@article{oai:nagoya.repo.nii.ac.jp:00026912,
 author = {森, 彩香 and Mori, Ayaka},
 journal = {IVY},
 month = {Nov},
 note = {The 19th century saw a significant change in the portrayal of subversive women as represented by the sensational women in the works of Oscar Wilde. The 1860s, in particular, have been invariably associated with sensation novels in virtue of the phenomenal popularity of three genredefining novels published in the decade, which were frequently adapted for theatre by mostly male playwrights. With the striking image of the “fallen women,” Ellen Price Wood’s East Lynne (1861) was among these representative sensation novels. Sensation novels were limited to the theme of escaping from the gender role of women before the 1880s, after which a new era began featuring a new woman who ventured to vindicate her own rights. The fallen woman, as inscribed in a host of adapted plays following the tradition of East Lynne, embraces death, which to some degree neutralizes her immoral past. Wilde’s play, Lady Windermere’s Fan (1892), evolved thematically into a direct challenge to the fallen woman. However, Mrs. Erlynne in Lady Windermere’s Fan does not ultimately repent. Her maternal instinct does awaken at one point, and she rescues her daughter as a result of this belated maternal feeling, which is often a constant experience for the repentant mother in sensation novels. However, she throws it all away at the final act. This article discusses the fallen woman under the restraint of Victorian morality and how she is depicted in sensation novels. It also explains the way in which Mrs. Erlynne can be read as a reincarnation of Lady Isabel in East Lynne, focusing on her rejection of the conventional treatment of undutiful mothers and her attempts to escape retribution. Finally, it examines the uniqueness of Mrs. Erlynne which distinguishes her from other fallen women. The fallen woman in East Lynne plays her due part adhering to the inflexible moral code which eventually subjects her to severe punishment; whereas Mrs. Erlynne, a reincarnation of the fallen woman, refuses to play this part and becomes an adventuress. The adventuress on stage is, as Jerome Klapka Jerome explains in Stage Land (1890), an infamous woman who maneuvers cleverly. Unlike the outspoken new women, she remains reticent about women’s rights. Lady Windermere’s Fan portrays new ideas concerning the fallen woman in sensation novels.},
 pages = {27--50},
 title = {身を滅ぼさない「堕ちた女」 : Oscar Wildeの Lady Windermere’s Fan における女性像},
 volume = {51},
 year = {2018}
}