Dolfje Weerwolfje is een Nederlandse kinderboekenserie van Paul van Loon. De serie begon in 1996 en telt inmiddels 13 boeken in de reguliere reeks en een aantal speciale boeken. De tekeningen in de boeken worden gemaakt door Hugo van Look. De verhalen van Dolfje Weerwolfje worden uitgegeven door Uitgeverij Leopold. De boeken zijn ook buiten Nederland uitgebracht.
Inhoud
1 Achtergrond
2 Personages
3 Boeken
4 Andere media
5 Prijzen
6 In andere talen
7 Externe links
Achtergrond
De verhalen draaien om een jongen, Dolfje Spaan genaamd, die, als hij zeven jaar wordt, ontdekt dat hij een weerwolf is. Paul van Loon bedacht dit personage reeds in 1994 voor een lied van de griezel CD van VOF de Kunst, alvorens in 1996 er een boek over te schrijven.
Dolfje woont bij de familie Vriends, bestaande uit vader Willem, moeder Jasmijn, en hun zoon Timmie. Hij is op zijn derde door hen in huis genomen omdat zijn echte ouders hem in de steek hadden gelaten toen ze ontdekten dat hij een weerwolf zou worden. Dit zit in zijn familie, maar slaat altijd een generatie over. Dolfjes grootvader is ook een weerwolf, maar zijn ouders zijn dat niet. De familie Vriends kent Dolfjes geheim, maar accepteert hem desondanks, vooral omdat Willem Vriends enorm van anders houdt. Elke maand verandert Dolfje gedurende drie nachten op rij in een weerwolf; bij Volle Maan, de avond daarvoor, en de avond erna.
Personages
Dolfje Spaan
de hoofdpersoon in de serie. Dolfje is een jongen van 7 jaar oud. Kenmerkend aan Dolfje is zijn witte haar, wat erin resulteert dat hij als weerwolf altijd een witte vacht heeft, en zijn bril, die hij ook in weerwolfgedaante nog steeds op heeft.
Timmie Vriends
Timmie is Dolfjes pleegbroer en beste vriend. Hij is een jaar ouder dan Dolfje en vergezelt hem geregeld op zijn avonturen.
Willem Vriends
Dolfjes pleegvader. Hij houdt enorm van alles wat anders is; iets wat goed te merken is aan zijn vaak absurde kledingkeuzes en hoofddeksels. Het liefst zou hij ook een weerwolf zijn.
Jasmijn Vriends
Dolfjes pleegmoeder. In het boek Boze drieling leert ze vechten met een bezem; iets dat haar regelmatig goed van pas komt.
Opa Weerwolf
Dolfjes grootvader. In tegenstellig tot de andere weerwolven in de serie is hij permanent een weerwolf, ook als het geen volle maan is. Hij draagt meestal een lange jas en hoed, en loopt met een wandelstok. Zijn weerwolfnaam is ‘Grimbaard’. Hij woont in het weerwolvenbos en leert Dolfje veel over hoe het is om een weerwolf te zijn.
Leo
Dolfjes oudere neef, die met volle maan altijd verandert in een reusachtige en sterke weerwolf. Hij heeft een zwaar spraakgebrek waardoor hij erg vreemd praat. Net als Opa woont hij in het weerwolvenbos.
Noura
een meisje uit Dolfjes klas. In het boek Volle maan ontdekt ze Dolfjes geheim en wordt per ongeluk door hem gebeten. Vanaf dat moment is ook zij een weerwolf en trekt ze er geregeld samen met Dolfje op uit. Ze houdt het feit dat ze weerwolf is, verborgen voor haar eigen ouders.
Mevrouw Krijtjes
de oudere buurvrouw van de familie Vriends, die juist een hekel heeft aan weerwolven. In het eerste boek ontdekt ze Dolfjes geheim en probeert hem aan te geven bij het Opvangcentrum voor Zeldzame Dieren en Mensen (OZDM), maar wordt uiteindelijk zelf door het OZDM meegenomen. Ze keert weer terug in Boze drieling, waarin ze samen met haar twee zussen probeert alle Weerwolven uit te roeien. In dit boek bijt Dolfje haar waardoor ze ook een weerwolf wordt. Nadat ze in Weerwolfbende vervolgens ook nog gebeten wordt door vampier Valentijn verandert ze in een weerpier; een weerwolf-vampier hybride.
Valentijn
een vampierjongen die Dolfje voor het eerst ontmoet in Zilvertand, wanneer ze beiden gevangen worden door een monsterjager. Hij is vaak arrogant, al komt dat vooral vanwege zijn eenzaamheid. Nadat Dolfje en zijn familie hem helpen ontsnappen, beschouwt hij zichzelf als Dolfjes vriend en maakt nog een paar keer zijn opwachting in de serie, al is Dolfje niet altijd even blij hem te zien.
Moema
Dolfjes grootmoeder. Ze runt een weeshuis voor weerwolfkinderen in de Ardennen, samen met de vampier Armando.
Boeken
Reguliere reeks
Dolfje Weerwolfje (1996)
Volle maan (1999)
Zilvertand (2001)
Weerwolvenbos (2003)
Boze drieling (2005)
Weerwolvenfeest (2006)
Weerwolfgeheimen (2007)
Dolfje Sneeuwwolfje (2008)
Een weerwolf in de leeuwenkuil (2009; een cross-over met De leeuwenkuil, een andere boekenreeks van Paul van Loon)
Weerwolfbende (2010)
SuperDolfje (2011)
Weerwolf(n)achtbaan (2012)
Weerwolfhooikoorts (2013)
Een miniheks in het Weerwolvenbos (2014; een cross-over met Foeksia de miniheks, een andere boekenreeks van Paul van Loon))
MeerMonster (2014)
Weerwolvensoep (2015)
Weerwolfbommetje! (2016)
Maanmysterie (2016)
Speciale boeken
Het nachtmerrieneefje (dun boek speciaal voor beginnende lezers, 2004)
Dolfjes dolle vollemaannacht (prentenboek, 2005)
Niet bijten, Dolfje (dun boek speciaal voor beginnende lezers, 2005)
Weerwolvenfeest (met CD) (2006)
Dolfje sneeuwwolfje (raamvertelling waarin Niet bijten, Dolfje en Het nachtmerrieneefje zijn opgenomen)
Pak me dan! (Boek voor beginnende lezers i.s.m. Zwijsen)
Lief Weerwolfdagboek (dagboek van Dolfjes vriendin Noura) (2012)
Dolfje Weerwolfje Stripboek (2013)
Andere media
Vanaf april 2009 verschijnt elke twee maanden het tijdschrift Dolfje Weerwolfje.
Rondom de boekenreeks bestaat inmiddels een uitgebreide merchandising, waaronder knuffels.
Theatergroep Theater Terra maakte een musical rond de serie. Deze werd in 2004 genomineerd voor de John Kraaijkamp Musical Award voor de beste kleine musical en voor de beste vrouwelijke hoofdrol (Annick Boer).
In 2010 maakten theatergroep Theater Terra en Olbe Produkties een tweede musical: Nieuwe avonturen met Dolfje Weerwolfje.
Op 30 november 2011 verscheen de speelfilm Dolfje Weerwolfje in de bioscopen, geregisseerd door Joram Lürsen met in de hoofdrollen Ole Kroes, Kim van Kooten en Joop Keesmaat. Dolfje Weerwolfje trok meer dan 100.000 bezoekers en werd door het Nederlandse Filmfonds uitgeroepen tot Gouden Film.
Prijzen
In 1998 won Dolfje Weerwolfje de Prijs van de Nederlandse Kinderjury in de leeftijdscategorie 6 t/m 9 jaar en de Tip van de Nederlandse Kinderjury in de leeftijdscategorie 10 t/m 12 jaar.
In 2000 won Volle maan de Prijs van de Nederlandse Kinderjury in de leeftijdscategorie 6 t/m 9 jaar.
In 2004 won Weerwolvenbos de Prijs van de Nederlandse Kinderjury in de leeftijdscategorie 6 t/m 9 jaar.
In 2006 won Boze drieling de Prijs van de Nederlandse Kinderjury in de leeftijdscategorie 6 t/m 9 jaar.
In 2008 won Weerwolfgeheimen de Prijs van de Nederlandse Kinderjury in de leeftijdscategorie 6 t/m 9 jaar.
In 2011 werd Dolfje Weerwolfje door kinderen tussen 4 en 14 jaar uitgeroepen tot de grootste kinderboekenheld.
In andere talen
Behalve in het Nederlands zijn de boeken van Dolfje Weerwolfje ook in andere talen uitgegeven, onder de volgende namen:
Spaans: Jacobo Lobo
Duits: Rölfchen Werwolf (oorspronkelijke uitgave) en Viktor Werwolf (meest recente uitgave)
Engels: Alfie the Werewolf
Fins en Zweeds: Uffe varulv
Frans: Alfie le petit loup
Italiaans, Japans en Kroatisch: Dolfi
Koreaans: Gong-Po-Bus
Nicole Elizabeth "Snooki" LaValle (née Polizzi; born November 23, 1987)[4] is an American reality television personality, author, dancer and professional wrestler who is best known for being a cast member of the MTV reality show Jersey Shore and starring in Snooki & Jwoww. Since the show's debut in 2009, Polizzi has gained popularity by appearing on talk shows including The View, The Ellen DeGeneres Show, Jimmy Kimmel Live!, Late Show with David Letterman, and The Wendy Williams Show. She earned $150,000 per Jersey Shore episode for the last two seasons.[5] She also appeared as the guest hostess for WWE Raw in 2011 and competed at WrestleMania XXVII that same year.
Contents [hide]
1 Personal life
2 Career
2.1 Reality television
2.2 Other television appearances
2.3 WWE (2011)
2.3.1 In wrestling
2.4 Other ventures
3 Legal troubles
4 Filmography
5 Awards and nominations
6 References
7 External links
Personal life
Polizzi was born in Santiago, Chile.[6] She was adopted when she was six months old and was raised by Italian-American parents.[7] Polizzi's father is a volunteer firefighter and auto-salvage supervisor, and her mother is an office manager.[8] Polizzi lives in Florham Park, New Jersey.[1]
Polizzi received her nickname, Snooki, in middle school, when her friends named her after "Snookie", a male character in Save the Last Dance, because she was the first of her friends to kiss a boy.[9] She grew up and attended school in Marlboro, New York, where she was a cheerleader.[6] During high school, she suffered from an eating disorder, at one point weighing 80 pounds (36 kg).[10] Polizzi attended community college after graduating from Marlboro High School, where she studied to become a veterinary technician.[6]
In March 2012, Polizzi announced her engagement to Jionni LaValle.[2][11] Polizzi gave birth to the couple's first child, Lorenzo Dominic LaValle, on August 26, 2012.[12]
Polizzi appeared on the front page of the March 2013 issue of Us Weekly, claiming to have lost 42 pounds post pregnancy.[13]
Her second child, Giovanna Marie LaValle, was born September 26, 2014, weighing in at 6lbs 7oz.[14]
On November 29, 2014, Polizzi married Jionni LaValle.[15]
In October 2016, Polizzi announced she had had a breast augmentation to obtain a C cup.[16]
Career
Reality television
MTV first introduced Polizzi in Is She Really Going Out with Him?,[17] a show that focused on women dating obnoxious or arrogant men. Polizzi and her boyfriend, Justin, appeared in episode 14, "Jerz Pud".[18]
Polizzi became part of the reality TV series Jersey Shore after being scouted by the casting director, Josh Allouche, an employee of Doron Ofir Casting. The New York Times identified her as "the breakout member of the cast".[6] According to The New York Times, her actions on the show have caused her to be the target of public disdain while having a "strange appeal".[6] One reported measure of her appeal was that she was one of the most popular celebrity Halloween costumes of 2010.[19] Polizzi's popularity on the first season of Jersey Shore, which earned her $5,000 per episode, now earns her $30,000 per episode.
While shooting in Seaside Heights, Polizzi was punched in the face by New York City school gym teacher Brad Ferro.[20][21] The punch, while shown in previews, was blacked out during showings of the episode. Videos of the punch went viral on YouTube and were featured in many news media. After the punch was made public, Polizzi's appearance fees increased from $2,000 per event to $10,000 per event.[22][23][24]
In 2011, Polizzi and her Jersey Shore costar, Jennifer Farley, signed a contract to star in a spin-off show, Snooki & Jwoww, which premiered on MTV in June 2012. The first season followed Polizzi and Farley moving in together,[25][26] and they describe their show like a modern-day Laverne & Shirley.[27] 495 Productions filmed the first season over the course of six weeks, at a former two-story firehouse located near Grove and Mercer Streets in Jersey City, New Jersey.[28] The second season relocated to the stars' actual permanent residences and began airing on January 8, 2013. This season had an expanded one-hour episode format. The March 2012 confirmation of Polizzi's pregnancy raised speculation as to how the creative direction of her spin-off would be affected, as she would be unable to engage in the "hard-partying, booze-swilling" antics that had previously garnered high ratings for MTV.[29][30][31][32]
Other television appearances
Polizzi was a presenter at the 2010 CMT Music Awards.[33] On July 27, 2010, the cast of Jersey Shore appeared at the New York Stock Exchange, and Polizzi rang the opening bell.[34] Polizzi and the cast of Jersey Shore appeared at the 2010 MTV Video Music Awards on September 12, 2010.[35] Polizzi also appeared on TLC's Cake Boss episode "Snookie, Super Anthony & a Ship" on November 8, 2010, in which she orders a cake for her mom. On November 7, 2010, Polizzi appeared at the MTV Europe Music Awards in Madrid, Spain. She was subsequently parodied in the South Park episode "It's a Jersey Thing", and is frequently parodied on Saturday Night Live by actor Bobby Moynihan.[episode needed] She also hosted the New Year's Eve special MTV's Club New Year's Eve 2013, with Jwoww and Jeff Dye, on December 31, 2012 from Times Square, to ring in 2013.
On September 4, 2013, it was announced on Good Morning America that Snooki would participate on the 17th season of Dancing with the Stars, partnered with newcomer Sasha Farber.[36] They were eliminated on October 28, 2013, coming in 8th place despite receiving good scores and comments from the judges.[citation needed] On January 28, 2016, it was announced that she is participating as a contestant on The New Celebrity Apprentice (also known as The Apprentice 15 and The Celebrity Apprentice 8).[37]
Dancing with the Stars performances (Average: 25.0):
Week # Dance/Song Judges' score Result
Inaba Goodman Tonioli
1 Cha-cha-cha / "Wild Ones" 8 8 7 No Elimination
2 Rumba / "Just Give Me a Reason" 6 7 7 Safe
3 Quickstep / "Diamonds Are a Girl's Best Friend" 9 8 8 Safe
4 Jive / "Mickey" 8 8 8 Safe
5 Jazz / "Work Bitch" 9 9 9 Safe
6 Foxtrot / "Build Me Up Buttercup"
Switch-Up Challenge / Various 9
Awarded 9
3 9
Points No Elimination
7 Samba / "Hey Mama"
Team Freestyle / "Bom Bom" 9
9 9
9 9
9 Eliminated
WWE (2011)
Polizzi made an appearance on the March 14, 2011 episode of WWE Monday Night Raw, where he had a segment with John Morrison, Vickie Guerrero and Dolph Ziggler, during the snooki segment slapping Vickie starting a feud with the couple, later at night she got into a brawl with LayCool, which led to the formation of a six-person Mixed Tag Team match at WrestleMania XXVII. Snooki made an appearance on the March 28, 2011 episode of WWE Monday Night Raw in a segment where Snooki introduces Trish Stratus to the Jersey Shore, were they started a street fight with LayCool in a bar. At Wrestlemania, Snooki and her partners Trish Stratus and John Morrison won the match.[38] On December 12, 2011 on WWE RAW, she was awarded the WWE 2011 A-Lister of the Year Slammy Award which she accepted via satellite.
In wrestling
Finishing moves
Handspring splash[38]
Signature moves
Handspring back elbow[38]
Lou Thesz press[38]
Jersey Slap (Slap)[38]
Other ventures
In January 2011, Polizzi's book, A Shore Thing, was released; it described her search for love on the boardwalk.[39] Despite a promotional campaign that included appearances by Polizzi on The View, The Ellen DeGeneres Show, Jimmy Kimmel Live!, and the Late Show with David Letterman, the book was not a sales success. It sold approximately 9,000 copies within its first month of release, during which it accumulated 16 one-star customer reviews on Amazon.com. One publishing executive said the book sold poorly because "rather than a tell-all, it was disguised as a novel."[40][41]
In April 2011, Polizzi was paid $32,000 to speak at Rutgers University. Topics she spoke about included what being a celebrity is like and what she thinks is important in school, including the advice: "Study hard, but party harder". Some students complained the school's money would have been better used on speakers other than Polizzi. Rutgers spokesman Steve Manas responded that the extension of the invitation to Polizzi resulted from canvassing by students, who indicated whom they wanted to invite. Over 1,000 people attended Polizzi's engagement.[42]
On October 25, 2011, Polizzi's second novel, Confessions of a Guidette, was released with Gallery Books. The novel was marketed as a part-memoir, part-guide of how to "rock it Jersey-style."[citation needed]
Polizzi's third novel, Gorilla Beach, was released on May 15, 2012. It is a sequel to Polizzi's first novel, A Shore Thing.[43]
In January 2012, Polizzi's Team Snooki Boxing co-promoted a cooperative venture with Final Round Promotions, a boxing card at Resorts Casino Hotel in Atlantic City, featuring Irish featherweight boxer Patrick Hyland fighting and winning in the main event before a capacity crowd. Hyland's two brothers Eddie and Paul, also boxers, appeared in preliminary bouts. The event attracted considerable publicity in the boxing press.[44]
In February 2013, Polizzi sold her customized 2011 Cadillac Escalade EXT on eBay for $77,510, earning her $15,000 more than what a standard 2011 Escalade EXT with similar mileage would cost. The pickup truck was customized with hot-pink grilles, wheels, and badges, wrapped in black vinyl lizard skin, and leopard-print floor mats.[45]
Legal troubles
On July 30, 2010, Polizzi was arrested in Seaside Heights, New Jersey for disturbing the peace, disorderly conduct, and criminal annoyance of others. In a September 8 plea bargain in which the latter two charges were dropped, Judge Damian G. Murray sentenced her to a $500 fine and community service. In handing down the sentence, he characterized Polizzi as "a Lindsay Lohan wannabe".[46] Her arrest was taped during production of season three of Jersey Shore.
On May 31, 2011 in Florence, Italy, Polizzi was briefly taken into custody by local police after the car she was driving collided with a parked traffic police car. According to Italian police, Polizzi was cited and released. Two police officers sustained minor injuries.[47]
In late 2011, Polizzi sued SRG Ventures, a licensing company she had signed with a year earlier to bring out Snooki-branded merchandise such as watches, shoes, lingerie, and school supplies, for breach of contract. She alleged the company had failed to adequately seek such licensing opportunities. The company countersued, alleging she and her manager had undermined its efforts by negotiating directly with manufacturers and delaying their decisions.[48]
Wat ik wil is muziek mensen gunnen mij dit niet
Heb de kracht als mc machtige kansen zie
Duivels binnen in zitten vol haat
Zeer slecht en duister en het maakt mij kwaad
Een Rapper die ervoor gaat door haters gehaat
Er wordt geroepen dat ik stoppen moet of dood moet
Denk maar niet dat dit wat met mij doet
Rap alleen maar vuur niet voor korte duur
Heb het met alles en iedereen gehad
Fuck Dat!
[Hook]
Want ik ben rapper
Krachtige lyrics heb muziek maken doet goed het leven ermee voed
Ill be back met deze Rap
Yeahhh want ik ben Rapper Yeah!....
[Verse 2]
Voel steeds ontevredenheid ongeduldig maar ben niet de weg kwijt!
Het is waar wat ik Rap
Dit is geen grap er is maar 1 weg dat is mijn weg!
Vind geen rust niks stelt mij gerust
Een nieuwe start met teksten schrijven nu gemaakt
Nu groot als rapper open ogen en geest
Zonder geloof was ik nu nergens geweest!
[Hook]
Want ik ben rapper
Krachtige lyrics heb muziek maken doet goed het leven ermee voed
Ill be back met deze Rap
Yeahhh want ik ben Rapper Yeah!....
[Verse 2]
Streef naar mijn eigen doelen wat zou ik zijn als Rapper die niks voor zichzelf doet
Vraag mijzelf af, Van wat? Als ik dit had!
Of wat als ik dit was?
Emotioneel ben veel
Respect verdien
Krachtige lyrics heb
Freestyle Rap Artiest zijn goed bevat
Het Podium is mijn thuis beter
Spit dat al die tegenwoordige shit
Betere skills heb
[Hook]
Want ik ben rapper
Krachtige lyrics heb muziek maken doet goed het leven ermee voed
Ill be back met deze Rap
Yeahhh want ik ben Rapper Yeah!....
[Verse 3]
Ga je mij sarcastisch zien geen respect bij jou verdien
Gelukkig anders ben dan hen Damm!!
Genoeg inspiratie heb om hoog te komen als mij
Mijzelf bevrijden voor diegene die ik niet wou zijn
Gefocust naar de toekomst met een scherpe blik
[Hook]
Want ik ben rapper
Krachtige lyrics heb muziek maken doet goed het leven ermee voed
Ill be back met deze Rap
Yeahhh want ik ben Rapper Yeah!....
[Verse 4]
Een Rapper ben je niet zoo even
Als kind altijd gewilt
Lange dagen werden maanden
Jaren, nu nog steeds vastberaden
Maak deals in de muziekbusiness als het moet ben ik kil
En ik weet wat ik will
Met laat inspireren met Labels concurreren
Een Rapper die scoort muziek als goud hoort
Adrenaline stroomt door mijn bloed
Tijdens punchout battles winnen moet
Soo What?
I'm a Rapper Fuck That
[Hook]
Want ik ben rapper
Krachtige lyrics heb muziek maken doet goed het leven ermee voed
Ill be back met deze Rap
Yeahhh want ik ben Rapper Yeah!....
Baby, I'mma be straight up
Don’t waste no time
I know you ain't my, you ain't my baby
Do you think about us
Do I cross your mind anytime
I know that you, you’re taken
It’ll never change
Cuz it’s always been that way
But you know that you
Can’t fake it
He can’t give you what I got here right now
Girl, I know what you want
No phones, we ain’t even gotta talk
Next time that he leave you all alone
I’m gon’ come through, replace him
I’m gon' watch you
Get naked
I’m gon' tell you
Girl take it
Next time that he leave you all alone
I’ll give you all the love he did not
I’m about to take his spot
Let your man know that
Mr. Steal Your Loli is back
So let your man know that
Mr. Steal Your Loli is back, back
Baby, let me tell you what’s up
I don’t trust that nigga, fuck that nigga
Stop bringing him up
Baby, I ain't never gave no fucks
One fuck’s too much, unless you’re talking about us
But I know that you taken
It’ll never change
Cuz it’s always been that way
But you know that you
Can’t fake it
He can’t give you what I got here right now
Girl, I know what you want
No phones, we ain’t even gotta talk
Next time that he leave you all alone
I’m gon’ come through, replace him
I’m gon' watch you
Get naked
I’m gon' tell you
Girl take it
Next time that he leave you all alone
I’ll give you all the love he did not
I’m about to take his spot
Let your man know that
Mr. Steal Your Loli is back
So let your man know that
Mr. Steal Your Loli is back
I’m back
I’m gonna watch you get naked
I’ma tell you to take it
Let your man know that
Mr. Steal Your Loli is back
So let your man know that
Mr. Steal Your Loli is back
I'm back
Lolicon (ロリコン rorikon), also romanized as lolikon or rorikon, is Japanese discourse or media focusing on the attraction to young or prepubescent girls. The term lolicon is a portmanteau of the phrase "Lolita complex";[1] it describes an attraction to young or prepubescent girls, an individual with such an attraction, or lolicon manga or lolicon anime, a genre of manga and anime wherein childlike female characters are often depicted in an "erotic-cute" manner (also known as ero kawaii), in an art style reminiscent of the shōjo manga (girls' comics) style.[2][3][4][5]
Outside Japan, lolicon is in less common usage and usually refers to the genre. The term 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 childlike characters. Parent and citizens groups in Japan have organized to work toward stronger controls and stricter laws governing lolicon manga and other similar media. Studies of lolicon fans state that they 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]
Contents [hide]
1 Definition and scope
2 Genre characteristics and meaning outside Japan
3 History
3.1 Origin
3.2 1980s–2000s
3.3 2010s–present
4 Controversy
5 See also
5.1 Japanese culture
5.2 Legal aspects
6 References
7 Further reading
8 External links
Definition and scope[edit]
Generally, manga and anime featuring lolicon include sexual attraction to younger girls or to girls with youthful characteristics. Individuals in each group respond sexually to visual images of children and young people in distinct and narrow age ranges.[clarification needed][10] Manga and anime featuring lolicon contain images and narratives involving romantic and erotic interactions between typically an adult man and a girl in the age range desired by such men.[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 widespread in Japan, where it is a frequent subject of scholarly articles and criticism.[11] Lolicon anime and manga are typically consumed by young men.[12] Many general bookstores and newsstands openly offer illustrated lolicon material, but there has also been police action against lolicon manga.[11]
The kawaii (cute) and ero kawaii (erotic-cute) style is extremely popular in Japan, where it is present in many of the manga/anime styles.[13] The school-age girl in a school uniform is also an erotic symbol in Japan.[14] Burusera shops cater to men with lolicon complexes by selling unwashed panties, men can make dates with teenagers through terekura (telephone clubs),[15] and some schoolgirls moonlight as prostitutes.[16] 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".[17]
Genre characteristics and meaning outside Japan[edit]
Lolicon manga are usually short stories, published as dōjinshi (fan works) or in magazines specializing in the genre such as Lemon People,[18] Manga Burikko[19][20] and Comic LO (where "LO" is an abbreviation for "Lolita Only").[21] 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 erotic genres, such as crossdressing and futanari.[11] Plot devices are often used to explain the young appearance for many of the characters.[22] 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".[18] Akagi identifies subgenres within lolicon of sadomasochism, "groping objects" (tentacles and robots in 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.[18] According to Dinah Zank, lolicon is "rooted in the glorification of girls culture in Japan", and therefore uses shōjo manga vocabulary.[23] The lolicon style borrows from shōjo manga designs and has also been influenced by women creating pornographic materials for men.[24]
According to Michael Darling, female manga artists who draw lolicon material include Chiho Aoshima (The red-eyed tribe billboard),[25] Aya Takano (Universe Dream wall painting).,[26] and Kaworu Watashiya (who created Kodomo no Jikan; was interpreted as a lolicon work by Jason DeAngelis.[27]) 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 which arouses "pedophiliac desires" among men.[28]
The meaning of lolicon has evolved much in the Western world, as have words like anime, otaku and hentai.[29] "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 childlike characters who are not clearly prepubescent and if it applies to material lacking explicit sexual content.[17][29][30]
History[edit]
Origin[edit]
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.[31] 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.[22] 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.[32] The shortening of the term to "lolicon" came later.[22] 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.[22][33] 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.[18] Helen McCarthy suggests that the roots of 'lolikon' anime lie in the magical girl genre, where the lines between young girls and adult women become blurred.[3]
1980s–2000s[edit]
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.[22][34] 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.[35] 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".[14][23] 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.[22][36]
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.[37]
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.[38] 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"[39] and he was executed by hanging for his crimes on June 17, 2008.[40]
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".[35] In the aftermath, the Japanese non-profit organization CASPAR was founded with the goal of campaigning for regulation of lolicon.[22][41]
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.[41] Despite media speculation, it was found that the murderer, Kaoru Kobayashi, seldom had interest in manga, games, or dolls.[42] He claimed, however, that he had become interested in small girls after watching an animated pornographic video as a high school student.[43] He was sentenced to death by hanging.
2010s–present[edit]
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.[44][45] This proposal was criticised by many manga artists,[46] and opposed by the Democratic Party of Japan.[47] The bill was put on hold until June of that year,[48][49] where after some amendments, including changing the text for "nonexistent youths" to "depicted youths".[50][51] However, in spite of the changes, the bill was rejected by the Tokyo Metropolitan Assembly in June.[52]
A revised edition was presented in November that year to the Tokyo Metropolitan Assembly, 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'".[53] 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.[54] It was approved in December and took full effect in July 2011;[55][56][57][58] however, the bill does not regulate mobile sites or downloaded content and is only intended for publications such as books and DVDs.[59] 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".[60] It was later published online by J-Comi.[61] On August 25, 2011, Japan's Liberal Democratic Party submitted a petition requesting stricter laws on child pornography, which included animated child pornography, however no action took place as a result of the petition.[62][63] On May 27, 2013, a revised child pornography law was introduced by the Liberal Democratic Party, the New Komei Party and the Japan Restoration Party that would make possession of sexual images of individuals under 18 illegal with a fine of 1 million yen (about US$10,437) and less than a year in jail.[64] The Japanese Democratic Party,[65] along with several industry associations involved in anime and manga, had protested against the bill saying "while they appreciate that the bill protects children, it will also restrict freedom of expression".[66][67] Manga creator and artist Ken Akamatsu has gone on to say that "There is also no scientific evidence to prove that so-called 'harmful media' increases crime".[68] The bill was not rejected and remained in a stalemate situation until June 2014, when it went forward with the removal of lolicon anime/manga from the bill.[69][70] The law was put into full effect the following year banning real life child pornography.[71]
Controversy[edit]
See also: Legal status of drawn 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.[11][72] A Japanese non-profit organization called CASPAR has claimed that lolicon and other anime magazines and games encourage sex crimes.[41] According to Galbraith, Yasushi Takatsuki has noted that sexual abuse of minors in Japan has declined since the 1960s and 1970s, 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.[18] 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.[73][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".[17] 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.[18]
Lolicon manga has been and is marketed to both boys and men.[24] Sharon Kinsella wrote that lolicon manga was a late 1980s outgrowth of girls' manga,[31] which included yaoi and parodies of boys' and adult manga.[74] 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.[31] 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"[31] 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.[75]
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 focusing 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]
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 idolized, according to The Otaku Encyclopedia, "as pets".[22]
Jeugd en opleiding[bewerken]
Vonk bezocht in Dordrecht het Titus Brandsmacollege.[1] Hij studeerde biologie aan de Universiteit Leiden en specialiseerde zich in de evolutiebiologie van reptielen. In 2006 werd een artikel waarvan hij medeauteur is gepubliceerd in Nature.[2] In 2007 schreef Vonk voor Litteratura Serpentium zijn eerste eigen wetenschappelijke artikel en werd hij genomineerd voor de Academische Jaarprijs.[3]
In 2008 kreeg Vonk een Toptalentbeurs van de Nederlandse Organisatie voor Wetenschappelijk Onderzoek waarmee hij zijn promotieonderzoek financierde.[4] Vonk promoveerde in september 2012 aan de Universiteit Leiden op het proefschrift Snake evolution and prospecting of snake venom.[5]
Mediacarrière[bewerken]
Tijdens zijn studie verscheen Vonk veelvuldig in de media, bijvoorbeeld in de programma's De Wereld Draait Door, GIEL en Vroege Vogels. Daarnaast schreef hij columns voor onder andere Sp!ts en KIJK.
Freek Vonk maakte en presenteerde vanaf 2012 diverse televisieprogramma's voor National Geographic en Discovery Channel.[6] Vanaf januari 2012 zond de VPRO in Villa Achterwerk de serie Freek op safari uit.[7] Daarna volgen Freek in 't Wild (2012/2013) en Freeks Wilde Wereld (2014/2015/2016). Op 15 oktober 2015 won hij met "Freeks Wilde Wereld" de Gouden Stuiver, een televisieprijs voor beste kinderprogramma.
Ook maakte Freek voor BNN In 2014 de serie Freek Vonk in Australië, Freek Vonk in Latijns-Amerika en in 2016 de vierdelige documentaireserie Freek Tegen De Stropers[8]
In 2016 presenteerde Freek Vonk samen met presentatrice Evi Hanssen De Super Freek Show.
In december 2014 gaf hij op televisie een hoorcollege in de reeks DWDD University met als onderwerp gif, waar ongeveer 1,5 miljoen mensen naar keken.[9] In 2016 krijgt dit een vervolg met een college over evolutie.
In 2014 voerde hij ook een actie onder de noemer Tientje voor T. rex om een skelet van een tyrannosaurus dat Leidse onderzoekers hadden ontdekt in de Verenigde Staten, in de collectie van het museum Naturalis te krijgen.[10] In 2016 is de T-rex, genaamd Trix, dan ook in Naturalis te bewonderen.
In 2017 werd Freek gebeten door een rifhaai tijdens opnamen voor het tv-programma Freek naar de Haaien.[11][12]
Naast zijn televisieprogramma's heeft Freek ook zijn eigen tijdschrift, Wild van Freek, een vier-wekelijkse uitgave. In het tijdschrift liften kinderen mee in Freeks rugzak naar onbereikbare plekken en staan oog in oog met de wilde dieren die hij tijdens zijn reizen tegenkomt. Het magazine geeft een uniek kijkje in het leven van Freek.
Eenmaal per jaar geeft Freek meerdere shows in AFAS Live (voorheen Heineken Music Hall, Amsterdam) onder de titel “Freek Vonk Live”. Het begon met “Freeks Wilde Wereld Live” (2014), “Freeks Wilde Avonturen” (2015 – 6 shows), “Freek Vonk Live: van Dino tot Dolfijn” (2016 – 8 shows) en in december 2017 volgt “Freek Vonk Live: Op Wereldreis”.
Wetenschappelijke carrière[bewerken]
Naast zijn werk als presentator was Vonk tussen september 2012 en maart 2014 verbonden aan de Bangor University in Wales waar hij, binnen de werkgroep moleculaire biologie en evolutie, onderzoek deed naar de koningscobra. Sinds september 2014 is hij werkzaam bij Naturalis in Leiden, waar hij onderzoek doet naar het genoom van de Maleise mocassinslang en de koningscobra.[13]
All Comments (11) Comments
Inhoud
1 Achtergrond
2 Personages
3 Boeken
4 Andere media
5 Prijzen
6 In andere talen
7 Externe links
Achtergrond
De verhalen draaien om een jongen, Dolfje Spaan genaamd, die, als hij zeven jaar wordt, ontdekt dat hij een weerwolf is. Paul van Loon bedacht dit personage reeds in 1994 voor een lied van de griezel CD van VOF de Kunst, alvorens in 1996 er een boek over te schrijven.
Dolfje woont bij de familie Vriends, bestaande uit vader Willem, moeder Jasmijn, en hun zoon Timmie. Hij is op zijn derde door hen in huis genomen omdat zijn echte ouders hem in de steek hadden gelaten toen ze ontdekten dat hij een weerwolf zou worden. Dit zit in zijn familie, maar slaat altijd een generatie over. Dolfjes grootvader is ook een weerwolf, maar zijn ouders zijn dat niet. De familie Vriends kent Dolfjes geheim, maar accepteert hem desondanks, vooral omdat Willem Vriends enorm van anders houdt. Elke maand verandert Dolfje gedurende drie nachten op rij in een weerwolf; bij Volle Maan, de avond daarvoor, en de avond erna.
Personages
Dolfje Spaan
de hoofdpersoon in de serie. Dolfje is een jongen van 7 jaar oud. Kenmerkend aan Dolfje is zijn witte haar, wat erin resulteert dat hij als weerwolf altijd een witte vacht heeft, en zijn bril, die hij ook in weerwolfgedaante nog steeds op heeft.
Timmie Vriends
Timmie is Dolfjes pleegbroer en beste vriend. Hij is een jaar ouder dan Dolfje en vergezelt hem geregeld op zijn avonturen.
Willem Vriends
Dolfjes pleegvader. Hij houdt enorm van alles wat anders is; iets wat goed te merken is aan zijn vaak absurde kledingkeuzes en hoofddeksels. Het liefst zou hij ook een weerwolf zijn.
Jasmijn Vriends
Dolfjes pleegmoeder. In het boek Boze drieling leert ze vechten met een bezem; iets dat haar regelmatig goed van pas komt.
Opa Weerwolf
Dolfjes grootvader. In tegenstellig tot de andere weerwolven in de serie is hij permanent een weerwolf, ook als het geen volle maan is. Hij draagt meestal een lange jas en hoed, en loopt met een wandelstok. Zijn weerwolfnaam is ‘Grimbaard’. Hij woont in het weerwolvenbos en leert Dolfje veel over hoe het is om een weerwolf te zijn.
Leo
Dolfjes oudere neef, die met volle maan altijd verandert in een reusachtige en sterke weerwolf. Hij heeft een zwaar spraakgebrek waardoor hij erg vreemd praat. Net als Opa woont hij in het weerwolvenbos.
Noura
een meisje uit Dolfjes klas. In het boek Volle maan ontdekt ze Dolfjes geheim en wordt per ongeluk door hem gebeten. Vanaf dat moment is ook zij een weerwolf en trekt ze er geregeld samen met Dolfje op uit. Ze houdt het feit dat ze weerwolf is, verborgen voor haar eigen ouders.
Mevrouw Krijtjes
de oudere buurvrouw van de familie Vriends, die juist een hekel heeft aan weerwolven. In het eerste boek ontdekt ze Dolfjes geheim en probeert hem aan te geven bij het Opvangcentrum voor Zeldzame Dieren en Mensen (OZDM), maar wordt uiteindelijk zelf door het OZDM meegenomen. Ze keert weer terug in Boze drieling, waarin ze samen met haar twee zussen probeert alle Weerwolven uit te roeien. In dit boek bijt Dolfje haar waardoor ze ook een weerwolf wordt. Nadat ze in Weerwolfbende vervolgens ook nog gebeten wordt door vampier Valentijn verandert ze in een weerpier; een weerwolf-vampier hybride.
Valentijn
een vampierjongen die Dolfje voor het eerst ontmoet in Zilvertand, wanneer ze beiden gevangen worden door een monsterjager. Hij is vaak arrogant, al komt dat vooral vanwege zijn eenzaamheid. Nadat Dolfje en zijn familie hem helpen ontsnappen, beschouwt hij zichzelf als Dolfjes vriend en maakt nog een paar keer zijn opwachting in de serie, al is Dolfje niet altijd even blij hem te zien.
Moema
Dolfjes grootmoeder. Ze runt een weeshuis voor weerwolfkinderen in de Ardennen, samen met de vampier Armando.
Boeken
Reguliere reeks
Dolfje Weerwolfje (1996)
Volle maan (1999)
Zilvertand (2001)
Weerwolvenbos (2003)
Boze drieling (2005)
Weerwolvenfeest (2006)
Weerwolfgeheimen (2007)
Dolfje Sneeuwwolfje (2008)
Een weerwolf in de leeuwenkuil (2009; een cross-over met De leeuwenkuil, een andere boekenreeks van Paul van Loon)
Weerwolfbende (2010)
SuperDolfje (2011)
Weerwolf(n)achtbaan (2012)
Weerwolfhooikoorts (2013)
Een miniheks in het Weerwolvenbos (2014; een cross-over met Foeksia de miniheks, een andere boekenreeks van Paul van Loon))
MeerMonster (2014)
Weerwolvensoep (2015)
Weerwolfbommetje! (2016)
Maanmysterie (2016)
Speciale boeken
Het nachtmerrieneefje (dun boek speciaal voor beginnende lezers, 2004)
Dolfjes dolle vollemaannacht (prentenboek, 2005)
Niet bijten, Dolfje (dun boek speciaal voor beginnende lezers, 2005)
Weerwolvenfeest (met CD) (2006)
Dolfje sneeuwwolfje (raamvertelling waarin Niet bijten, Dolfje en Het nachtmerrieneefje zijn opgenomen)
Pak me dan! (Boek voor beginnende lezers i.s.m. Zwijsen)
Lief Weerwolfdagboek (dagboek van Dolfjes vriendin Noura) (2012)
Dolfje Weerwolfje Stripboek (2013)
Andere media
Vanaf april 2009 verschijnt elke twee maanden het tijdschrift Dolfje Weerwolfje.
Rondom de boekenreeks bestaat inmiddels een uitgebreide merchandising, waaronder knuffels.
Theatergroep Theater Terra maakte een musical rond de serie. Deze werd in 2004 genomineerd voor de John Kraaijkamp Musical Award voor de beste kleine musical en voor de beste vrouwelijke hoofdrol (Annick Boer).
In 2010 maakten theatergroep Theater Terra en Olbe Produkties een tweede musical: Nieuwe avonturen met Dolfje Weerwolfje.
Op 30 november 2011 verscheen de speelfilm Dolfje Weerwolfje in de bioscopen, geregisseerd door Joram Lürsen met in de hoofdrollen Ole Kroes, Kim van Kooten en Joop Keesmaat. Dolfje Weerwolfje trok meer dan 100.000 bezoekers en werd door het Nederlandse Filmfonds uitgeroepen tot Gouden Film.
Prijzen
In 1998 won Dolfje Weerwolfje de Prijs van de Nederlandse Kinderjury in de leeftijdscategorie 6 t/m 9 jaar en de Tip van de Nederlandse Kinderjury in de leeftijdscategorie 10 t/m 12 jaar.
In 2000 won Volle maan de Prijs van de Nederlandse Kinderjury in de leeftijdscategorie 6 t/m 9 jaar.
In 2004 won Weerwolvenbos de Prijs van de Nederlandse Kinderjury in de leeftijdscategorie 6 t/m 9 jaar.
In 2006 won Boze drieling de Prijs van de Nederlandse Kinderjury in de leeftijdscategorie 6 t/m 9 jaar.
In 2008 won Weerwolfgeheimen de Prijs van de Nederlandse Kinderjury in de leeftijdscategorie 6 t/m 9 jaar.
In 2011 werd Dolfje Weerwolfje door kinderen tussen 4 en 14 jaar uitgeroepen tot de grootste kinderboekenheld.
In andere talen
Behalve in het Nederlands zijn de boeken van Dolfje Weerwolfje ook in andere talen uitgegeven, onder de volgende namen:
Spaans: Jacobo Lobo
Duits: Rölfchen Werwolf (oorspronkelijke uitgave) en Viktor Werwolf (meest recente uitgave)
Engels: Alfie the Werewolf
Fins en Zweeds: Uffe varulv
Frans: Alfie le petit loup
Italiaans, Japans en Kroatisch: Dolfi
Koreaans: Gong-Po-Bus
Contents [hide]
1 Personal life
2 Career
2.1 Reality television
2.2 Other television appearances
2.3 WWE (2011)
2.3.1 In wrestling
2.4 Other ventures
3 Legal troubles
4 Filmography
5 Awards and nominations
6 References
7 External links
Personal life
Polizzi was born in Santiago, Chile.[6] She was adopted when she was six months old and was raised by Italian-American parents.[7] Polizzi's father is a volunteer firefighter and auto-salvage supervisor, and her mother is an office manager.[8] Polizzi lives in Florham Park, New Jersey.[1]
Polizzi received her nickname, Snooki, in middle school, when her friends named her after "Snookie", a male character in Save the Last Dance, because she was the first of her friends to kiss a boy.[9] She grew up and attended school in Marlboro, New York, where she was a cheerleader.[6] During high school, she suffered from an eating disorder, at one point weighing 80 pounds (36 kg).[10] Polizzi attended community college after graduating from Marlboro High School, where she studied to become a veterinary technician.[6]
In March 2012, Polizzi announced her engagement to Jionni LaValle.[2][11] Polizzi gave birth to the couple's first child, Lorenzo Dominic LaValle, on August 26, 2012.[12]
Polizzi appeared on the front page of the March 2013 issue of Us Weekly, claiming to have lost 42 pounds post pregnancy.[13]
Her second child, Giovanna Marie LaValle, was born September 26, 2014, weighing in at 6lbs 7oz.[14]
On November 29, 2014, Polizzi married Jionni LaValle.[15]
In October 2016, Polizzi announced she had had a breast augmentation to obtain a C cup.[16]
Career
Reality television
MTV first introduced Polizzi in Is She Really Going Out with Him?,[17] a show that focused on women dating obnoxious or arrogant men. Polizzi and her boyfriend, Justin, appeared in episode 14, "Jerz Pud".[18]
Polizzi became part of the reality TV series Jersey Shore after being scouted by the casting director, Josh Allouche, an employee of Doron Ofir Casting. The New York Times identified her as "the breakout member of the cast".[6] According to The New York Times, her actions on the show have caused her to be the target of public disdain while having a "strange appeal".[6] One reported measure of her appeal was that she was one of the most popular celebrity Halloween costumes of 2010.[19] Polizzi's popularity on the first season of Jersey Shore, which earned her $5,000 per episode, now earns her $30,000 per episode.
While shooting in Seaside Heights, Polizzi was punched in the face by New York City school gym teacher Brad Ferro.[20][21] The punch, while shown in previews, was blacked out during showings of the episode. Videos of the punch went viral on YouTube and were featured in many news media. After the punch was made public, Polizzi's appearance fees increased from $2,000 per event to $10,000 per event.[22][23][24]
In 2011, Polizzi and her Jersey Shore costar, Jennifer Farley, signed a contract to star in a spin-off show, Snooki & Jwoww, which premiered on MTV in June 2012. The first season followed Polizzi and Farley moving in together,[25][26] and they describe their show like a modern-day Laverne & Shirley.[27] 495 Productions filmed the first season over the course of six weeks, at a former two-story firehouse located near Grove and Mercer Streets in Jersey City, New Jersey.[28] The second season relocated to the stars' actual permanent residences and began airing on January 8, 2013. This season had an expanded one-hour episode format. The March 2012 confirmation of Polizzi's pregnancy raised speculation as to how the creative direction of her spin-off would be affected, as she would be unable to engage in the "hard-partying, booze-swilling" antics that had previously garnered high ratings for MTV.[29][30][31][32]
Other television appearances
Polizzi was a presenter at the 2010 CMT Music Awards.[33] On July 27, 2010, the cast of Jersey Shore appeared at the New York Stock Exchange, and Polizzi rang the opening bell.[34] Polizzi and the cast of Jersey Shore appeared at the 2010 MTV Video Music Awards on September 12, 2010.[35] Polizzi also appeared on TLC's Cake Boss episode "Snookie, Super Anthony & a Ship" on November 8, 2010, in which she orders a cake for her mom. On November 7, 2010, Polizzi appeared at the MTV Europe Music Awards in Madrid, Spain. She was subsequently parodied in the South Park episode "It's a Jersey Thing", and is frequently parodied on Saturday Night Live by actor Bobby Moynihan.[episode needed] She also hosted the New Year's Eve special MTV's Club New Year's Eve 2013, with Jwoww and Jeff Dye, on December 31, 2012 from Times Square, to ring in 2013.
On September 4, 2013, it was announced on Good Morning America that Snooki would participate on the 17th season of Dancing with the Stars, partnered with newcomer Sasha Farber.[36] They were eliminated on October 28, 2013, coming in 8th place despite receiving good scores and comments from the judges.[citation needed] On January 28, 2016, it was announced that she is participating as a contestant on The New Celebrity Apprentice (also known as The Apprentice 15 and The Celebrity Apprentice 8).[37]
Dancing with the Stars performances (Average: 25.0):
Week # Dance/Song Judges' score Result
Inaba Goodman Tonioli
1 Cha-cha-cha / "Wild Ones" 8 8 7 No Elimination
2 Rumba / "Just Give Me a Reason" 6 7 7 Safe
3 Quickstep / "Diamonds Are a Girl's Best Friend" 9 8 8 Safe
4 Jive / "Mickey" 8 8 8 Safe
5 Jazz / "Work Bitch" 9 9 9 Safe
6 Foxtrot / "Build Me Up Buttercup"
Switch-Up Challenge / Various 9
Awarded 9
3 9
Points No Elimination
7 Samba / "Hey Mama"
Team Freestyle / "Bom Bom" 9
9 9
9 9
9 Eliminated
WWE (2011)
Polizzi made an appearance on the March 14, 2011 episode of WWE Monday Night Raw, where he had a segment with John Morrison, Vickie Guerrero and Dolph Ziggler, during the snooki segment slapping Vickie starting a feud with the couple, later at night she got into a brawl with LayCool, which led to the formation of a six-person Mixed Tag Team match at WrestleMania XXVII. Snooki made an appearance on the March 28, 2011 episode of WWE Monday Night Raw in a segment where Snooki introduces Trish Stratus to the Jersey Shore, were they started a street fight with LayCool in a bar. At Wrestlemania, Snooki and her partners Trish Stratus and John Morrison won the match.[38] On December 12, 2011 on WWE RAW, she was awarded the WWE 2011 A-Lister of the Year Slammy Award which she accepted via satellite.
In wrestling
Finishing moves
Handspring splash[38]
Signature moves
Handspring back elbow[38]
Lou Thesz press[38]
Jersey Slap (Slap)[38]
Other ventures
In January 2011, Polizzi's book, A Shore Thing, was released; it described her search for love on the boardwalk.[39] Despite a promotional campaign that included appearances by Polizzi on The View, The Ellen DeGeneres Show, Jimmy Kimmel Live!, and the Late Show with David Letterman, the book was not a sales success. It sold approximately 9,000 copies within its first month of release, during which it accumulated 16 one-star customer reviews on Amazon.com. One publishing executive said the book sold poorly because "rather than a tell-all, it was disguised as a novel."[40][41]
In April 2011, Polizzi was paid $32,000 to speak at Rutgers University. Topics she spoke about included what being a celebrity is like and what she thinks is important in school, including the advice: "Study hard, but party harder". Some students complained the school's money would have been better used on speakers other than Polizzi. Rutgers spokesman Steve Manas responded that the extension of the invitation to Polizzi resulted from canvassing by students, who indicated whom they wanted to invite. Over 1,000 people attended Polizzi's engagement.[42]
On October 25, 2011, Polizzi's second novel, Confessions of a Guidette, was released with Gallery Books. The novel was marketed as a part-memoir, part-guide of how to "rock it Jersey-style."[citation needed]
Polizzi's third novel, Gorilla Beach, was released on May 15, 2012. It is a sequel to Polizzi's first novel, A Shore Thing.[43]
In January 2012, Polizzi's Team Snooki Boxing co-promoted a cooperative venture with Final Round Promotions, a boxing card at Resorts Casino Hotel in Atlantic City, featuring Irish featherweight boxer Patrick Hyland fighting and winning in the main event before a capacity crowd. Hyland's two brothers Eddie and Paul, also boxers, appeared in preliminary bouts. The event attracted considerable publicity in the boxing press.[44]
In February 2013, Polizzi sold her customized 2011 Cadillac Escalade EXT on eBay for $77,510, earning her $15,000 more than what a standard 2011 Escalade EXT with similar mileage would cost. The pickup truck was customized with hot-pink grilles, wheels, and badges, wrapped in black vinyl lizard skin, and leopard-print floor mats.[45]
Legal troubles
On July 30, 2010, Polizzi was arrested in Seaside Heights, New Jersey for disturbing the peace, disorderly conduct, and criminal annoyance of others. In a September 8 plea bargain in which the latter two charges were dropped, Judge Damian G. Murray sentenced her to a $500 fine and community service. In handing down the sentence, he characterized Polizzi as "a Lindsay Lohan wannabe".[46] Her arrest was taped during production of season three of Jersey Shore.
On May 31, 2011 in Florence, Italy, Polizzi was briefly taken into custody by local police after the car she was driving collided with a parked traffic police car. According to Italian police, Polizzi was cited and released. Two police officers sustained minor injuries.[47]
In late 2011, Polizzi sued SRG Ventures, a licensing company she had signed with a year earlier to bring out Snooki-branded merchandise such as watches, shoes, lingerie, and school supplies, for breach of contract. She alleged the company had failed to adequately seek such licensing opportunities. The company countersued, alleging she and her manager had undermined its efforts by negotiating directly with manufacturers and delaying their decisions.[48]
Heb de kracht als mc machtige kansen zie
Duivels binnen in zitten vol haat
Zeer slecht en duister en het maakt mij kwaad
Een Rapper die ervoor gaat door haters gehaat
Er wordt geroepen dat ik stoppen moet of dood moet
Denk maar niet dat dit wat met mij doet
Rap alleen maar vuur niet voor korte duur
Heb het met alles en iedereen gehad
Fuck Dat!
[Hook]
Want ik ben rapper
Krachtige lyrics heb muziek maken doet goed het leven ermee voed
Ill be back met deze Rap
Yeahhh want ik ben Rapper Yeah!....
[Verse 2]
Voel steeds ontevredenheid ongeduldig maar ben niet de weg kwijt!
Het is waar wat ik Rap
Dit is geen grap er is maar 1 weg dat is mijn weg!
Vind geen rust niks stelt mij gerust
Een nieuwe start met teksten schrijven nu gemaakt
Nu groot als rapper open ogen en geest
Zonder geloof was ik nu nergens geweest!
[Hook]
Want ik ben rapper
Krachtige lyrics heb muziek maken doet goed het leven ermee voed
Ill be back met deze Rap
Yeahhh want ik ben Rapper Yeah!....
[Verse 2]
Streef naar mijn eigen doelen wat zou ik zijn als Rapper die niks voor zichzelf doet
Vraag mijzelf af, Van wat? Als ik dit had!
Of wat als ik dit was?
Emotioneel ben veel
Respect verdien
Krachtige lyrics heb
Freestyle Rap Artiest zijn goed bevat
Het Podium is mijn thuis beter
Spit dat al die tegenwoordige shit
Betere skills heb
[Hook]
Want ik ben rapper
Krachtige lyrics heb muziek maken doet goed het leven ermee voed
Ill be back met deze Rap
Yeahhh want ik ben Rapper Yeah!....
[Verse 3]
Ga je mij sarcastisch zien geen respect bij jou verdien
Gelukkig anders ben dan hen Damm!!
Genoeg inspiratie heb om hoog te komen als mij
Mijzelf bevrijden voor diegene die ik niet wou zijn
Gefocust naar de toekomst met een scherpe blik
[Hook]
Want ik ben rapper
Krachtige lyrics heb muziek maken doet goed het leven ermee voed
Ill be back met deze Rap
Yeahhh want ik ben Rapper Yeah!....
[Verse 4]
Een Rapper ben je niet zoo even
Als kind altijd gewilt
Lange dagen werden maanden
Jaren, nu nog steeds vastberaden
Maak deals in de muziekbusiness als het moet ben ik kil
En ik weet wat ik will
Met laat inspireren met Labels concurreren
Een Rapper die scoort muziek als goud hoort
Adrenaline stroomt door mijn bloed
Tijdens punchout battles winnen moet
Soo What?
I'm a Rapper Fuck That
[Hook]
Want ik ben rapper
Krachtige lyrics heb muziek maken doet goed het leven ermee voed
Ill be back met deze Rap
Yeahhh want ik ben Rapper Yeah!....
Don’t waste no time
I know you ain't my, you ain't my baby
Do you think about us
Do I cross your mind anytime
I know that you, you’re taken
It’ll never change
Cuz it’s always been that way
But you know that you
Can’t fake it
He can’t give you what I got here right now
Girl, I know what you want
No phones, we ain’t even gotta talk
Next time that he leave you all alone
I’m gon’ come through, replace him
I’m gon' watch you
Get naked
I’m gon' tell you
Girl take it
Next time that he leave you all alone
I’ll give you all the love he did not
I’m about to take his spot
Let your man know that
Mr. Steal Your Loli is back
So let your man know that
Mr. Steal Your Loli is back, back
Baby, let me tell you what’s up
I don’t trust that nigga, fuck that nigga
Stop bringing him up
Baby, I ain't never gave no fucks
One fuck’s too much, unless you’re talking about us
But I know that you taken
It’ll never change
Cuz it’s always been that way
But you know that you
Can’t fake it
He can’t give you what I got here right now
Girl, I know what you want
No phones, we ain’t even gotta talk
Next time that he leave you all alone
I’m gon’ come through, replace him
I’m gon' watch you
Get naked
I’m gon' tell you
Girl take it
Next time that he leave you all alone
I’ll give you all the love he did not
I’m about to take his spot
Let your man know that
Mr. Steal Your Loli is back
So let your man know that
Mr. Steal Your Loli is back
I’m back
I’m gonna watch you get naked
I’ma tell you to take it
Let your man know that
Mr. Steal Your Loli is back
So let your man know that
Mr. Steal Your Loli is back
I'm back
Outside Japan, lolicon is in less common usage and usually refers to the genre. The term 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 childlike characters. Parent and citizens groups in Japan have organized to work toward stronger controls and stricter laws governing lolicon manga and other similar media. Studies of lolicon fans state that they 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]
Contents [hide]
1 Definition and scope
2 Genre characteristics and meaning outside Japan
3 History
3.1 Origin
3.2 1980s–2000s
3.3 2010s–present
4 Controversy
5 See also
5.1 Japanese culture
5.2 Legal aspects
6 References
7 Further reading
8 External links
Definition and scope[edit]
Generally, manga and anime featuring lolicon include sexual attraction to younger girls or to girls with youthful characteristics. Individuals in each group respond sexually to visual images of children and young people in distinct and narrow age ranges.[clarification needed][10] Manga and anime featuring lolicon contain images and narratives involving romantic and erotic interactions between typically an adult man and a girl in the age range desired by such men.[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 widespread in Japan, where it is a frequent subject of scholarly articles and criticism.[11] Lolicon anime and manga are typically consumed by young men.[12] Many general bookstores and newsstands openly offer illustrated lolicon material, but there has also been police action against lolicon manga.[11]
The kawaii (cute) and ero kawaii (erotic-cute) style is extremely popular in Japan, where it is present in many of the manga/anime styles.[13] The school-age girl in a school uniform is also an erotic symbol in Japan.[14] Burusera shops cater to men with lolicon complexes by selling unwashed panties, men can make dates with teenagers through terekura (telephone clubs),[15] and some schoolgirls moonlight as prostitutes.[16] 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".[17]
Genre characteristics and meaning outside Japan[edit]
Lolicon manga are usually short stories, published as dōjinshi (fan works) or in magazines specializing in the genre such as Lemon People,[18] Manga Burikko[19][20] and Comic LO (where "LO" is an abbreviation for "Lolita Only").[21] 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 erotic genres, such as crossdressing and futanari.[11] Plot devices are often used to explain the young appearance for many of the characters.[22] 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".[18] Akagi identifies subgenres within lolicon of sadomasochism, "groping objects" (tentacles and robots in 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.[18] According to Dinah Zank, lolicon is "rooted in the glorification of girls culture in Japan", and therefore uses shōjo manga vocabulary.[23] The lolicon style borrows from shōjo manga designs and has also been influenced by women creating pornographic materials for men.[24]
According to Michael Darling, female manga artists who draw lolicon material include Chiho Aoshima (The red-eyed tribe billboard),[25] Aya Takano (Universe Dream wall painting).,[26] and Kaworu Watashiya (who created Kodomo no Jikan; was interpreted as a lolicon work by Jason DeAngelis.[27]) 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 which arouses "pedophiliac desires" among men.[28]
The meaning of lolicon has evolved much in the Western world, as have words like anime, otaku and hentai.[29] "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 childlike characters who are not clearly prepubescent and if it applies to material lacking explicit sexual content.[17][29][30]
History[edit]
Origin[edit]
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.[31] 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.[22] 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.[32] The shortening of the term to "lolicon" came later.[22] 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.[22][33] 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.[18] Helen McCarthy suggests that the roots of 'lolikon' anime lie in the magical girl genre, where the lines between young girls and adult women become blurred.[3]
1980s–2000s[edit]
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.[22][34] 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.[35] 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".[14][23] 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.[22][36]
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.[37]
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.[38] 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"[39] and he was executed by hanging for his crimes on June 17, 2008.[40]
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".[35] In the aftermath, the Japanese non-profit organization CASPAR was founded with the goal of campaigning for regulation of lolicon.[22][41]
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.[41] Despite media speculation, it was found that the murderer, Kaoru Kobayashi, seldom had interest in manga, games, or dolls.[42] He claimed, however, that he had become interested in small girls after watching an animated pornographic video as a high school student.[43] He was sentenced to death by hanging.
2010s–present[edit]
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.[44][45] This proposal was criticised by many manga artists,[46] and opposed by the Democratic Party of Japan.[47] The bill was put on hold until June of that year,[48][49] where after some amendments, including changing the text for "nonexistent youths" to "depicted youths".[50][51] However, in spite of the changes, the bill was rejected by the Tokyo Metropolitan Assembly in June.[52]
A revised edition was presented in November that year to the Tokyo Metropolitan Assembly, 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'".[53] 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.[54] It was approved in December and took full effect in July 2011;[55][56][57][58] however, the bill does not regulate mobile sites or downloaded content and is only intended for publications such as books and DVDs.[59] 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".[60] It was later published online by J-Comi.[61] On August 25, 2011, Japan's Liberal Democratic Party submitted a petition requesting stricter laws on child pornography, which included animated child pornography, however no action took place as a result of the petition.[62][63] On May 27, 2013, a revised child pornography law was introduced by the Liberal Democratic Party, the New Komei Party and the Japan Restoration Party that would make possession of sexual images of individuals under 18 illegal with a fine of 1 million yen (about US$10,437) and less than a year in jail.[64] The Japanese Democratic Party,[65] along with several industry associations involved in anime and manga, had protested against the bill saying "while they appreciate that the bill protects children, it will also restrict freedom of expression".[66][67] Manga creator and artist Ken Akamatsu has gone on to say that "There is also no scientific evidence to prove that so-called 'harmful media' increases crime".[68] The bill was not rejected and remained in a stalemate situation until June 2014, when it went forward with the removal of lolicon anime/manga from the bill.[69][70] The law was put into full effect the following year banning real life child pornography.[71]
Controversy[edit]
See also: Legal status of drawn 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.[11][72] A Japanese non-profit organization called CASPAR has claimed that lolicon and other anime magazines and games encourage sex crimes.[41] According to Galbraith, Yasushi Takatsuki has noted that sexual abuse of minors in Japan has declined since the 1960s and 1970s, 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.[18] 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.[73][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".[17] 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.[18]
Lolicon manga has been and is marketed to both boys and men.[24] Sharon Kinsella wrote that lolicon manga was a late 1980s outgrowth of girls' manga,[31] which included yaoi and parodies of boys' and adult manga.[74] 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.[31] 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"[31] 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.[75]
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 focusing 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]
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 idolized, according to The Otaku Encyclopedia, "as pets".[22]
Vonk bezocht in Dordrecht het Titus Brandsmacollege.[1] Hij studeerde biologie aan de Universiteit Leiden en specialiseerde zich in de evolutiebiologie van reptielen. In 2006 werd een artikel waarvan hij medeauteur is gepubliceerd in Nature.[2] In 2007 schreef Vonk voor Litteratura Serpentium zijn eerste eigen wetenschappelijke artikel en werd hij genomineerd voor de Academische Jaarprijs.[3]
In 2008 kreeg Vonk een Toptalentbeurs van de Nederlandse Organisatie voor Wetenschappelijk Onderzoek waarmee hij zijn promotieonderzoek financierde.[4] Vonk promoveerde in september 2012 aan de Universiteit Leiden op het proefschrift Snake evolution and prospecting of snake venom.[5]
Mediacarrière[bewerken]
Tijdens zijn studie verscheen Vonk veelvuldig in de media, bijvoorbeeld in de programma's De Wereld Draait Door, GIEL en Vroege Vogels. Daarnaast schreef hij columns voor onder andere Sp!ts en KIJK.
Freek Vonk maakte en presenteerde vanaf 2012 diverse televisieprogramma's voor National Geographic en Discovery Channel.[6] Vanaf januari 2012 zond de VPRO in Villa Achterwerk de serie Freek op safari uit.[7] Daarna volgen Freek in 't Wild (2012/2013) en Freeks Wilde Wereld (2014/2015/2016). Op 15 oktober 2015 won hij met "Freeks Wilde Wereld" de Gouden Stuiver, een televisieprijs voor beste kinderprogramma.
Ook maakte Freek voor BNN In 2014 de serie Freek Vonk in Australië, Freek Vonk in Latijns-Amerika en in 2016 de vierdelige documentaireserie Freek Tegen De Stropers[8]
In 2016 presenteerde Freek Vonk samen met presentatrice Evi Hanssen De Super Freek Show.
In december 2014 gaf hij op televisie een hoorcollege in de reeks DWDD University met als onderwerp gif, waar ongeveer 1,5 miljoen mensen naar keken.[9] In 2016 krijgt dit een vervolg met een college over evolutie.
In 2014 voerde hij ook een actie onder de noemer Tientje voor T. rex om een skelet van een tyrannosaurus dat Leidse onderzoekers hadden ontdekt in de Verenigde Staten, in de collectie van het museum Naturalis te krijgen.[10] In 2016 is de T-rex, genaamd Trix, dan ook in Naturalis te bewonderen.
In 2017 werd Freek gebeten door een rifhaai tijdens opnamen voor het tv-programma Freek naar de Haaien.[11][12]
Naast zijn televisieprogramma's heeft Freek ook zijn eigen tijdschrift, Wild van Freek, een vier-wekelijkse uitgave. In het tijdschrift liften kinderen mee in Freeks rugzak naar onbereikbare plekken en staan oog in oog met de wilde dieren die hij tijdens zijn reizen tegenkomt. Het magazine geeft een uniek kijkje in het leven van Freek.
Eenmaal per jaar geeft Freek meerdere shows in AFAS Live (voorheen Heineken Music Hall, Amsterdam) onder de titel “Freek Vonk Live”. Het begon met “Freeks Wilde Wereld Live” (2014), “Freeks Wilde Avonturen” (2015 – 6 shows), “Freek Vonk Live: van Dino tot Dolfijn” (2016 – 8 shows) en in december 2017 volgt “Freek Vonk Live: Op Wereldreis”.
Wetenschappelijke carrière[bewerken]
Naast zijn werk als presentator was Vonk tussen september 2012 en maart 2014 verbonden aan de Bangor University in Wales waar hij, binnen de werkgroep moleculaire biologie en evolutie, onderzoek deed naar de koningscobra. Sinds september 2014 is hij werkzaam bij Naturalis in Leiden, waar hij onderzoek doet naar het genoom van de Maleise mocassinslang en de koningscobra.[13]