Gothic figures and places have always existed in literature, at times menacing and at times seeming to simply reflect our own human identities and societies. Through signification, Victorian literature enables novel readers to easily identify when and how the Gothic presents a threat to the protagonist. A narrator's verbal condemnation of a subject would likely indicate its undesirability; on the other hand, silence may suggest the suppression of an improper desire for that subject. Such identification and recognition on part of the reader take place in the reading process. But the act of reading is infused with complexities when the narrator chooses to manipulate language in the performance of narration. This thesis focuses on two Victorian texts which interlace issues of narrative, language, knowledge and self-identity. In Carmilla, Sheridan le Fanu presents a girl protagonist who opens up gaps and spaces for interpretation in the narrative by means of intentionally withheld knowledge. Accordingly, this type of chosen silence inserts different layers of meaning to the "unspeakable." In Alice's Adventures in Wonderland, Lewis Carroll's Alice makes use of nonsensical language, exploring the potential of her identity and sexuality. These girl protagonists throw into question concepts of vampirism, victimization, purity, and innocence. And they never say more, perhaps, than when they are ever-present and silent.
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机译：哥特式人物和地方在文学中一直存在，有时来势汹汹，有时似乎只是反映了我们自己的人类身份和社会。通过寓意，维多利亚时代的文学使新颖的读者可以轻松地识别哥特式何时以及如何对主人公构成威胁。叙述者对主题的口头谴责可能表明其不受欢迎；另一方面，沉默可以暗示抑制对那个对象的不正当欲望。阅读器的这种识别和识别是在阅读过程中进行的。但是，当叙事者选择在叙事过程中操纵语言时，阅读行为就充满了复杂性。本文的重点是两篇维多利亚时代的文本，将叙事，语言，知识和自我认同等问题交织在一起。 Sheridan le Fanu在 Carmilla中，提出了一个女主角，她通过有意隐瞒的知识为叙事中的解释打开了空白和空间。因此，这种选择的沉默类型为“无法说”插入了不同的含义层。在爱丽丝梦游仙境》中，刘易斯·卡罗尔的爱丽丝运用了荒谬的语言，探索了其身份和性取向的潜力。这些女主角质疑吸血鬼，受害，纯洁和纯真的概念。而且，他们可能永远不会比当场无声的时候多说话。
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