Bielefeld, Universiẗat, Diss., 1997. / Dateiformat: tgz, Dateien im PS-Format.

Diss.--Universität Göttingen, 2002. / Bibliogr. p. 327-352.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1988. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 272-290).

Thesis (Ph. D.)--University of Chicago, Dept. of Romance Languages and Literatures, June 1999. / Includes bibliographical references. Also available on the Internet.

Thesis (M.A.)--West Virginia University, 1999. / Title from document title page. Document formatted into pages; contains iii, 55 p. Includes abstract. Includes bibliographical references (p. 54-55).

Univ. of Iowa, Diss. u.d.T.: Rolón-Collazo, Lisette: Voces múltiples de resistencia: Mujer y representación en la producción de Carmen Martin Gaite--Iowa City, 1997.

Thesis advisor: Irene Mizrahi / This dissertation explores the motif of burial in Carmen Martín Gaite’s 1978 novel El cuarto de atrás and in so doing sheds light on some of the text’s most famous ambiguities. Martín Gaite began writing El cuarto de atrás on November 23, 1975 after watching the burial of the Spanish dictator, Francisco Franco, on television. Within her text she unearths long suppressed memories of her life during the dictatorship. In this way burial and un-burial frame El cuarto de atrás and allow for other instances of burial and un-burial to guide the reader’s interpretation of this complex and ambiguous text. On the novel’s last page the narrator-protagonist C. encounters three objects: a copy of Dashiell Hammett’s detective novel, The Thin Man, a small golden box (la cajita dorada), and a pile of pages titled “El cuarto de atrás”. Each chapter of this dissertation begins by questioning the significance of one of these objects, which leads to the discovery of concealed meanings in the novel. The Thin Man calls attention to detective fiction and the ratiocinative process by which detectives reconstruct narratives to solve mysteries. The cajita dorada recalls a caja amarilla that appears at the end of Mariano José de Larra’s essay, “La Nochebuena de 1836,” and reveals parallels between the two texts that characterize Martín Gaite’s reaction to Spain’s period of transition following Franco’s death. The accumulation of the pile of pages and C.’s beginning to read them at the novel’s close are homologous to the psychoanalytic treatment of trauma, the goal of which is to excavate memories buried deep within a survivor’s psyche. When C. discovers The Thin Man on her daughter’s bedside table, she reads he description on its cover: “…indicios contradictorios, pistas falsas, sorpresa final.” This dissertation interprets these words as Martín Gaite’s insistence on the active participation of the reader and her invitation for him to discover messages that she has buried within her complex novel. By recognizing these three objects as clues to the novel’s interpretation, this dissertation enlightens an ambiguous text and acknowledges the reader’s power to create meaning from uncertainty. / Thesis (PhD) — Boston College, 2015. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Supervisor: Virginia Higginbotham. Vita. Includes bibliographical references. Available also from UMI Company.

DANIŠŠOVÁ, Alexandra. Carmen Martín Gaite, a modern woman. [Diploma thesis]. - Charles University. Faculty of Arts; Department of Romance studies. Hispanic studies. - Supervisor: doc. Juan Antonio Sánchez Fernández, Ph.D. Prague: FF UK, 2020. pp. 67. The aim of this diploma thesis is to point out the constant elements or themes that Carmen Martín Gaite deals with in her narrative work. The starting point of our work are two novels selected by us from various creative periods of the author, Entre visillos (1957) and Irse de casa (1998). In the analysis of the given works, we will pay attention to how the given elements stay permanent in the author's work across time, as she herself exceeded her time. Constant in her works are the characters protruding from the crowd, among whom are mainly women who do not accept their place reserved in the society by regime. The mentioned elements include a window as a stimulus to imagination and escape from everyday frustrations, a city as a space of freedom, a back room as a woman's personal space, a mother-daughter relationship or an absent interlocutor as a stimulus to self-analysis and the search for one's own identity. Keywords: Carmen Martín Gaite, female creation, back room, window, freedom, emancipation, independence, modernity, identity, imagination,...

En esta tesina haremos un aproximamiento a El cuarto de atrás a través de un doble análisis del tiempo. Por una parte, analizamos el dominio y control del tiempo en el relato que demuestra Carmen Martín Gaite, quien lo hace pausar y retroceder a su antojo haciéndonos casi perder el hilo del tiempo. Por otro, haremos un viaje en el tiempo, por esas pausas del relato principal, por medio de distintos objetos para analizar la situación de la mujer de la España de la postguerra. / This thesis on El cuarto de atrás (The back room, City Light Publishers) will focus on a double analysis of time. Firstly we will look at Carmen Martín Gaite’s command and control of time in the narrative where by pausing it and travelling back in time she leads the reader to almost lose track of it. Secondly, using different objects we will move through the time lapses in the main narrative to analyse the status of women in post war Spain.