaise.htm http://belleindochine.free.fr/images/economie/514PubSodaWater.jpg singapore soda fraser ACTUALLY IMPORTANT LMAO, 4.9 BILL ASSETS 2023 http://belleindochine.free.fr/images/economie/508pubcharner.jpg INCREDIBLE MUST READ. BAKER WAS AT THE DAMN EXPOSITION AS QUEEN OF THE COLONIES??? SO COOL https://www.jstor.org/stable/10.2979/blc.2010.1.2.25 https://transversal-at.translate.goog/transversal/1007/kuster/en?_x_tr_sl=fr&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp Following an interministerial agreement, the service transferred in 1917 from the ministry of war to the colonial ministry. The C.A.I. employed agents provocateurs and undercover informants from diverse milieus, monitored individual “indigènes anti-français”, their movements, newspapers and organizations, and worked closely together with the ministry of the interior and with the general French police. ...A surveillance network is evident especially for the “Indochinese” section of the exhibition, which heavily enclosed the so-called “cité indigène”. Without special permission the “indigènes on display” were not allowed to leave the exhibition grounds and the country pavilions in which they were accommodated. This was intended to forestall making any contact with overseas migrants in Paris. On 24 July 1931, Pierre Guesde, the “commissaire du gouvernement générale de l’Indochine à l’Exposition” wrote to the colonial ministry: “Grouped as they are now, in a relatively restricted space surrounded by a barrier, the surveillance and control of their activities is obviously much easier and more efficient than if they had been scattered all over the place. Then they would have escaped from us entirely and become an easy target for the propagandists.” oölogy - digieggs (beginning), clown eggs (ending), ab ovo zoöids momus references olivier lamm in shibuya kei crepuscule article. contact made with kumisolo scottish-josef k,momus,bmx bandits,orange juice,aztec camera,bel&seb,camera obscura,cocteau twins,the pastels michigan is rust belt, 1953 peak just wing it :3 there is a direct link between drive in theater garden grove and the hbpl croquette book: 串かつの戦前史 St St the sun will rise again kerbonaut lingonberry lingnan extranoematic ramage of birds places Jaén, Spain, capital of the province of Jaén date of birse for date of birth antem for anthem sik for six sic and your aggress for and your address indochina scholar transported to future YASHMEEN DOLPHIN is in the 2010 digimon school fic street portraiture restaurant with way too much on the menu wants to be worshipful of just a few things, fancy style. changes carpet for wood ---- god doesn't appear and make himself canonical in the same way alex g wrote the wrong lyric to guide us to the right lyrics toby left dimentio out of deltarune the absence of sense affords a revolution difference between ideograms and sigils ideograms resemble like pictures sigils refuse explicit definition work thru high context voids of significations made significant --------- up5t 5tup 5let 5lit her wrist ---------------------- ⬤⬤⬤⬤⬤⬤⬤⬤⬤⬤⬤⬤⬤⬤ bullet ⬤inb⬤ard see h⬤w y⬤u l⬤⬤k with a r⬤und ⬤f ⬤s in y⬤u round what g⬤es a⬤ c⬤mes a⬤ ill be a⬤ if u wnt to tlk sometime a⬤ three belowg⬤, am⬤ng the undergr⬤wth im su⬤ed ensuing su⬤ings ⬤table well⬤ed circle en⬤d hole that's the w⬤ pr⬤blem ⬤y see ⬤y of ⬤ies dot ⬤ ⬤ not a lot anti⬤e anec⬤e sacer⬤al he ⬤h pr⬤test t⬤⬤ much she always ⬤es on me which i mean i don't mind i like being ⬤ed on. ---------- antedilvvia^ total vvvss ^vvards iv been goi^ thrv the ^evvs tell ^^e about it cvd v jvst shvt vp i think thats pretty vstrea^^ of the real issve here vvhy do yov alvvays look v o^ ^^e ^trodden ^standi^g citize^ ^^tial k^ot the qvick brovv^ fox jv^^ped over the lazy dog. ------------------------------------- the quick brown fox jumped over the lazy dog. i i. i i so entirely its ii-in-i sometimes i ider what goes through your head iderful i gave inii temptation theres ii many ii do anything about iioluminescent iide my time imiibe iiickster iiibe that part always iiips me up iiisome wow that's kinda iiippy she iiills like a bird iiibute i could go for a iiim iiivia iv been very ivtunate that's univtunate your ivbears are beating their chests and sobbing we have move ivward enivce the law. evince you can't ivce me ii do that ------------------------------------- ve or so you >fess --------- tachytely concœde the point mucœum concœve decœve percœve decœve recœve recœpt, read recœpts on a sparing incœm please, have a cœt. cœdar a cœne by cœne breakdown Cœsar cœpia cœwater cœshells cœzure becœch sightcœing allcœing eye birdcœd you have my cœl of approval cnife i dont cnow talc accnowledge I have read that until the time of grammarian guru, Quintilian ( 1st century AD.) "c" and "k" were both used in Latin. However, Quintilian put it about that "k" was not to be used, only "c". Therefore, the Romance languages, descended from Latin, hardly ever use 'k". High German was not really developed until Luther's time and afterwards, when Greek was part of classical education. German academia having, broken away from the Roman church were reading old Christian documents in Greek, and perhaps decided that the more ancient "k" usage in their "newer" language gave it some cachet. ------------- remarqueue «dialogue example !» {} i don't care , Simple signs are: - comma , - dot . - suspension points ... Rule in French and English: no space before, one space after Double signs are: - semicolon ; - colon : - exclamation point ! - question mark ? - dashes - ... - Rule in French: One space before, one space after except for the semicolon where the space is optional. Rule in English: no space before, one space after Note: to avoid having a punctuation mark on the line, you can use the unbreakable space. It is formed in Word by the key combination [ctrl] + [shift] + [space bar]. ------------ Roberts, Martin. "‘A new stereophonic sound spectacular’: Shibuya-kei as transnational soundscape." Popular Music 32.1 (2013): 111-123. From this perspective, the popularity of Shibuya-kei among Euro-American youth can be seen as at least partially narcissistic, the familiar colonialist pleasure of recognising the selfrefracted in the mimicry of the other. Only on rare occasions has the equation been reversed, as in Hosono Haruomi’s extraordinary pastiches of Western orientalist musics in his persona as Harry ‘The Crown’ Hosono (Hosokawa 1999). really disagree ARCHONTIC LITERATURE: A DEFINITION, A HISTORY, AND SEVERAL THEORIES OF FAN FICTION, ABIGAIL DERECHO Attaining the Ninth Square: Cybertextuality, Gamification, and Institutional Memory on 4chan The intertextual “EFG shoots Pedobear” threads suggest that 4chan’s unique interface and culture necessitate discursive practices dependent on its synchronicity, anonymity, and ephemerality. These aspects compel and facilitate attempts to transcend the limitations of 4chan’s structure through original content (OC) and gamified narrative. Simultaneously, the Slowpoke-Geass instantiation attests to a return to orality as a mode of memory preservation in a transient digital environment without an archive. Taken together, these case studies illustrate the destabilizing ontological encounters typical to 4chan and the cybertextual practices required to productively engage with the site FROM 'AWE' TO 'AWWW' I contend that Precious Moments function as schema for “high” religious experience because of their low aesthetic value as religious kitsch. They are approachable and play between the nonrational existence one may have experienced in childhood and the rational decision to practice a life of faith as an adult. Precious Moments offer identification with experiences of creatureliness, smallness, in- the retro-futurism of cuteness nocence, and purity in the face of that which transcends the self, but do not assume to explain the transcendent. Carriger, Michelle Liu. "“Maiden's Armor”: Global Gothic Lolita Fashion Communities and Technologies of Girly Counteridentity." Theatre Survey 60.1 (2019): 122-146. In this article, I examine the rise, fall, and undead spread of gothic lolita, and what it might mean to think of gothic lolita’s backward-looking, over-the-top “Victorian” finery, now transmuted by a Japanese pop-cultural lens, as a type of subject formation—one that posits a culturally hybrid hyperfemininity as a vehicle for group identification, no matter the nationality, race, gender, or sexuality of the adherent. (123) First, how does gothic lolita function as a technology of the self, one that mutes typical markers of an individual’s demographic identity (such as gender, age, race, class, nationality) under a banner of anachronistic femininity? (124) worldwide spread, and simultaneous underground niche status (by no means is the fashion necessarily widely known even in Japan after twenty years) (125) The superficial distinctiveness of the “Victorian” silhouettes that gothic lolita fashions cribbed from dolls, children’s book illustrations, and fantasized European pasts now have picked up valences from their reinvention as Harajuku fashion. Indeed this emptiness is closely akin to overfullness, where now the look of the European doll comes across as unmistakably Japanese, an uncanny reincarnation of Victorian values in the persons of contemporary young Japanese women (and others) Here, though, gothic lolita girls adopt past modes associated with the oppression of women in order to declare their independence from contemporary regimes of heteronormative hegemony. (128) ...rather, gothic lolita spectacularity makes visible a web of competing and indeed often irreconcilable interpellative societal demands made upon young women (and others). (128) Perhaps because of its spectacularity, maybe due to its repetition of familiar storybook European aesthetics (with an exotic difference), gothic lolita traveled far beyond Japan, more quickly and more effectively than any other Harajuku subculture. (129) As Web communities have grown and evolved, English-speaking lolitas have congregated on LiveJournal, Tumblr, Facebook, and even 4chan and Reddit. (129) The youth and femininity of the shōjo could thus come to function as a space within the status quo that—when entered and barricaded like a fortress, rather than moved through as a liminal stage—constitutes a sort of refusal of society’s demands on the individual to submit to chrononormativity, to borrow Elizabeth Freeman’s provocative term. Nobuko Anan identifies just such a dynamic in her book, Contemporary Japanese Women’s Theatre and Visual Arts, delineating girls as those who “reject stereotypically defined female material bodies,” for example through recourse to “strategic reconceptualization of the notion of female ‘innocence’” to emblematize “nonconformity to the patriarchal, heteronormative social structure.” (131) Many gothic lolitas certainly refuse to fall into line with hegemonic societal expectations; they escape, like many shōjo, not into strident opposition, but into themselves and an imaginative world removed from time and space where they can, as Anan puts it, “move freely across geographical, cultural, and historical borders” (131) ... immediately followed by In this context, the “Victorian” or “rococo” of gothic lolita fantasy is less important for what it is than for what it isn’t: the contemporary landscape with attendant social and familial ties and obligations that face the young women (and others). “Normal things like getting married, having a child, having a household—that kind of future is something I can’t completely imagine. I want to forever remain otome [a maiden]. What I consider normal is different.” 27 This is, however, a “weak” resistance—a mode of building up a repeatedly breached barrier between the self and societal expectations, “an imaginative reconfiguration of what is given rather than an attempt to overthrow the oppressive social structure.” (131) The common denominator, however, seems to lie with a perceived essence, not any visual marker: a shared obsession with the girlish innocence attributed to shōjo or younger girls. Or, to reverse the formulation, as Vera Mackie points out, they both “share common roots in an anxiety about adult female sexuality.” (132) Jane Mai and An Nguyen used Momoko’s word “rotten” to name their book of gothic lolita essays and comics: So Pretty/Very Rotten. (133, looks good to read) In taking up gothic lolita as a form of self-fashioning, it can be instructive to look at the allied practice of cosplay: although gothic lolita traveled extensively overseas along with cosplay and other anime- and manga-related fan practices, most gothic lolita fashion adherents are adamant about drawing a boundary between cosplay and true gothic lolita fashion. Quite simply, cosplayers are dressing up as someone else—a character—whereas gothic lolitas are dressing as their true selves. (135) Indeed, we might use the coincidence of cosplay, fan cultures, and international lolita fashion to ask pointed questions about technologies of self-making in a context of transnational cultural and capital flows. After all, why wouldn’t dressing up as a fictional character constitute an act of identity formation any more or less than dressing to instantiate yourself performatively as a loner princess exiled from her era? Or just dressing up as a girl who loves ruffles and bows? The spectacularity of lolita looks also incites policing from the mainstream, where hegemonic norms for gender, race, and age selfpresentation undergird the hostile or disbelieving reactions many lolitas encounter (see Fig. 2). (136) Of course, there could be a limit to the coalition-building prowess of an eclectically gathered group of girls (broadly defined) who generally pride themselves on being self-centered loners and princesses. “Princesses,” after all, are hardly neutral political figures. Despite the dark pockets of the online community, gothic lolita constitutes an inversion of social hierarchy toward the feminine and an extension of the possibility of community formation under a frilly, feminine, youthful, anachronistic banner by obscuring, literally covering over, other identitarian aspects such as nation, masculinity, age, and temporal era. (138) The persistence of societal inequities, bad feelings and behaviors within the gothic lolita subcultural heterotopia, available only to those who can pay the Internet bill and/or the dressmaker, emphasizes that this is not a heroic resistance narrative, wherein girly ruffles cover over human difference, resulting in world peace; rather it is potentially a more modest, or maybe brash, notion that subcultural affinities, characterized by obsessive study and creation, and deep affect, might point toward methods of thinking past essentialism. [paragraph] Gothic lolita may offer a grassroots transcultural understanding project, one that, if we choose to take it seriously, may also offer a series of clues about individual reckonings with national and transnational legacies of colonialism and “The Past” writ large in everyday life(139) That is, Meiji elites undertook the same painstaking processes of study and adoption as non-Japanese gothic lolitas do today. They went through their own “ita” phases, according to foreign observers, but also sometimes amazed with the brilliance of their adaptations. It is precisely the high Victorian fashions that were being adopted into Japan then that are name-checked now in gothic lolita anachronistic references, no matter that the actual details and silhouettes of gothic lolita fashions are not particularly precise replications of historical Victorian garments (139) We could potentially read gothic lolita with Ho’s treatment of neo-Victorian novels from postcolonial nations as emphasizing “a present still haunted and seduced by colonial structures or privilege”—a replaying, perhaps, of the Meiji Restoration. Or we might read it, as we have become accustomed in performance studies, as a surrogation that entails a repetition with a difference: What if we read gothic lolita as indexing the unfinished nature of the Meiji Restoration? What if we saw an ongoing feminist struggle for Japanese girls and women to find an inhabitable time and place—one which, ironically, is simultaneously read as oppressive and “infantilizing” of women? What if it were both at once—working unevenly, playing out the aftershocks of histories in individual bodies with unpredictable results? (142) Gothic lolita’s successful reexportation of European history back to Europe and most of its former colonies—those most successful in the project of global neoliberal capitalism—suggests to me something further about how tides shift, how the unfinished revolutions of the past continue to haunt, with both fear and desire, pain and sweetness, the dreams of both colonized and colonizers, and those who are both at once. (142) Although we may concede that doubling down on modesty, girliness, spectacle, and anachronism is a weak resistance, gothic lolita’s excessive fashions congeal and materialize the excess of feeling, particularly feminine feeling, desire, and darkness, unattended to and uncontained by rational modernity and patriarchy. (143) Stimpfl, Joseph. "Growing up Malay in Singapore." Race, ethnicity, and the state in Malaysia and Singapore. Brill, 2006. 61-93. When government and governing were turned over to Singaporeans, they superseded the extensive cultural differentiation of the population into many ethnic groups by ascribing an overarching ethnic designation (Chinese, Malay, Indian, Other) to each citizen. They also decided to adopt and adapt the Western cultural model to co-opt indigenous cultural forms into a new national identity. The strategy was to avoid the creation of many “ethnic groups” from the numerous cultural groups in Singapore, and include all citizens into a collective identity that would avoid sectarianism. Although this new “national model” was dominated by Chinese culture, it was still strongly influenced by Western mass culture. Introduction of mass culture into Singapore was to help create an over-arching coordinating and controlling institutionalized state culture that would solve the problems of ethnic factionalism due to the realization and establishment of cultural boundaries. The state conceded a form of ethnicity while at the same time attempting to supersede such fragmentation with an integrating and controlling “national culture.” National identity was constructed to avoid ethnic communalism. The aim was to make industrial modernity the metanarrative of national identity (Wee, 2003: 147). (67) The government in Singapore has attempted to mitigate the dangers of ethnic boundaries by sponsoring the second or national identity that eschews ethnic culture in favour of “being modern”. This hybrid was to incorporate the “desirable” elements of home culture in the context of Western “mass-culture”. (69) Government policies and practices directed at establishing a “national identity” inevitably result in activities dominated by the Chinese majority’s behavioural norms. Malays in Singapore perceive, whether calculated or not, that the Singapore government designs programmes in an attempt to expurgate Malay behaviour from national culture and replace it with Chinese culture in Malay trappings (69) Malay culture emphasizes social obligation, most dramatically in the form of participation in formal occasions such as marriage sand religious activities, particularly during religious holidays. It is not uncommon for a Malay to explain this obligation with the phrase balik kampong, which can be translated as “I need to return to my village” (72) The majority of Malays in Singapore have been dispersed and resettled in public housing estates in which there are government prescribed limits on the percentage of Malays in a given building (HDB block)... Resettlement to national housing is government controlled, and the location of Malays has been random, with no attempt at maintaining the integrity of former residence groups. Malays are widely dispersed in public housing dominated by Chinese and an ever-present and overwhelming (to Malays) Chinese culture. (72) For example, many Malays kept cats as pets in the kampung although cats are not allowed in HDB flats. Although the hygienic reasons are very logical, Malays know that many Chinese consider cats “dirty animals”. Dogs, common pets in Chinese homes, are considered “unclean” (kotor) by most Malays, but are allowed as pets in HDB flats. (75) grab top of 76 https://dfarley.com/uploads/3/5/8/1/35811128/westways_vietcajun.pdf VIETAMESE CAJUN RESTAURANTS IN THE OC blue coral - vietnamese cuisine The Kickin' Crab (TCK) was founded in 2010 by experienced restaurateur Jan Nguyen, who founded several other successful restaurant concepts... Hot N Juicy Crawfish -- Originally from Dallas, TX, both Laina Vo and Tim Nguyen are the founders The Boiling Crab - Dada Ngo and her husband Sinh Nguyen, opened up the first restaurant in Garden Grove, California in 2004 The Boiling Crab serves Vietnamese-Cajun food, a twist on classic Cajun cooking with Vietnamese standards. Instead of a simple crawfish boil, seafood is cooked in broth full of staples like lemongrass, fish sauce and garlic. the Wharf- Cajun Fusion Seafood & Bar owners Dennis Nguyen & Tanya Tra Asian Cajun Fusion Restaurant & Bar Making #cajunseafood fusion #lagunabeach. 12PM-9PM DAILY 12PM-1AM FRI&SAT CAJUN-VIETNAMESE FUSION, SEAFOOD AND MORE: on 100incagency weird baseball team esque logo VIETNAMESE FRENCH-INFLUENCED RESTAURANTS IN THE OC Brodard Favori, since 1987 FRENCH RESTAURANTS IN THE OC Marché Moderne - Florent and Amelia Marneau, NEWPORT bouillon MOULIN - Owner Laurent Vrignaud, has modeled MB on the brasserie-style eateries popular in Paris in the late 1800s. NEWPORT Pescadou Bistro - olga Dequillen · Owner. PREV OWNER, SINCE 1998 OPENING Petrossian at Tiffany shibuya kei elegant gothic lolita -- roccoco acadiana mimi's cafe "Spinach and Artichoke dip became prominent in the 50s when eating in front of the TV became more common. These became widespread as they do not require any utensils. Consumer Packaged Goods companies like Lays, Hellman's and Lipton's helped push this trend.[11]" Arthur J. Simms (who headed the commissary at MGM Studios in the 1950s), his son Thomas Simms, Brian Taylor, and Paul Kurz opened the first Mimi's Cafe in December 1978 in Anaheim, California. Mimi's Bistro + Bakery is a wholly owned subsidiary of LeDuff America and was founded as Mimi's Cafe by American airman Arthur Simms, who was stationed in France during World War II. https://en.wikipedia.org/wiki/Holy_trinity_(cooking) binds acadiana and christianity Pen Argyl, PENNSYLVANIA heavenly was released in spanish on elefant, which also released mla and the pancakes etc. snoopy craze in HK 1998 11 sept-8 oct "possible involvement by organized gangs in speculation" A and B roll (digital video tapes). The A roll refers to central footage used in the storyboard. The B roll usually refers to shots such as the backdrop, secondary angles of the takes, or even shots of the shooting itself for use in productions like those found in “the making of” films (2004) desk between beams labelled PNL 2LM CIR 17, 19, 21, 23 AND PNL 2LM CIR 2, 4, 6, 8 --------------------------------- tulsa ok bien -> ben fahv -> five canola OL wetumpka, al Dayton Ohio. Hahh? Baltimore Maryland. Hahh? Detroit, Michigan. Hahh? WILLLIAMSBURG, VA r as arruh Anniston, AL r as arruh sylacauga, AL do what now? CHICKASAW, AL do what now? PRATTVILLE, AL Do what? Bessemer, AL Do what? Hamilton, OH Do what? Tulsa, OK Do what? RI yas so high and sharp it sounds like a cutoff yap yiaow? yao? yow? for yes or okay menthowaul for menthol menth /u/ aw ll off as oh->uh->f = owuff OLYMPIA, WA i haven't heard boo or seen it. Brighton, Alabama Nothing on here for 2.50 is it? What that is? Want to give me what? bell as bail Transcultural Flow of Demure Aesthetics: Examining Cultural Globalisation through Gothic & Lolita Fashion The ‘product’ of this transcultural flow reflects the emphasis on the fusion of elaborated sweetness and cuteness, a quality unknown in Western Goth subculture. However, this may support the commonly held notion of cultural globalisation as localisation and subsequent homogenisation of Western culture. This point is summarised in anthropologist Jonathan Friedman’s claim in relation to similarities between cultural globalisation and European colonialism in the eighteenth century. Friedman contends that ‘the things and symbols of Western culture have diffused into the daily lives of many of the world’s people…yet still their mode of appropriating these things is vastly different from our own’.32 In this idea, the differences between ‘global’ (our) and ‘local’ (their) cultures, and possibly their hierarchal relationships (i.e. global/ dominant, local/ subservient) are sustained even after ‘global’ cultural forms are localised. What theorists like Friedman tend to disregard, however, is ‘countercurrents - the impact nonwestern cultures have been making on the West’.33 Those who affirm the direct correlation between cultural globalisation and Westernisation do so by assuming the sole dominance of Western culture, and hence assuming the centrality of Western culture against peripheral non-Western cultures. This idea is challenged by Appadurai who argues that neither the centrality nor the peripherality of culture exist any longer. Moreover, the idea of the countercurrent or ‘reverse’ flow of culture indicates the potential of cultural forms to circulate in multiple directions. . Consequently, this suggests the potential of various cultures to become active components of cultural globalisation White argues that there is a tendency in the United States to encourage even small girls in elementary school to dress in mature, sexualised clothes. In Japan, in comparison, high school and college-aged girls, and even young women and men are allowed to associate with cute styles without much social objection.34 Merskin’s concern over the American trend where women ‘dress down’ to achieve a baby-doll look also indicates that in the United States the concept of ‘cuteness’ should only be applied to small children. Moreover, Wilkins cites Sarah Thornton who argues that participants in youth culture denounce femininity as passive, undesirable, and unhip. (28-29) It is easy to denounce GothLoli as mere mimicry of Western fashion. However, its hybridised qualities in which European classic fashion styles interact with Japanese aesthetic concepts, and its subsequent countercurrents in the West, demonstrate that non-Western culture also influences Western culture (30) "metamorphose temps de fille," a famous Japanese Lolita brand known for its elaborate frills and ‘Sweet Lolita’ style (32) In other words, even if individuals adopt a transnational cultural form, this does not necessarily mean that their lives are completely infiltrated and standardised by the culture where the transnational cultural form originated.45 The experiences of harassment indicate that the participants are reminded constantly that such fashion styles are not favoured where they live. Thus, their lives are inseparable from their local cultures. (33) I’ve had to answer time and again, “Why do you want to be infantilized/dis-empowered/victimized?” and the answer is of course, that I don’t. I want to wear lace trimmed knee length skirts and puffy sleeves and hair ribbons. “shrug” It is fun and makes me feel pretty. (34) The sender (the Japanese fashion trend) itself has emerged from the hybridisation of European fashion and a Japanese aesthetic, and thus, is likely to be multicultural. In this sense, it can be argued that for Western participants, GothLoli seems to represent difference from as well as affirmation of their own cultures. (36) As GothLoli is a clear fusion of Western and non-Western cultures, as a historical European dress style which is hybridised with a Japanese aesthetical concept of cute, it has formed a style that is neither European nor Japanese, but at the same time both European and Japanese. (38) The process [of syncretism] is initially impicit and unmarked, and where different teachings are not necessarily seen as alien or antithetical (as in most of South, East, and Southeast Asia) it did not require an explicit theological explanation. The need for such a "new doctrine" emerged as part of the "conversion to modernity," which also involved the separation and codification of the teachings of great Asian sages into specific "isms." Genèse et structure du champ religieux -- MUST READ by bourdieu Handbook of Hyper-real Religions reaction When I'm doin somethin let me do it. I dont need no help." https://en.wikipedia.org/wiki/Modern_girl c.f., hipster in canto and here thru line, the HIPSTER concept https://popula.com/2019/01/10/in-defense-of-wenqing-%E6%96%87%E9%9D%92/#:~:text=The%20popular%20dictionary%20app%20Pleco,against%20its%20rom%2Dcom%20style don the beachcomber hb, pch connects to martin denny As attention in the rest of the U.S. began to turn to Hawaii as it neared its induction as the 50th state in 1959, Liberty brought Denny back into the studio to re-record "Exotica" in stereo. This time, the record found a receptive audience and became a huge favorite among "sophisticated" listeners. "Quiet Village" was released as a single and reached #4 on the Billboard Top 40 pop chart. Denny's final public performance, for a tsunami fundraiser at the Hawaii School for Girls, came less than three weeks before his death. Digimon is a shounen series, but at the time Adventure through Frontier originally aired, they aired on the same day as magical girl anime Ojamajo Doremi, so there were a lot of girls (and boys!) who would watch both.