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Master's Dissertation
DOI
10.11606/D.8.2018.tde-25092018-152500
Document
Author
Full name
Fernando Moreira Bufalari
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2018
Supervisor
Committee
Vasconcelos, Sandra Guardini Teixeira (President)
Brito, Fernando Bezerra de
Camargo, Luciana Moura Colucci de
Puglia, Daniel
Title in Portuguese
O romance de sensação: um estudo sobre The Woman in White
Keywords in Portuguese
Gótico vitoriano
História e crítica
Literatura inglesa
Romance de sensação
The Woman in White
Abstract in Portuguese
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.
Title in English
The sensation novel: a study of The Woman in White
Keywords in English
English literature
History and criticism
Sensation novel
The Woman in White
Victorian gothic
Abstract in English
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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Publishing Date
2018-09-25
 
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