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Thesis abstract: Despite the fact that some critics view the period of the true Gothic as ending in the year 1820, others consider it to be a genre, as well as an aesthetic, which can still be perceived across various different cultural aspects to this day. Possibly the best way to approach the Gothic within the realm of literature is to observe several key examples of the Gothic topos, which was grounded in the original Gothic pieces of the eighteenth century. During the course of the nineteenth century, a historical period which from the cultural point of view appears almost inherently Gothic, British Gothic writing has undergone considerable changes and development, maintaining several of the key Gothic features, namely those of setting, isolation, and character types, modifying them in the process. Through this, it can be observed to what extent the aspects remain, and just how far-reaching their transformation was within the six exemplary works - Frankenstein, The Vampyre, Jane Eyre, Wuthering Heights, Carmilla, and Dracula. Another important aspect overlaying the selected works is that of monstrosity - a rather physical interpretation of the inner monstrosities of humans, or indeed an entire culture. The literary works, no matter how different at first glance they may appear to be, all utilize typical...

The Woman in White (1859 60), de Wilkie Collins, foi a obra inaugural do subgênero vitoriano conhecido como romance de sensação, isto é, narrativas permeadas por crimes como bigamia e identidades falsas, ambientadas em lares ingleses que, à primeira vista, parecem estar acima de suspeitas, e que introduziam novos segredos e reviravoltas a cada página para prender a atenção do leitor. Feito um panorama das condições materiais que possibilitaram o surgimento desse subgênero, postula-se que o protagonista do romance de Collins, Walter Hartright, edita os relatos dos outros narradores, estruturando a narrativa com mecanismos emprestados do romanesco e do Gótico, apresentando as evidências como se o fizesse a um tribunal e organizando os testemunhos da forma que melhor lhe convém, para assim legitimar sua ascensão social. / The Woman in White (1859-60), by Wilkie Collins, was the inaugural piece of the Victorian subgenre known as the sensation novel, that is, narratives pervaded by crimes as bigamy and fake identities, set in English homes that, at first sight, seem to be above suspicion, and that introduced new secrets and plot twists at every page to hold the readers attention. Following an overview of the material conditions that enabled this subgenre to emerge, I argue that the protagonist in Collinss novel, Walter Hartright, edits other narrators accounts by structuring the narrative with procedures borrowed from romance and from the Gothic, by producing evidence as if in a Court of Justice, and by assembling the testimonials in the way that best suits his interests in order to legitimize his social ascension.

The Woman in White (1859 60), de Wilkie Collins, foi a obra inaugural do subgênero vitoriano conhecido como romance de sensação, isto é, narrativas permeadas por crimes como bigamia e identidades falsas, ambientadas em lares ingleses que, à primeira vista, parecem estar acima de suspeitas, e que introduziam novos segredos e reviravoltas a cada página para prender a atenção do leitor. Feito um panorama das condições materiais que possibilitaram o surgimento desse subgênero, postula-se que o protagonista do romance de Collins, Walter Hartright, edita os relatos dos outros narradores, estruturando a narrativa com mecanismos emprestados do romanesco e do Gótico, apresentando as evidências como se o fizesse a um tribunal e organizando os testemunhos da forma que melhor lhe convém, para assim legitimar sua ascensão social. / The Woman in White (1859-60), by Wilkie Collins, was the inaugural piece of the Victorian subgenre known as the sensation novel, that is, narratives pervaded by crimes as bigamy and fake identities, set in English homes that, at first sight, seem to be above suspicion, and that introduced new secrets and plot twists at every page to hold the readers attention. Following an overview of the material conditions that enabled this subgenre to emerge, I argue that the protagonist in Collinss novel, Walter Hartright, edits other narrators accounts by structuring the narrative with procedures borrowed from romance and from the Gothic, by producing evidence as if in a Court of Justice, and by assembling the testimonials in the way that best suits his interests in order to legitimize his social ascension.

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