Yuru Yuri♪♪ and... not much else by the looks of the list [Summer anime]

[weekender]

[weekender]

HAHA TOP OF PAGE 2 FUCK YOU

[weekender]

[weekender]

[weekender]

[Pedro_Bear]

[weekender]

[weekender]

[Pedro_Bear]

[Still Not George]

'ender. Are you TRYING to get the Old Doctor Who thread invaded, you twunt?

[weekender]

[Pedro_Bear]

[weekender]

^

Nah, just having a laugh.

[Pedro_Bear]

[weekender]

[Pedro_Bear]

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Genuinely like you Pedro, that was fun, cheers.

[Pedro_Bear]

[rudi]

[madhair60]

[Dead kate moss]

Lolicon
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Lolicon art often blends childlike characteristics with erotic undertones.
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Lolicon (ロリコン?), also romanised as lolikon or rorikon,[1] is a Japanese portmanteau of the phrase "Lolita complex". In Japan, the term describes an attraction to underage girls (whether prepubescent, pubescent, or post-pubescent)[2][3] or an individual with such an attraction.[4][5] It is also commonly used when referring to lolicon manga or lolicon anime, a genre of manga and anime wherein childlike female characters are often depicted in an erotic manner, in an art style reminiscent of the shōjo manga (girls' comics) style. Outside Japan, "lolicon" is in less common usage and usually refers to the genre.

The phrase is a reference to Vladimir Nabokov's book Lolita, in which a middle-aged man becomes sexually obsessed with a twelve-year-old girl. It was first used in Japan in the 1970s and quickly became used to describe erotic dojinshi (amateur comics) portrayals of young girls.

Laws have been enacted in various countries, including in Japan, which regulate explicit content featuring children or child-like characters. Parent and citizens groups in Japan have organized to work toward stronger controls and stricter laws governing lolicon manga and other similar media. Critics say that the lolicon genre contributes to actual sexual abuse of children, while others say that there is no evidence for this claim. Studies of lolicon fans state that lolicon fans are attracted to an aesthetic of cuteness rather than the age of the characters,[6] and that collecting lolicon represents a disconnect from society.[7][8][9]

Definition

Generally, lolicon manga and anime portray sexual attraction to younger girls or to girls with youthful characteristics. Three kinds of sexual attraction to young people have been identified in adults: pedophilia, preference for prepubescent girls or boys; hebephilia, preference for early pubescent girls or boys (generally 11–14 years old); and ephebophilia, preference for mid-to-late adolescents (generally 15–19 years old).[10][11] Individuals in each group respond sexually to visual images of children and young people in distinct and narrow age ranges.[12] Lolicon manga and anime contain images and narratives involving romantic and erotic interactions between typically an adult man or woman and a girl in the age range desired by such men or women.[3]

Strictly speaking, Lolita complex in Japanese refers to the paraphilia itself, but the abbreviation lolicon can also refer to an individual who has the paraphilia.[4] Lolicon is a widespread[dubious – discuss] phenomenon in Japan, where it is a frequent subject of scholarly articles and criticism.[13] Many general bookstores and newsstands openly offer illustrated lolicon material, but there has also been police action against lolicon manga.[13]

The kawaii (cute) style is extremely popular in Japan, where it is present in many of the manga/anime styles.[14] The school-age girl in a school uniform is also an erotic symbol in Japan.[15] Burusera shops cater to men with lolicon complexes by selling unwashed panties, men can make dates with teenagers through terekura (telephone clubs),[16] and some schoolgirls moonlight as prostitutes.[17] Sharon Kinsella observed an increase in unsubstantiated accounts of schoolgirl prostitution in the media in the late 1990s, and speculated that these unproven reports developed in counterpoint to the increased reporting on comfort women. She speculated that, "It may be that the image of happy girls selling themselves voluntarily cancels out the other guilty image".[18]
[edit] Genre characteristics and meaning outside Japan

Lolicon manga are usually short stories, published as dōjinshi (fan works) or in magazines specializing in the genre such as Lemon People,[19] Manga Burikko[20][21] and Comic LO (where "LO" is an abbreviation for "Lolita Only").[22] Common focuses of these stories include taboo relationships, such as between a teacher and student or brother and sister, while others feature sexual experimentation between children. Some lolicon manga cross over with other hentai genres, such as crossdressing and futanari.[13] Plot devices are often used to explain the young appearance for many of the characters.[23] Schoolgirls accidentally showing their underwear are common characters in the lolicon genre.[2]

Akira Akagi believes that during the 1980s, the lolicon genre changed from being tales of a young girl having sex with an older man to being about "girl-ness" and "cuteness".[19] Akagi identifies subgenres within lolicon of sadomasochism, "groping objects" (tentacles and robots replacing the role of the penis), "mecha fetishes" (a combination of a machine, usually a weapon, and a girl), parodies of mainstream anime and manga, and "simply indecent or perverted stuff". Additionally, lolicon can include themes of lesbianism and masturbation.[6]

Men began reading shōjo manga in the 1970s, including the works of the Year 24 Group and the "girly" works of Mutsu A-ko.[19] According to Dinah Zank, lolicon is "rooted in the glorification of girls culture in Japan", and therefore uses shōjo manga vocabulary.[24] The lolicon style borrows from shōjo manga designs and has also been influenced by women creating pornographic materials for men.[25]

According to Michael Darling, female manga artists who draw lolicon material include Chiho Aoshima (The red-eyed tribe billboard),[26] Aya Takano (Universe Dream wall painting).[27] Kaworu Watashiya created Kodomo no Jikan, interpreted as a lolicon work by Jason DeAngelis.[28] According to Darling, male artists include Henmaru Machino (untitled, aka Green Caterpillar's Girl), Hitoshi Tomizawa (Alien 9, Milk Closet), and Bome (sculptures).[2] Weekly Dearest My Brother is a manga and figurine series which according to Takashi Murakami, women find cute and "an innocent fantasy", but arouse "pedophiliac desires" among men.[29]

The meaning of lolicon has evolved much in the Western world, as have words like anime, otaku and hentai.[30] "Lolicon" is also used to refer directly to the products, anime or manga that contains explicitly sexual or erotic portrayals of prepubescent girls. However, there is disagreement if this definition also applies to child-like characters who are not clearly prepubescent and if it applies to material lacking explicit sexual content.[18][30][31]
[edit] History
[edit] Origin

The phrase is a reference to Vladimir Nabokov's book Lolita, in which a middle-age man becomes sexually obsessed with a twelve-year-old girl.[32] The term "Lolita complex" was first used in the early 1970s with the translation of Russell Trainer's The Lolita Complex and may have entered Japanese nomenclature at that time.[23] Shinji Wada used the word in his Stumbling upon a Cabbage Field (キャベツ畑でつまずいて, Kyabetsu-batake de Tsumazuite?), an Alice in Wonderland manga parody in 1974.[33] The shortening of the term to "lolicon" came later.[23] Early lolicon idols were Clarisse from Lupin III: Castle of Cagliostro (1979) and the shōjo heroine Minky Momo, (1982) as female characters in shōnen series at that point were largely mothers or older-sister characters.[23][34] Although Clarisse was depicted as 16, older than most "lolicon" images today, she inspired "fairytale-esque" or "girly" fanworks. Galbraith asserts that Minky Momo was an attempt to court lolicon fans. This is denied by Satō Toshihiko, who planned the original Minky Momo.[19]
[edit] 1980s

The lolicon manga genre began in the 1980s with Hideo Azuma's works, such as The Machine Which Came from the Sea (海から来た機械, Umi kara Kita Kikai?).[citation needed] In 1979, Azuma had previously published the first "blatantly lolicon" manga in his own self-published dōjinishi magazine Cybele.[23][35] Azuma's works became popular among schoolboy readers because most of the pornographic manga up until then had featured mature women influenced by gekiga.[citation needed] Other dōjinshi magazines began featuring "underage or barely pubescent virgins" in erotic contexts and by the late 1980s this "fantasy genre" had spread to some mass market magazines.[36] Frederik L. Schodt and Dinah Zank both suggest that Japanese laws prohibiting the depiction of pubic hair may have encouraged the spread of "erotic manga with a rorikon flavor."[15][24] Throughout the 1980s, notable lolicon manga artists who published in these magazines include Miki Hayasaka, Kamui Fujiwara, Kyoko Okazaki, Narumi Kakinouchi, and Yoshiki Takaya peaking in the mid 1980s.[23][37]

Frederik L. Schodt has suggested that one reason lolicon manga is popular with some fans is because the female characters portrayed are "younger, slightly softer, [and] rarely possessing an in-your-face aggressive feminism" which is often found in female characters in American comics.[38]

Public attention was brought to bear on lolicon when Tsutomu Miyazaki kidnapped and murdered four girls between the ages of 4 and 7 in 1988 and 1989, committing acts of necrophilia with their corpses.[39] He was found to be a "withdrawn and obsessive" otaku and in particular he enjoyed lolicon. The Tokyo High Court ruled Miyazaki sane, stating that "the murders were premeditated and stemmed from Miyazaki's sexual fantasies"[40] and he was executed by hanging for his crimes on June 17, 2008.[41]

The case caused a moral panic about "harmful manga", and "sparked a crackdown by local authorities on retailers and publishers, including the larger companies, and the arrests of dojinshi creators".[36] In the aftermath, the Japanese non-profit organization CASPAR was founded with the goal of campaigning for regulation of lolicon.[23][42]
[edit] 1990s
Wiki letter w.svg    This section is empty. You can help by adding to it. (March 2011)
[edit] 2000s
[icon]    This section requires expansion. (March 2011)

Public sentiment against sexual cartoon depictions of minors was revived in 2005 when a convicted sex offender, who was arrested for the murder of a seven-year-old girl in Nara, was suspected as a lolicon.[42] Despite media speculation, it was found that the murderer, Kaoru Kobayashi, seldom had interest in manga, games or dolls.[43] He claimed, however, that he had become interested in small girls after watching an animated pornographic video as a high school student.[44] He was sentenced to death by hanging.
[edit] 2010s - present

In February 2010, a proposal to amend the Tokyo law on what material could be sold to minors included a ban on sexualised depictions of "nonexistent youths" under the age of 18.[45][46] This proposal was criticised by many manga artists,[47] and opposed by the Democratic Party of Japan.[48] The bill was put on hold until June of that year,[49][50] where after some amendments, including changing the text for "nonexistent youths" to "depicted youths".[51][52] However, in spite of the changes, the bill was rejected by the Tokyo Metropolitan Assembly in June.[53]

A revised edition was presented in November that year to the Tokyo Metropolitan Assembly,[54] which would require self-regulation of "'manga, anime and other images'...that 'unjustifiably glorify or emphasize' certain sexual or pseudo sexual acts...depictions of 'sexual or pseudo sexual acts that would be illegal in real life'". However, the bill no longer uses the term "nonexistent youth" and applies to all characters and to material that is not necessarily meant to be sexually stimulating.[55] It was approved in December and will take full effect in July 2011,[56][57][58][59] however, the bill does not regulate mobile sites or downloaded content and is only intended for publications such as books and DVDs.[60] On April 14, 2011, the title Oku-sama wa Shōgakusei (My Wife Is an Elementary Student) was listed as a title to be considered for restriction due to "child rape".[61] It was later published online by J-Comi.[62] On August 25, 2011, Japan's Liberal Democratic Party submitted a petition requesting stricter laws on child pornography, which included animated child pornography.[63][64]
[edit] Controversy
See also: Legal status of cartoon pornography depicting minors

The legal status of lolicon manga and anime that portray children involved erotically with adults has changed with time and is currently under intensive debate in Japan.[13][65] A Japanese non-profit organization called CASPAR has claimed that lolicon and other anime magazines and games encourage sex crimes.[42] According to Galbraith, Yasushi Takatsuki has noted that sexual abuse of minors in Japan has declined since the 1960s and 70s, which "roughly coincides with the increasing presence of fictional lolicon". Galbraith feels that this is not an argument that lolicon "compensates for or relieves real desires", but instead that lolicon imagery does not "reflect the desires" of readers, or inspire them to commit crimes.[19] It has been suggested that restricting sexual expression in drawings or animated games and videos might actually increase the rate of sexual crime by eliminating a harmless outlet for desires that could motivate crime.[66][need quotation to verify]

Cultural critic Hiroki Azuma said that very few readers of lolicon manga commit crimes. He states that in the otaku culture, lolicon is the "most convenient [form of rebellion]" against society. Azuma says that some otaku feel so "excluded from society" that they "feel as if they are the sort of 'no good' person who should be attracted to little girls".[18] Sarah Goode describes the accumulation of lolicon materials as being "a medium through which disaffected men may choose to express their sense of anomie and disconnection with society". When questioning the relationship of lolicon to "finding children in real life sexually attractive", Goode presents the argument of a lolicon fan "that even if I could be classified as a kind of anime lolicon, it'd NEVER translate into RL pedophilia. This is predicated on the belief that the anime lolis I like DO NOT EXIST in RL."[9]

Setsu Shigematsu believes that lolicon manga should not be equated to photographic or adult video lolicon materials which involve real children; instead she argues that lolicon represents an artificial sexuality, turning away from "three dimensional reality" and redirecting sexual energies towards "two dimensional figures of desire".[8] Akira Akagi writes that in lolicon manga, the girl represents cuteness, and that it is not her age which makes her attractive,[6] and furthermore, that lolicon fans project themselves onto lolicon characters, identifying themselves with the girl.[19]

Lolicon manga has been and is marketed to both boys and men.[25] Sharon Kinsella wrote that lolicon manga was a late-1980s outgrowth of girls' manga,[32] which included yaoi and parodies of boys' and adult manga.[67] This occurred as more men attended amateur manga conventions and as new boys' amateur manga genres appeared at Comiket. Kinsella distinguished between the attitudes toward gender of amateur lolicon manga and that of male fans of girls' manga.[32] While parody manga created by women ridicule male stereotypes and appeal to both male and female fans, lolicon manga "usually features a girl heroine with large eyes and a body that is both voluptuous and child-like, scantily clad in an outfit that approximates a cross between a 1970s bikini and a space-age suit of armour"[32] This latter feature expresses both fear of and desire for young women, who have become increasingly powerful in Japanese society.[68][not in citation given] Kinsella noted dominant British and American genres and imports of animation video in the 1990s derived from lolicon manga, suggesting women, and therefore also men, in all of these countries have gone through similar social and cultural experiences.[69]

Ito characterises otaku as having more affection towards the anime and manga world than for a realistic world, saying that to the otaku, the two-dimensional world portrayed becomes "more real". Ito views the preference for young girls as sex objects in manga and anime to be due to a change in Japanese society in the 1970s and 1980s. Ito says that at that time, boys felt that girls were "surpassing them in terms of willpower and action". However, as the boys believed girls to be the weaker sex, the boys began focussing on young girls "who were 'easy to control'". Additionally, the young girls of lolicon exist in the media, which Ito points out is a place where one can control things however they want.[7]
[edit] Critical responses to lolicon manga and anime

Responding to the portrayal of Clarisse from Lupin III: Castle of Cagliostro, Hayao Miyazaki criticized the lolicon artists and fans who idolize her in what he considers a demeaning manner. He differentiates his female protagonists, labeling those the aforementioned idolize, according to The Otaku Encyclopedia, "as pets".[23] Later, he would go on to say,

    "It's difficult. [My female protagonists] immediately become the subjects of rorikon gokko (play toy for Lolita Complex males). In a sense, if we want to depict someone who is affirmative to us, we have no choice but to make them as lovely as possible. But now, there are too many people who shamelessly depict [such protagonists] as if they just want [such girls] as pets, and things are escalating more and more."
    —Hayao Miyazaki, 1988 interview with Animage[70]

He expressed concern as to what this might mean for "human rights for women."[70]
[edit] See also
Portal icon    Anime and manga portal

    * Lolita (term)
    * Pedophilia

Japanese Culture

    * Junior idol[71] - child or early teenager pursuing a career as a photographic model
    * Moe - a similar aesthetic but less sexual in nature[citation needed]
    * Lolita fashion - thought to have begun as a protest against lolicon,[24] where the term "Lolita" has been reclaimed as a positive and feministic image.
    * Shotacon - Male equivalent of lolicon, focusing on young boys.[72]
    * Schoolgirl uniform fetishism

[edit] Legal aspects

    * Child pornography
    * Cartoon pornography
    * Legal status of Internet pornography
    * Legal status of cartoon pornography depicting minors
    * Pornography in Japan
    * Reporting of child pornography images on Wikimedia Commons - On April 7, 2010, Larry Sanger sent a letter to the FBI, United States Senators, and Representatives[73][74] saying that Wikimedia Commons hosted child pornography in the lolicon and pedophilia categories.[73]
    * Simulated child pornography

[Dead kate moss]

ロリータ・コンプレックス
出典: フリー百科事典『ウィキペディア（Wikipedia）』
移動： 案内, 検索
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アリス・デーなどで少女愛運動の象徴とされるアリス・リデル（不思議の国のアリスのモデル）


ロリータ・コンプレックス (英語: Lolicon) とは、幼女・少女への性的嗜好や恋愛感情のこと。略して「ロリコン」とも称される。俗称。語源は、中年の男性が年の離れた少女を愛するウラジーミル・ナボコフの小説『ロリータ (Lolita)』に由来する。また、ロリコンと略す場合は、幼女・少女への性的嗜好や恋愛感情を持つ者のことも指すことがある。
目次
[非表示]

    * 1 概説
    * 2 ロリコン・ブーム
    * 3 ロリコンと社会
          o 3.1 日本国外における扱い
          o 3.2 日本における扱い
    * 4 脚注
    * 5 参考文献
    * 6 関連書籍
    * 7 関連項目
          o 7.1 性愛
          o 7.2 文化
          o 7.3 その他
    * 8 外部リンク

概説 [編集]

ロリータ・コンプレックスはエフェボフィリアや性的倒錯など医学や精神分析的な分析とは意味合いが異なる。

日本でロリータ・コンプレックスという言葉がいつどのようなきっかけで使われるようになったか、明確には判明していない。言葉自体は1969年に出版された『ロリータ・コンプレックス』（ラッセル・トレーナー）の邦訳が日本での初出とされているが、それは「少女が中年男性に関心を抱く」という意味で用いられているものであり、ここで説明している概念とは正反対のものである。1974年に和田慎二が『キャベツ畑でつまずいて』のなかでロリータ・コンプレックスという言葉をすでに用いており、これが初出とは判明していないが、ここで説明している概念を表すものとしては初期の用例とされている[1]。また1972年に澁澤龍彦は『少女コレクション序説』でロリコン現象を少女視点ではなく男性視点で捉えるべきではという意見を述べていて、これを現在の用法の発祥とする見解もある[1]。

「ロリコン」という略称の発祥もはっきりしてなく、おそらくはマザコン同様の過程で作られた略称であることと、1970年代後半頃から用いられ始め、1980年頃から急速に広まったということが判明しているのみである。一説には、アンダーグラウンドなロリコン雑誌で用いられたことを発祥元とする見解もあるが、定かでない[1]。欧米で言うロリータ・シンドロームとは別の概念であり、以前は主に日本で使われ、英語圏ではあまり使われていなかったが、近年は日本語でのrorikonを英語化した「lolicon」の語で海外でも使われるようになってきている。

ロリコンは俗称であり明確な定義はなされていないが、一般に侮蔑語、差別語として使用されている傾向がある[2]。また実年齢による定義もないため、身体的に成熟しているかは主観的な判断をともない、ロリコンの対象と見なされる年齢は、新生児から成人以上にまで及ぶ可能性がある。例えば、日本ユニセフ協会は、インターネット・ホットラインセンターに寄せられた児童ポルノ関連の通報は「現行法の定義では『児童ポルノ』とされないものがその殆どと伺っております。」と報告している[3]。

近年では、成人男性が未成年を性の対象とする傾向の総称として呼ばれている。
ロリコン・ブーム [編集]
ロリコンの対象となる幼女（少女）キャラクター

1970年代に少しずつ現れた少女ヌード写真集が一般書店の店頭に並べられ、1979年の『プティ・フェ』（石川洋司）や『Little Pretenders』（山木隆夫）のような話題作が発表されるようになる。

こうして1980年頃から幼少女への性愛を扱った表現が人気を集め、ロリコンという言葉は急速に一般化した。日活が「にっかつロマンポルノ」作品として1983年に『ロリコンハウス　おしめりジュンコ』（青木琴美主演）を製作したことがある。漫画では内山亜紀の『ロリコン・ラブ』、あるいは吾妻ひでおが関わっていたことでも知られるロリコン系同人誌「シベール」の発行もこの頃である[4]。吾妻ひでおは内山亜紀と並んでしばしばロリコン漫画の旗手として称され、大塚英志もロリコン漫画の「テンプレート」をつくりあげた彼の功績を強調している[5]。

この1980年頃から1984年頃までは「ロリコン・ブーム」と呼ばれ、多くの写真集・雑誌・特集本などが出版された。少女愛をおおぴらにすることはそれまでタブーとされていたが、このロリコン・ブームによってそれが「解禁」された。吾妻や米澤嘉博は漫画ファンの間ではロリコンという言葉がたびたび用いられていたと証言している[6]。劇画が主流となり可愛らしい少女キャラクターやラブコメにページが割かれることの少なかった時代にあって、ロリコンというテーマのもとでかつての正統的な少年漫画が「復権」した、と米澤はいう[6][7]。その一方で、それまで半ばタブー視されていたロリコンという言葉（あるいは概念）が表舞台に登場し、「金バッジのように」堂々と自分がロリコンであると宣言する人間まで現れるようになった[6]。ロリコンという概念が、今日でいう「萌え」に非常に近い、少女を精神的に愛しむ感覚のことを指していたのである[8]。例えば「アニメージュ」1982年4月号の付録は「ロリコン・トランプ」だった。ナボコフやキャロルといった文学を引き合いに出すことも可能なロリコンという言葉は、ある意味で「トレンディ」なものだったのである[9]。また、米澤によればこの言葉がアニメファンの間で流行したのは、宮崎駿監督作品「カリオストロの城」のヒロインであるクラリスの人気が非常に高まったことによるものであり[10]、具体的には1980年に発行されたファンジン（同人誌）「クラリス・マガジン」がその発端であるという説もある[10]。

日本で最初のロリコン漫画雑誌は1981年12月創刊の「レモンピープル」（あまとりあ社）だとされている[11]。当時の主力作家はやはり内山亜紀と吾妻ひでおであった。米澤が注目するのは同誌の1982年8月号である。この号では、読者による誌上討論という形で「ロリコンにエロは必要か」というテーマの是非が争われていたのだ。ただし、ここでの「エロ」とはそれまで主流であった劇画調のエロティシズム描写のことである[12]。大塚英志はロリコン漫画とエロ劇画との最大の違いを「犯す主体」の喪失だとしている[13]。

『レモンピープル』とともにそのようなロリコン誌として知られた『漫画ブリッコ』が1983年、それまで毎号掲載してきた少女ヌードの写真グラビアを読者からの不評によって廃止した。さらにはリアルな写実劇画からも決別して、より記号的な漫画をメインとする創作誌となっている。

漫画やアニメの幼女・少女キャラクターを自由に物語化して表現することも同人誌活動の間で普及していく。こうした現象は評論家の注目をひき、1983年、中森明夫は後に有名になる『おたくの研究』（『漫画ブリッコ』掲載）において、おたくを本質的にロリコンと評し、そのなかでも生身のアイドル少女に執着するものと、漫画やアニメの創作キャラクターなどに執着するグループに分けている。
ロリコンと社会 [編集]
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第一次性徴期・第二次性徴期早期の幼女・少女への性的嗜好は概ね小児性愛という異常性愛として考えられている。対して性的に成熟した第二次性徴期後期以降の女性への性愛は概ね、精神医学では性嗜好障害とされていない。むしろ（異性愛者の）男性が性的に成熟した女性の中から若い個体をセックスの相手として好むことは普遍的傾向である（女性の卵子は生後新たに作られないため、年齢とともに卵子が老化し、妊娠しにくくなっていくことが原因と考えられている。35歳を過ぎると妊娠率の低下が顕著になり、不妊に悩む女性が増える[14]） 。もっとも生物学的には10代後半は肉体も成熟し、子供を産むに適した時期であるといっても、高度化する現代社会において18歳未満の少女は精神的に未熟で、結婚し子供を産むという人生の岐路に立つには早すぎるとみなされている。先進国では、子供を労働力として見なさず、長期の義務教育を課し、その上の教育課程に進むことも半ば常態化しているため、18歳未満の女性を性欲の対象とすることには社会的な圧力がかかる。背景には女性が経済的に自立しやすくなったことや、子供の死亡率が低下したことで出産を急ぐ必要性が薄れたことで晩婚化が進んでおり、早婚が少数派に転落していることがある。日本も10代も半ばのうちに元服する江戸時代には、女性は結婚をもって大人の仲間入りとしていた。東日本で早婚の傾向があり、14、15歳で多くが結婚していた[15]。特に、深刻な人口減少に陥った18世紀の東北地方では10代前半の少女婚はごく当たり前に行われていたが、18世紀後半には中部地方以西では宗門人別改帳等による人口の調査研究によると女子初婚年齢が20歳を越えていたと推測される例が多い。これは江戸時代にはすでに人口増加が原因で自発的な産児抑制が起こり、晩婚化が始まっていたことを示している[16]。現代に入り、婚姻年齢が上がり、「愛護育成されるべき児童」という概念が確立し、児童と非児童との区別が厳格になされるようになるにつれ、社会道徳的・児童人権的な側面からも社会的に「逸脱」とされるようになった。
日本国外における扱い [編集]

上記のように歴史的にはごく当たり前に扱われてきており、日本のみならず諸外国でも同様の文化は見られる。 欧米でも、日本やイスラーム世界同様、以前は十代の少女を恋愛対象や結婚対象にすることは容認されていた。しかし、現代では再解釈されたキリスト教道徳に従い、他の地域に先駆けて、児童性愛の遂行を女児に対する重大な人権侵害として捉えるようになった。一概にはいえないが、児童ポルノ問題を経て、幼い少女の性を成人が欲情の対象とすることに対し厳しい政策へ向かった社会も目立つ。イスラム教は性愛に対する戒律が厳しいが、少女婚に関しては例外的に寛容である。その理由は人生の規範とされる教祖ムハンマドが9歳の少女と結婚したという故事があるからである。現代では世界的に少子高齢化が問題になってきており、一部の国で早婚が奨励されることがある[17]。また、高齢出産に比べて先天的な障害がおきにくい（ただし体が成熟しきっていない10代前半の出産は、難産のリスクが高い）。しかし精神的に未熟な少女の子育ては困難な大きく、育児放棄や虐待につながりやすいともされる。特に先進国では高等教育を受けないと経済的な基盤が不安定であるため、学業を中断することになる早婚が好ましいとはされない傾向がある。

法的にはEUの一部のように法規制が緩やかな国もあれば、イギリス・アメリカ合衆国やカナダのように小児への性犯罪に厳しい態度（クリントン署名による法定強姦罪厳密適用令などで、かなりの州で18歳未満の児童との性交を強姦とみなすなど）をとる国まで、広がりがある。

ただし、禁忌の度合いと法規制は必ずしも直接的な関係にあるわけではない。これは、違法性において法益侵害と規範逸脱のいずれを重視するかが国により異なること、すなわち法体系の相違に起因する。例えば、日本では法益侵害を重視する学説が優勢であり、社会通念上重大なタブーである近親姦もこれ自体を犯罪として取り締まる法律はなく、近親婚を不許可とするのみである。それに対しコモンローを法基盤とする英米では社会規範からの逸脱を重く見る傾向がある。
日本における扱い [編集]

日本国外での流れを汲み、日本においても1980年代頃から次第に規制へと世論が傾きはじめた。1984年、国会で少女誌『ギャルズライフ』を取り上げ、少女向け性情報へ警戒を強めた。1985年から初期のPCゲームの性表現が批判され、ロリコン漫画も折に触れて批判を向けられた。直接の規制を被ったのは、まず、一般紙のグラビアに載るほどメジャーになっていた写真分野（少女ヌード）であって、1985年警察による無修正写真の禁止、1987年には雑誌『プチトマト』発禁事件、児童福祉法の強化による摘発で弱体化していった。

1985年頃から『週刊女性』など女性週刊誌、また一般誌ではロリコン表現に対して「少女がロリコンの欲望の餌食に」といったバッシング記事が載るようになっている。1980年代には「新人類」という言葉に象徴される世代間文化の断絶、自らの嗜好やファンタジーを突き詰めて「内閉的」とみえる文化を作り上げた特定の若者層への、一般社会からの漠然たる不安があった。

1989年以降、漫画・ゲームとも沙織事件のような実際の摘発事件も含めて、規制圧力と自主規制に公然と晒されるようになった。批判に対抗するため漫画表現を守るための団体も作られ、長く論議が続くことになる。写真分野は決定的な打撃を受け、1989年以降日本国内での生産が困難になり東南アジアやロシアに撮影の場所を移したが、結局1999年の児童買春、児童ポルノに係る行為等の処罰及び児童の保護等に関する法律で壊滅、以降は性的な表現のないジュニアアイドル産業に場を譲った。しかし、小学生に小さなTバックの水着を着せてローアングルから撮影した「水着写真集」と名乗るDVDが販売されたりレンタルされた。児童ポルノと認定され摘発された事件もあり、一部店舗から撤去されたが、インターネットで流通が続いている。 それが機ともなり、法的整備を要求する声が起こり、ロリコン表現に対する法的規制が整備されつつある。また、規制が甘いと考える立場も少なくは無い。

一方、そういった社会的認識と動きに対して、マスコミによる否定的な放送は偏見であるという指摘が各所よりなされた。また統計的観点から、ロリコン表現が出現する以前の方が性犯罪被害児童の数はずっと多かった事を理由に、表現への過度の規制が批判されている[18][19]。

また、現代の日本では少女の対象に関わらず、年齢差の開いた年下女性への恋愛や性的趣向をロリコンとも呼ぶ[要出典]。
脚注 [編集]
[ヘルプ]

   1. ^ a b c 高月靖著（2009年） p.6, pp.32-33
   2. ^ 三浦 耕吉郎 『構造的差別のソシオグラフィ』 世界思想社、2006年。
   3. ^ 日本ユニセフ協会 お問い合わせ「本キャンペーンが規制を求めている『子どもポルノ』の具体的な定義について」を参照。
   4. ^ ただし「シベール」はすぐに廃刊となり、追随するファンジンは多く現れたものの、主流は「美少女もの」や「アニパロ」ジャンルになっていく 「おたくの本」別冊宝島（104）、1989年 p.105
   5. ^ 大塚（2004年） p.94
   6. ^ a b c 「月刊アウト」1982年3月号 p.60
   7. ^ 劇画からアニメへとヒロイン像が移行していた時期であった 「おたくの本」別冊宝島（104）、1989年 p.106
   8. ^ 米澤（2010年） p.279
   9. ^ 米澤（2010年） p.280
  10. ^ a b 「アニメージュ」徳間書店1982年5月号 p.126
  11. ^ 米澤（2010年） p.261
  12. ^ 米澤（2010年） p.275
  13. ^ 大塚（2004年） pp.92-94
  14. ^ NHKwebNEWS"卵子の老化"とどう向き合うか
  15. ^ 江戸時代、若くはもつと以前の日本人の生活では、14、15歳にして、もうすでに多くは結婚をしたらしく思はれる。生田春月「少女美」（『草上静思』交蘭社、1926）114〜115頁より。
  16. ^ ジャレド・ダイアモンド著『文明崩壊 滅亡と存続の命運を分けるもの（下）』 草思社発行 第九章 日本についての記述要約
  17. ^ イラン大統領が早婚奨励　「女性は１６歳がベスト」（産経新聞2010.11.21配信）
  18. ^ http://kangaeru.s59.xrea.com/G-youjyoRape.htm
  19. ^ 警察庁「犯罪統計書」によれば、戦前のピーク時と比べて1990年前後には10分の1以下へと激減傾向であったが、表現の法的規制の強まりに合わせて2005年まで微増傾向に転換していた。

参考文献 [編集]

    * 吾妻ひでおインタビュー「月刊アウト」3月号、みのり書房、1982年
    * 別冊宝島『おたくの本』（104）、1989年
    * 米澤嘉博『戦後エロマンガ史』青林工藝社、2010年
    * 大塚英志 『「おたく」の精神史 1980年代論』 講談社現代新書 2004年
    * 澁澤龍彦『少女コレクション序説』中公文庫、1985年、ISBN 978-4122012004
          o なお、この書籍の元原稿は芸術生活に投稿されたエッセイであり、初出は1972年9月に遡る。
    * 高月靖著『ロリコン』バジリコ、2009年、ISBN 978-4-86238-151-4

関連書籍 [編集]

    * ラッセル・トレイナー 『ロリータ・コンプレックス』（Russell Trainer,The Lolita Complex.） 飯田隆昭 訳 ISBN 4884680081
          o 心理学の観点から書かれた本。
    * 内山亜紀 『ロリコンABC』 久保書店 1983年（Worldコミックス）
    * 『ロリコン大全集』 改訂版 群雄社出版 1983年
    * 『ロリコン白書　by ふゅーじょんぷろだくと』 エンドレス企画 1982年
    * 内山亜紀 『ロリコン・ラブ』 久保書店 1983年
    * 『体験告白・僕のロリコン=ラブ』 日本ダイパック 1983年
    * 岩田薫 「大学生をおおうロリコン症候群（シンドローム）」 潮 1982年9月号
    * 『澁澤龍彦全集』 河出書房新社、1993年〜
    * 宮台真司ほか サブカルチャー神話解体―少女・音楽・マンガ・性の30年とコミュニケーションの現在 PARCO出版 1993年 ISBN 4891943602
    * 『少女愛』（宮島鏡著、作品社、2005年5月刊。文字通り、少女愛についての総合的な考察：ISBN 9784861820311）
    * 『ロリコン－日本の少女嗜好者たちとその世界』（高月靖著、バジリコ、2009年10月7日刊。極めて広範な知見より考察された、密度の濃い研究書。ISBN 9784862381514）

関連項目 [編集]
   ウィキメディア・コモンズには、ロリータ・コンプレックスに関連するカテゴリがあります。

    * このロリコンのようなコンプレックス（感情複合）

性愛 [編集]

    * 少女愛
    * ペドフィリア（小児性愛、児童性愛）
    * エフェボフィリア
    * 制度的少年愛
    * ロリショタ

文化 [編集]

    * ロリータ・アート
    * フレンチロリータ

その他 [編集]

    * ペドフォビア
    * メディア効果論
    * チャイルド・マレスター
    * 表現の自由
    * 孫文

外部リンク [編集]

    * 日本のサブカルチャーにおける《ルイス・キャロル＝ロリータ・コンプレックス》像の定着史（キャロル論だが、貴重なロリコン史概説をふくむ）

[Dead kate moss]

Lolikono
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Ekzemplo de lolikono

Lolikono (japane ロリコン rorikon) estas ĝenro de animeo kaj subĝenro de ĝenro hentajo, priskribanta seksajn rilatojn kun malgrandaj knabinoj. La vorto «Lolikono» estas japana kombinvorto, kiu konsistas el la vortoj «Lolita» (japane ロリータ rori:ta) kaj «komplekso» (japane コンプレックス konpurekkusu). En Japanio tiu ĉi vorto signifas apentecon al junaj knabinoj (kiuj estas antaŭ aŭ ĉe komenco de la pubereco), alivorte pedofilion, kaj homojn, kiuj emas havi ĝin. Ekster Japanio ĉi tiu vorto ne estas tiom ofta kaj kutime oni uzas ĝin rilate al japana animacio (animeo) kaj komiksoj (mangao), kiuj enhavas erotikajn aŭ romantikajn scenojn kun malgrandaj aŭ klare nematuraj knabinoj. En Japanio por nomi ĉi tiun ĝenron de animeo kaj mangao oni uzas nur la vorton «Lolita», ekzemple «Lolita-animeo» aŭ «Lolita-douĝinŝi». La vorto «Lolikon» ankaŭ havas mallongigitan formon «Loli» (ロリ rori), kiu estas konata kaj en Japanio kaj ekster ĝi. Fakte lolikono estas tipo de ĝenro «hentajo», sed ofte oni vidas ĝin kiel ĝenro «etĉi», kie erotikeco de knabinoj estas montrata per romantikaj rilatoj kaj fanservisaj scenoj (ne rekte kiel en hentajo).

Egala vorto por priskribi apentecon al junaj knaboj (aŭ ĝenro pri tio) estas ŝotakono (ショタコン ŝotakon).
[redakti] Historio

Lolikonon (kaj ankaŭ hentajon) kiel ĝenron de animeo komencis filmaro «Lolita Anime» eldonita en 1984-1985 per eldonejo «Wonder Kids». Neniu el ĉi tiuj filmoj havis cenzuron. En Japanio, erotika mangao kun bildoj de infanoj aŭ infane aspektantaj personoj estas leĝa. Kutime ili estas etaj rakontoj publikataj kiel doĝinŝi aŭ en apartaj revuoj. Rakontoj priskribas seks-eksperimentojn inter infanoj aŭ priskribas rilatojn, ekzemple, inter intruisto kaj lernanto aŭ inter frato kaj fratino (la aĝo ege malsamas). Lolikono estas objekto de kritikado en japana art-movado Superflat.
[redakti] Kritikado

Kritikistoj diras, ke lolikono kaŭzas krekson de kvanto da krimoj kontraŭ infanoj; aliaj studantoj supozas, ke tio ne havas pruvon kaj eĉ ekzistas pruvoj de malo. Multaj landoj provis konfirmi kriminalan respondecon por havi lolikonon, sed sukcesis nur Kanado, Aŭstralio, Nov-Zelando, Svedio, Filipinoj kaj Irlando.
[redakti] Vidu ankaŭ

    * Hentajo
    * Animeo
    * Biŝoŭnen
    * Ŝoŭnen-ai
    * Ŝoŭĝo-ai
    * jaoi
    * juri

    * Lolikono en la Vikimedia Komunejo (Multrimedaj datumoj)

Elŝutita el "http://eo.wikipedia.org/w/index.php?title=Lolikono&oldid=3755257"
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[madhair60]

Moe (slang)
From Wikipedia, the free encyclopedia
Moe (萌え?, pronounced [mo-eh]) is a Japanese slang word. It means "a rarefied pseudo-love for certain fictional characters (in anime, manga, and the like) and their related embodiments."[1] Patrick W. Galbraith[2] notes that it is a pun derived from a Japanese word that literally means "budding," as with a plant that is about to flower, and thus it can also be used to mean "budding" as with a preadolescent girl.[3] Since the word is also a homonym for "burning" pronounced moe (燃え?), there is also speculation that the word stems from the burning passion felt for the characters.[4] The word has come to be used to mean one particular kind of "adorable", one specific type of "cute", mainly as applied to fictional characters.
The word is occasionally spelled Moé, and was originally related to a strong interest in a particular type or style of character in video games, anime or manga. "Moe!" is also used within anime fandom as an interjection[citation needed]. Girls who are moe are called moekko (萌えっ娘?) from the honorific "娘" meaning "female child".
Contents  [hide]
1 Origins
1.1 Related words
1.2 Characteristics
2 Commercial application
3 Contests
3.1 Saimoe
3.2 International Saimoe League
4 Criticism
5 See also
6 References
7 External links
[edit]Origins

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The term's origin and etymology are unknown. Anime columnist John Oppliger has outlined several popular theories describing how the term would have stemmed from the name of anime heroines, such as Hotaru Tomoe from Sailor Moon (Tomoe is written as 土萌, relevant kanji is the same) or Moe Sagisawa from the 1993 anime Kyoryu Wakusei.[5] Psychologist Tamaki Saitō identifies it as coming from the Japanese word for "budding".[3] Ken Kitabayashi of the Nomura Research Institute has defined moe as "being strongly attracted to one's ideals"[6] Kitabayashi has identified the word "moe" to be a pun with the Japanese godan (五段?) verb for "to sprout" moyasu (萌やす?) and its homonym "to burn" moyasu (燃やす?).[6] Along the same line of thought, Kitabayashi has identified it to be a pun with the Japanese ichidan (一段?) verb for "to sprout" moeru (萌える?) and its homonym "to burn" moeru (燃える?), which mean "to burn" (in the sense of one's heart burning, or burning with passion).[6] Galbraith states that the term came from 2channel in the 1990s, discussing female characters who were "hybrids of the Lolicon (Lolita Complex) and bishoujo (beautiful girl) genres". This describes exactly Hotaru Tomoe, and coincides with Hotaru Tomoe's height of popularity in 2channel, giving strength to the theory that the term stemmed from her name.[7]
Comiket organiser Ichikawa Koichi has described Lum Invader of Urusei Yatsura as being both the source of moe and the first tsundere.[8]
According to Hiroki Azuma, as Rei Ayanami became a more prominent character among fans, she "changed the rules" governing what people regarded as moe-inspiring. The industry has since created many characters which share her traits of pale skin, blue hair and a "quiet personality".[9]
[edit]Related words
Further information: Category:Female stock characters in anime and manga
眼鏡っ娘萌え, Meganekko-moe, "glasses-girl moe", describes a person who is attracted to fictional characters with eyeglasses
メイド萌え, Meido-moe / Shitsuji-moe, a stereotypical anime maid, butler, or other western-themed servant
ツンデレ萌え, Tsundere-moe, describes a person who is attracted to fictional characters with a character personality that is tough on the outside, but actually caring
妹萌え, Imouto-moe, "younger sister moe", describes a person who most likely has a sister complex[10][11]
The archetype moe character is used in some anime and manga, such as Miyuki Takara of Lucky Star.[12] The term moe is often also used to describe either a character who is, or a form of media containing, moekko, therefore Lucky Star is a moe-anime for example.[13]
[edit]Characteristics
See also: neoteny
large eyes (1/5 size of face)[14]
small nose[14]
flat face[14]
tall iris[14]
body 5.7 heads tall[14]
thin limbs[14]
large head[14]
colorful hair[14]
bangs over eyes[14]
neotenized face[14]
anime antenna hair called ahoge (アホ毛?)[14][15]
[edit]Commercial application

Further information: moe anthropomorphism


Wikipe-tan is a moe anthropomorphism of Wikipedia.
With moe anthropomorphism, moe characteristics are applied to give human elements to non-human objects. The Gradius video game series features a spaceship in the name of Vic Viper. For a spin-off game, moe is applied to Vic Viper to create Otomedius.[16] Moe characters have expanded within the Japanese media market. In 2004, the market for moe media such as printed media, video, and games was worth 88 billion yen. This is roughly one-third of the estimated 290 billion yen otaku market in Japan.[17]
As the first decade of the 2000s unfolded, moé became increasing popular and recognized, invoking a commercial interest in manufacturing and exploiting moé. As this process occurred, moé evolved from being a non-sexual desire to hug, love, and protect to being a sexually sublimated fascination with cuteness. Moé shifted entirely from a two-way interchange between character and viewer to becoming distinctly a characteristic of particular characters or a focused fetish of viewers. Particularly anime including K-On, Lucky Star, and Moetan deliberately revolved around adorable, whimsical, clumsy, early-adolescent girl characters in order to evoke, enflame, and manipulate the interests and affections of viewers. These characters no longer evoked moé feelings; they were literally moé characters – not characters that naturally and unconsciously evoked a paternal reaction from viewers, but rather characters that were the physical manifestation of the defining characteristics of the moé movement. These girl characters were adorably cute, just a bit sexually appealing, and self-conscious but not yet cynical. They demanded notice and adoration from viewers rather than passively earning adoration and protective feelings.
At the same time moé was hitting its peak and beginning to evolve, it branched off into a parallel variety of moé, the pandering to particular niche fetishes. At least as early as 2002, the G-On Riders television series had consciously featured girls who wore glasses, to appeal to the "meganekko" fans, but the trend became more pronounced beginning in 2005 with anime that focused on satisfying one particular viewer obsession, for example: Kore ga Watashi no Goshujin-sama (moé for French maid outfits), Strike Witches (military moé), Higurashi no Naku Koro ni (yandere moé), Mayoi Neko Overrun (waitress uniform moé), Macademy Washoi & Asobi ni Ikuyo (nekomimi moé), and Upotte! (assault rifle moé).[18]
[edit]Contests

Japanese magazine Dengeki Moeoh runs a column called "Moeoh Rankings" which features the top 10 moe characters of the month, as determined by reader votes.[19]
[edit]Saimoe
One such contest is the Anime Saimoe Tournament, which has been organized by members of 2channel every year since 2002.[20] Moe characters entering within the fiscal year starting July 1 and ending June 30 the following year are eligible. Each tournament has at least 280 moe characters. They must have any of the following qualifications:[21]
Anime newly broadcasted in Japan on TV or internet over 5 stories or a half of the full stories in that period
OVAs (Original Video Animations) newly released in Japan in that period
Anime films newly screened in Japan in that period
Spin-offs of the Saimoe Tournament include RPG Saimoe, which exclusively features video game characters, and SaiGAR, a competition between the manliest men of anime; despite the participation of Takamachi Nanoha in SaiGAR 2007.[22] In 2006 and 2007, the Saimoe Tournament became an increasingly international event; 2channel users obliged foreign otaku by putting up an English version of their rules page.[21]
[edit]International Saimoe League
The International Saimoe League, also known as ISML, is a worldwide online popularity moe contest.
[edit]Criticism

There are various interpretations of what moe is today and in the past. Joseph L. Dela Pena argues that moe is a pure, protective feeling towards a female character, without the sexualization of lolicon also known as loli.[23] Jason Thompson of Otaku USA regards moe when applied to young female characters or people as being an offshoot of the lolicon phenomenon and the role of cuteness in Japanese culture.[24] Scott Von Schilling sees moe in this sense as being indicative of men in their thirties "longing for fatherhood".[25]
In response to the growing otaku fetishization of cute female characters in anime and manga, Japanese animator and self-avowed feminist Hayao Miyazaki has stated:
It's difficult. They immediately become the subjects of lolicon fetishism. In a sense, if we want to depict someone who is affirmative to us, we have no choice but to make them as lovely as possible. But now, there are too many people who shamelessly depict [such heroines] as if they just want [such girls] as pets, and things are escalating more and more.
—[26]
Enomoto Nariko, a yaoi author and manga critic says that "male fans cannot experience moe until they have fixed their own position". Tamaki Saitō explains that a male fan's "position" is his position as a subject, which the male fan must establish before he can desire an object. In this view, moe characters are agents of the male fan's desire. Enomoto Nariko compares male fans to fujoshi, who she says are primarily attracted to phases of a relationship, for example the point at which a friendly relationship becomes romantic.[27]
[edit]See also

   Anime and Manga portal
Figure moe zoku
Moe anthropomorphism
Moe sangyo
Moeru Eitango Moetan
Mugen Puchipuchi
Moe book
Otaku
[edit]References

^ http://www.japansociety.org/otaku_talk
^ http://www.japanesestudies.org.uk/articles/2009/Galbraith.html
^ a b Saitou Tamaki (2007) "Otaku Sexuality" in Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi ed., page 230 Robot Ghosts and Wired Dreams University of Minnesota Press ISBN 978-0-8166-4974-7
^ はてなキーワード. 燃え. Accessed May 9, 2011, from http://d.hatena.ne.jp/keyword/%C7%B3%A4%A8
^ AnimeNation Anime News Blog » Blog Archive » Ask John: What is Moe?
^ a b c Kitabayashi, Ken (2004) The Otaku Group from a Business Perspective: Revaluation of Enthusiastic Customers Nomura Research Institute
^ Galbraith, Patrick W. (2009). "Moe: Exploring Virtual Potential in Post-Millennial Japan". Electronic journal of contemporary japanese studies.
^ Galbraith, Patrick W. (2009). The Otaku Encyclopedia: An Insider's Guide to the Subculture of Cool Japan. Kodansha International. p. 46. ISBN 978-4-7700-3101-3.
^ Azuma, Hiroki. (2009) Otaku: Japan's Database Animals. Minneapolis: University of Minnesota Press pp. 48-52
^ http://www.cscoutjapan.com/en/index.php/tag/mugen-puchipuchi/ ,Retrieved on 2009-05-29
^ http://kazenomise.net/2008/09/13/mugen-puchipuchi-puchi-moe/ ,Retrieved on 2009-05-28
^ http://www.animenewsnetwork.com/review/lucky-star/dvd-2
^ See eg. the trivia game Lucky Star: Moe Drill: Tabitachi or reviews
^ a b c d e f g h i j k 電撃萌王 Special May 1, 2006, No. 127 Vol.11 No.8, Media, p. 104 ~ 105
^ Denshi Jisho — Online Japanese dictionary. Accessed May 7, 2011, from http://jisho.org/words?jap=%E3%82%A2%E3%83%9B%E6%AF%9B&eng=&dict=edict
^ "Konami: Boobs + Gradius = Otomedius". Michael McWhertor. Kotaku. 2007-02-16. Retrieved 2007-11-06.
^ "Moe Market Worth 88 Billion Yen". Anime News Network. 2005-04-25. Retrieved 2007-11-02.
^ "Ask John: What Are the Defining Moé Anime?". AnimeNation Anime News Blog. 2012-05-28.
^ "萌王ランキング". Dengeki Moeoh (MediaWorks) (10): p. 143. 2007
^ "最萌トーナメント". Japanese Wikipedia. Retrieved 2007-08-11.
^ a b "Saimoe 2007 English". 2ch. Retrieved 2007-08-11.
^ http://saigar.darkmirage.com/ retrieved in 11/7/2007[dead link]
^ Joseph L. Dela Pena (2006) Otaku: Images and Identity in Flux CUREJ pp.8-9
^ Thompson, Jason (July 9, 2009). "Moe: The Cult of the Child". Comixology. Retrieved 2009-10-29.
^ Von Schilling, Scott (April 26, 2005). "The Deal with Moé". The Anime Almanac. Retrieved 2009-11-18.
^ "Miyazaki interview".
^ Saitō Tamaki (2007) "Otaku Sexuality" in Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi ed., page 231 Robot Ghosts and Wired Dreams University of Minnesota Press ISBN 978-0-8166-4974-7
[edit]External links

Towards a Cartography of Japanese Anime: Anno Hideaki's >>Evangelion<< - Through an interview with Hiroki Azuma dealing with Evangelion the article sheds light on the origins of the Moe phenomenon
Superflat Cultural Critic Hiroki Azuma Describes Otaku Aesthetics
Mondo Japan 2004: New language from OTAKU world "MOE"
New York Times article on Moe phenomenon

[Thursday]

Lolikono
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Ekzemplo de lolikono

Lolikono (japane ロリコン rorikon) estas ĝenro de animeo kaj subĝenro de ĝenro hentajo, priskribanta seksajn rilatojn kun malgrandaj knabinoj. La vorto «Lolikono» estas japana kombinvorto, kiu konsistas el la vortoj «Lolita» (japane ロリータ rori:ta) kaj «komplekso» (japane コンプレックス konpurekkusu). En Japanio tiu ĉi vorto signifas apentecon al junaj knabinoj (kiuj estas antaŭ aŭ ĉe komenco de la pubereco), alivorte pedofilion, kaj homojn, kiuj emas havi ĝin. Ekster Japanio ĉi tiu vorto ne estas tiom ofta kaj kutime oni uzas ĝin rilate al japana animacio (animeo) kaj komiksoj (mangao), kiuj enhavas erotikajn aŭ romantikajn scenojn kun malgrandaj aŭ klare nematuraj knabinoj. En Japanio por nomi ĉi tiun ĝenron de animeo kaj mangao oni uzas nur la vorton «Lolita», ekzemple «Lolita-animeo» aŭ «Lolita-douĝinŝi». La vorto «Lolikon» ankaŭ havas mallongigitan formon «Loli» (ロリ rori), kiu estas konata kaj en Japanio kaj ekster ĝi. Fakte lolikono estas tipo de ĝenro «hentajo», sed ofte oni vidas ĝin kiel ĝenro «etĉi», kie erotikeco de knabinoj estas montrata per romantikaj rilatoj kaj fanservisaj scenoj (ne rekte kiel en hentajo).

Egala vorto por priskribi apentecon al junaj knaboj (aŭ ĝenro pri tio) estas ŝotakono (ショタコン ŝotakon).
[redakti] Historio

Lolikonon (kaj ankaŭ hentajon) kiel ĝenron de animeo komencis filmaro «Lolita Anime» eldonita en 1984-1985 per eldonejo «Wonder Kids». Neniu el ĉi tiuj filmoj havis cenzuron. En Japanio, erotika mangao kun bildoj de infanoj aŭ infane aspektantaj personoj estas leĝa. Kutime ili estas etaj rakontoj publikataj kiel doĝinŝi aŭ en apartaj revuoj. Rakontoj priskribas seks-eksperimentojn inter infanoj aŭ priskribas rilatojn, ekzemple, inter intruisto kaj lernanto aŭ inter frato kaj fratino (la aĝo ege malsamas). Lolikono estas objekto de kritikado en japana art-movado Superflat.
[redakti] Kritikado

Kritikistoj diras, ke lolikono kaŭzas krekson de kvanto da krimoj kontraŭ infanoj; aliaj studantoj supozas, ke tio ne havas pruvon kaj eĉ ekzistas pruvoj de malo. Multaj landoj provis konfirmi kriminalan respondecon por havi lolikonon, sed sukcesis nur Kanado, Aŭstralio, Nov-Zelando, Svedio, Filipinoj kaj Irlando.
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I agree.

Moe (slang)
From Wikipedia, the free encyclopedia
Moe (萌え?, pronounced [mo-eh]) is a Japanese slang word. It means "a rarefied pseudo-love for certain fictional characters (in anime, manga, and the like) and their related embodiments."[1] Patrick W. Galbraith[2] notes that it is a pun derived from a Japanese word that literally means "budding," as with a plant that is about to flower, and thus it can also be used to mean "budding" as with a preadolescent girl.[3] Since the word is also a homonym for "burning" pronounced moe (燃え?), there is also speculation that the word stems from the burning passion felt for the characters.[4] The word has come to be used to mean one particular kind of "adorable", one specific type of "cute", mainly as applied to fictional characters.
The word is occasionally spelled Moé, and was originally related to a strong interest in a particular type or style of character in video games, anime or manga. "Moe!" is also used within anime fandom as an interjection[citation needed]. Girls who are moe are called moekko (萌えっ娘?) from the honorific "娘" meaning "female child".
Contents  [hide]
1 Origins
1.1 Related words
1.2 Characteristics
2 Commercial application
3 Contests
3.1 Saimoe
3.2 International Saimoe League
4 Criticism
5 See also
6 References
7 External links
[edit]Origins

Part of a series on
Anime and Manga

Anime
History • Longest series
Industry • Companies
ONA • OVA
Fansub • Fandub
Manga
History • Publishers
Scanlation • Dōjinshi
International market
Longest series
Mangaka (List)
Demographic groups
Children
Shōnen • Shōjo
Seinen • Josei
Genres
Harem • Magical girl
Mecha • Yaoi • Yuri
Selected biographies
Shotaro Ishinomori
Rakuten Kitazawa
Kōichi Mashimo
Katsuji Matsumoto
Leiji Matsumoto
Hayao Miyazaki
Go Nagai
Yoshiyuki Tomino
Shoji Kawamori
Toshio Suzuki
Osamu Tezuka
Year 24 Group
Fandom
Conventions (list) • Clubs • Cosplay
Anime music video • Otaku
Yaoi fandom
General
Omake • Terminology
Anime and Manga Portal
v t e
The term's origin and etymology are unknown. Anime columnist John Oppliger has outlined several popular theories describing how the term would have stemmed from the name of anime heroines, such as Hotaru Tomoe from Sailor Moon (Tomoe is written as 土萌, relevant kanji is the same) or Moe Sagisawa from the 1993 anime Kyoryu Wakusei.[5] Psychologist Tamaki Saitō identifies it as coming from the Japanese word for "budding".[3] Ken Kitabayashi of the Nomura Research Institute has defined moe as "being strongly attracted to one's ideals"[6] Kitabayashi has identified the word "moe" to be a pun with the Japanese godan (五段?) verb for "to sprout" moyasu (萌やす?) and its homonym "to burn" moyasu (燃やす?).[6] Along the same line of thought, Kitabayashi has identified it to be a pun with the Japanese ichidan (一段?) verb for "to sprout" moeru (萌える?) and its homonym "to burn" moeru (燃える?), which mean "to burn" (in the sense of one's heart burning, or burning with passion).[6] Galbraith states that the term came from 2channel in the 1990s, discussing female characters who were "hybrids of the Lolicon (Lolita Complex) and bishoujo (beautiful girl) genres". This describes exactly Hotaru Tomoe, and coincides with Hotaru Tomoe's height of popularity in 2channel, giving strength to the theory that the term stemmed from her name.[7]
Comiket organiser Ichikawa Koichi has described Lum Invader of Urusei Yatsura as being both the source of moe and the first tsundere.[8]
According to Hiroki Azuma, as Rei Ayanami became a more prominent character among fans, she "changed the rules" governing what people regarded as moe-inspiring. The industry has since created many characters which share her traits of pale skin, blue hair and a "quiet personality".[9]
[edit]Related words
Further information: Category:Female stock characters in anime and manga
眼鏡っ娘萌え, Meganekko-moe, "glasses-girl moe", describes a person who is attracted to fictional characters with eyeglasses
メイド萌え, Meido-moe / Shitsuji-moe, a stereotypical anime maid, butler, or other western-themed servant
ツンデレ萌え, Tsundere-moe, describes a person who is attracted to fictional characters with a character personality that is tough on the outside, but actually caring
妹萌え, Imouto-moe, "younger sister moe", describes a person who most likely has a sister complex[10][11]
The archetype moe character is used in some anime and manga, such as Miyuki Takara of Lucky Star.[12] The term moe is often also used to describe either a character who is, or a form of media containing, moekko, therefore Lucky Star is a moe-anime for example.[13]
[edit]Characteristics
See also: neoteny
large eyes (1/5 size of face)[14]
small nose[14]
flat face[14]
tall iris[14]
body 5.7 heads tall[14]
thin limbs[14]
large head[14]
colorful hair[14]
bangs over eyes[14]
neotenized face[14]
anime antenna hair called ahoge (アホ毛?)[14][15]
[edit]Commercial application

Further information: moe anthropomorphism


Wikipe-tan is a moe anthropomorphism of Wikipedia.
With moe anthropomorphism, moe characteristics are applied to give human elements to non-human objects. The Gradius video game series features a spaceship in the name of Vic Viper. For a spin-off game, moe is applied to Vic Viper to create Otomedius.[16] Moe characters have expanded within the Japanese media market. In 2004, the market for moe media such as printed media, video, and games was worth 88 billion yen. This is roughly one-third of the estimated 290 billion yen otaku market in Japan.[17]
As the first decade of the 2000s unfolded, moé became increasing popular and recognized, invoking a commercial interest in manufacturing and exploiting moé. As this process occurred, moé evolved from being a non-sexual desire to hug, love, and protect to being a sexually sublimated fascination with cuteness. Moé shifted entirely from a two-way interchange between character and viewer to becoming distinctly a characteristic of particular characters or a focused fetish of viewers. Particularly anime including K-On, Lucky Star, and Moetan deliberately revolved around adorable, whimsical, clumsy, early-adolescent girl characters in order to evoke, enflame, and manipulate the interests and affections of viewers. These characters no longer evoked moé feelings; they were literally moé characters – not characters that naturally and unconsciously evoked a paternal reaction from viewers, but rather characters that were the physical manifestation of the defining characteristics of the moé movement. These girl characters were adorably cute, just a bit sexually appealing, and self-conscious but not yet cynical. They demanded notice and adoration from viewers rather than passively earning adoration and protective feelings.
At the same time moé was hitting its peak and beginning to evolve, it branched off into a parallel variety of moé, the pandering to particular niche fetishes. At least as early as 2002, the G-On Riders television series had consciously featured girls who wore glasses, to appeal to the "meganekko" fans, but the trend became more pronounced beginning in 2005 with anime that focused on satisfying one particular viewer obsession, for example: Kore ga Watashi no Goshujin-sama (moé for French maid outfits), Strike Witches (military moé), Higurashi no Naku Koro ni (yandere moé), Mayoi Neko Overrun (waitress uniform moé), Macademy Washoi & Asobi ni Ikuyo (nekomimi moé), and Upotte! (assault rifle moé).[18]
[edit]Contests

Japanese magazine Dengeki Moeoh runs a column called "Moeoh Rankings" which features the top 10 moe characters of the month, as determined by reader votes.[19]
[edit]Saimoe
One such contest is the Anime Saimoe Tournament, which has been organized by members of 2channel every year since 2002.[20] Moe characters entering within the fiscal year starting July 1 and ending June 30 the following year are eligible. Each tournament has at least 280 moe characters. They must have any of the following qualifications:[21]
Anime newly broadcasted in Japan on TV or internet over 5 stories or a half of the full stories in that period
OVAs (Original Video Animations) newly released in Japan in that period
Anime films newly screened in Japan in that period
Spin-offs of the Saimoe Tournament include RPG Saimoe, which exclusively features video game characters, and SaiGAR, a competition between the manliest men of anime; despite the participation of Takamachi Nanoha in SaiGAR 2007.[22] In 2006 and 2007, the Saimoe Tournament became an increasingly international event; 2channel users obliged foreign otaku by putting up an English version of their rules page.[21]
[edit]International Saimoe League
The International Saimoe League, also known as ISML, is a worldwide online popularity moe contest.
[edit]Criticism

There are various interpretations of what moe is today and in the past. Joseph L. Dela Pena argues that moe is a pure, protective feeling towards a female character, without the sexualization of lolicon also known as loli.[23] Jason Thompson of Otaku USA regards moe when applied to young female characters or people as being an offshoot of the lolicon phenomenon and the role of cuteness in Japanese culture.[24] Scott Von Schilling sees moe in this sense as being indicative of men in their thirties "longing for fatherhood".[25]
In response to the growing otaku fetishization of cute female characters in anime and manga, Japanese animator and self-avowed feminist Hayao Miyazaki has stated:
It's difficult. They immediately become the subjects of lolicon fetishism. In a sense, if we want to depict someone who is affirmative to us, we have no choice but to make them as lovely as possible. But now, there are too many people who shamelessly depict [such heroines] as if they just want [such girls] as pets, and things are escalating more and more.
—[26]
Enomoto Nariko, a yaoi author and manga critic says that "male fans cannot experience moe until they have fixed their own position". Tamaki Saitō explains that a male fan's "position" is his position as a subject, which the male fan must establish before he can desire an object. In this view, moe characters are agents of the male fan's desire. Enomoto Nariko compares male fans to fujoshi, who she says are primarily attracted to phases of a relationship, for example the point at which a friendly relationship becomes romantic.[27]
[edit]See also

   Anime and Manga portal
Figure moe zoku
Moe anthropomorphism
Moe sangyo
Moeru Eitango Moetan
Mugen Puchipuchi
Moe book
Otaku
[edit]References

^ http://www.japansociety.org/otaku_talk
^ http://www.japanesestudies.org.uk/articles/2009/Galbraith.html
^ a b Saitou Tamaki (2007) "Otaku Sexuality" in Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi ed., page 230 Robot Ghosts and Wired Dreams University of Minnesota Press ISBN 978-0-8166-4974-7
^ はてなキーワード. 燃え. Accessed May 9, 2011, from http://d.hatena.ne.jp/keyword/%C7%B3%A4%A8
^ AnimeNation Anime News Blog » Blog Archive » Ask John: What is Moe?
^ a b c Kitabayashi, Ken (2004) The Otaku Group from a Business Perspective: Revaluation of Enthusiastic Customers Nomura Research Institute
^ Galbraith, Patrick W. (2009). "Moe: Exploring Virtual Potential in Post-Millennial Japan". Electronic journal of contemporary japanese studies.
^ Galbraith, Patrick W. (2009). The Otaku Encyclopedia: An Insider's Guide to the Subculture of Cool Japan. Kodansha International. p. 46. ISBN 978-4-7700-3101-3.
^ Azuma, Hiroki. (2009) Otaku: Japan's Database Animals. Minneapolis: University of Minnesota Press pp. 48-52
^ http://www.cscoutjapan.com/en/index.php/tag/mugen-puchipuchi/ ,Retrieved on 2009-05-29
^ http://kazenomise.net/2008/09/13/mugen-puchipuchi-puchi-moe/ ,Retrieved on 2009-05-28
^ http://www.animenewsnetwork.com/review/lucky-star/dvd-2
^ See eg. the trivia game Lucky Star: Moe Drill: Tabitachi or reviews
^ a b c d e f g h i j k 電撃萌王 Special May 1, 2006, No. 127 Vol.11 No.8, Media, p. 104 ~ 105
^ Denshi Jisho — Online Japanese dictionary. Accessed May 7, 2011, from http://jisho.org/words?jap=%E3%82%A2%E3%83%9B%E6%AF%9B&eng=&dict=edict
^ "Konami: Boobs + Gradius = Otomedius". Michael McWhertor. Kotaku. 2007-02-16. Retrieved 2007-11-06.
^ "Moe Market Worth 88 Billion Yen". Anime News Network. 2005-04-25. Retrieved 2007-11-02.
^ "Ask John: What Are the Defining Moé Anime?". AnimeNation Anime News Blog. 2012-05-28.
^ "萌王ランキング". Dengeki Moeoh (MediaWorks) (10): p. 143. 2007
^ "最萌トーナメント". Japanese Wikipedia. Retrieved 2007-08-11.
^ a b "Saimoe 2007 English". 2ch. Retrieved 2007-08-11.
^ http://saigar.darkmirage.com/ retrieved in 11/7/2007[dead link]
^ Joseph L. Dela Pena (2006) Otaku: Images and Identity in Flux CUREJ pp.8-9
^ Thompson, Jason (July 9, 2009). "Moe: The Cult of the Child". Comixology. Retrieved 2009-10-29.
^ Von Schilling, Scott (April 26, 2005). "The Deal with Moé". The Anime Almanac. Retrieved 2009-11-18.
^ "Miyazaki interview".
^ Saitō Tamaki (2007) "Otaku Sexuality" in Christopher Bolton, Istvan Csicsery-Ronay Jr., and Takayuki Tatsumi ed., page 231 Robot Ghosts and Wired Dreams University of Minnesota Press ISBN 978-0-8166-4974-7
[edit]External links

Towards a Cartography of Japanese Anime: Anno Hideaki's >>Evangelion<< - Through an interview with Hiroki Azuma dealing with Evangelion the article sheds light on the origins of the Moe phenomenon
Superflat Cultural Critic Hiroki Azuma Describes Otaku Aesthetics
Mondo Japan 2004: New language from OTAKU world "MOE"
New York Times article on Moe phenomenon

I agree with this as well

[Tommy Pickles]

pssst...

[Tommy Pickles]

Issa maaad old world.

[Tommy Pickles]

Strange it may be, but I loiks it that way

[Tommy Pickles]

We're (ahem) knee-deep (*lololoo*) in it now. It's "ribbiting" is it not!

[Tommy Pickles]

Ai'm tekken it a bit far nao, hentai?



TTFN