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.

La salud de los adolescentes ha sido, hasta hace poco tiempo, uno de los aspectos más olvidados por el sector salud y los demás sectores involucrados en esta tarea, al ser la adolescencia, un período decisivo para el nivel de salud y calidad de vida que se podría alcanzar. Los adolescentes viven una etapa caracterizada por grandes cambios biopsicosociales, por la búsqueda de un estilo de vida propio y por el rechazo a los estándares propuestos. Muchas veces desarrollan conductas riesgosas que les podrían dejar secuelas negativas para el resto de su vida. Así, para alcanzar un futuro saludable es imprescindible el desarrollo de conductas protectoras, que exige el apoyo de los adultos y acciones colectivas de prevención y promoción de la salud. Sin embargo, por diversos motivos, el uso de los servicios preventivos por parte de los adolescentes es exiguo. Por ello, se ha incorporado la participación de los promotores juveniles, como una estrategia para adecuar los servicios de salud a las expectativas y necesidades que tienen los adolescentes. El programa de salud del adolescente del MINSA, ha incluido esta estrategia con aplicación a nivel nacional, pero la intervención es restringida y aún no existen mediciones del grado de participación del promotor juvenil en la gestión del programa. En nuestro estudio realizado en la UTES “El Carmen” de la ciudad de Huancayo, Región Junín, pretendemos cuantificar el nivel de la participación del promotor juvenil en la gestión del programa del adolescente, e identificar las condiciones que la faciliten para hacer más efectiva esta participación. Los resultados, permitirán analizar el trabajo conjunto de adultos y jóvenes, en beneficio del programa y de los adolescentes de la UTES “El Carmen “.

El presente estudio consiste en la caracterización del macizo rocoso en Mina Carmen, depósito de hierro ubicado en la Tercera Región de Atacama Para ello se levantó la litología y fallas locales, elaborándose también ventanas geotécnicas y registro de sondajes geotécnicos. Esto se hizo en las galerías subterráneas existentes, y los sectores accesibles del rajo Carmen. Posteriormente se analizaron los datos recogidos; se distinguieron estructuras destacadas, se definieron dominios estructurales, se caracterizó el macizo rocoso y se sugirió un posible reforzamiento, obteniéndose los siguientes resultados Mina Carmen presenta cuatro unidades litológicas: andesitas, brechas hidrotermales, diorita y diques. Predominan la alteración calcosódica, cloritización y argilización. La mineralización corresponde a una veta de hierro masivo con hierro semimasivo en los sectores distales. Se reconocen dos estructuras principales EW y NNE, las que controlan la mineralización; también se identifican nueve fallas importantes, con orientaciones EW, NW y NE. Se definen seis dominios estructurales, separados por fallas principales o importantes; también se usaron contactos litológicos como límites. En general los sistemas preferenciales de estructuras son EW y NW, identificándose tanto a nivel de dominio estructural como de depósito. El macizo rocoso en general tiene bloques tamaño medio (3-10 ff /m3). Presenta calidad que varía entre mala (4A) y Regular (3A) de acuerdo a RMR de Laubscher, predominando la roca regular (3A); según Q de Barton el macizo califica en su mayor parte como roca Mala, variando entre roca Mala y Media (1,13-5,63). La calidad media de la roca no varía mayormente entre dominios, hay diferencias entre tipo de roca, destacando Hierro masivo y semimasivo con la mejor calidad se acuerdo a RMRL. Finalmente se sugiere sostenimiento en las galerías subterráneas por medio de Q de Barton, el que consiste principalmente en mantenimiento y acuñadura sistemática; En cinco sectores se recomienda reforzamiento con pernos sistemáticos de 2m de largo, separados por 2,5m, con shotcrete proyectado de espesor 40-100mm; estas zonas coinciden con los túneles de mayores dimensiones.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico / Nesta dissertação, estudamos as inversões de gênero que acontecem durante o Carnaval do Rio de Janeiro. Escolhemos trabalhar com as drag queens por elas realizarem estas inversões de forma exagerada, divertida e carnavalizada. Pesquisamos também os locais e eventos que receberam homossexuais durante o Carnaval nas últimas décadas, formando, assim, o que atualmente pode ser chamado de Carnaval gay carioca. Na última parte do trabalho, procuramos relacionar o mito Carmen Miranda (cantora brasileira que tornou-se um ícone internacional através do cinema hollywoodiano nos anos 1940) com as drag queens, pois a artista é considerada uma das maiores referências estéticas destas personagens contemporâneas. Questões como identidade, gênero, consumo e globalização são essenciais para nossas reflexões. Procuramos fugir de concepções tradicionais que trabalhassem com antigas idéias de essência, pureza cultural e identidades imutáveis. Para tanto, Os Estudos Culturais, com a sua abordagem da cultura popular como um campo de constantes disputas e negociações simbólicas, nos ajudam a compreender melhor nossos objetos de estudo. / n this research, we study the inversions of sexual gender that take place in Rio de Janeiro during the Carnival. We decided to work with the contemporary drag queens because they realize these inversions in exaggerated, funny and carnavalized ways. We also analyze the places and the parties that received homosexual men during the Carnival in the last decades, that shaped what we call The Gay Carnival from Rio now. In the last part of the research, we intend to connect Carmen Mirandas mith (Brazilian singer that became an international icon because of Hollywood in the 1940s) with the contemporary drag queens; the artist in one of the biggest esthetic reference for these performers. Questions as identity, gender, consumption and globalization are extremely important for our reflections. We want to deviate from traditional conceptions of essence, cultural purity and fixed identities. To achieve our purposes, the Cultural Studies, with its conception of popular culture as a space of constant contentions and symbolic negotiations, help us to understand in a better way our objects of study.

The aim of this doctoral thesis is to show how the Jungian process of individuation — the psychological development of a unique individual — is depicted in the fairy tales of the twentieth-century Spanish writer, Carmen Martín Gaite. The three shorter tales — El castillo de las tres murallas, El pastel del diablo and Caperucita en Manhattan — are explored here along with the novel, La reina de las nieves. Individuation, as well as being the means by which an individual person develops, also implies a new way of relating between human beings. Jung described the outcome of individuation as ‘objective cognition’ which, this thesis argues, is equivalent to love and conscious relatedness between persons. Dreams play a crucial role in the individuation process — as they do in the work of Martín Gaite — guiding the dreamer on his/her journey. Dreams facilitate encounters with aspects of the personal and collective unconscious, which appear in symbolic form. The protagonist of the story by Martín Gaite which is closest to a traditional fairy tale (El castillo de las tres murallas) and the novel which takes a traditional tale as its reference point (La reina de las nieves) illustrate the importance of dreams in the development of the protagonists. At the heart of each of the other two tales — El pastel del diablo and Caperucita en Manhattan — is an imagined text which illustrates, in symbolic form, aspects of the individuation process. Connections have been made in Jungian thinking between individuation and the development of Christianity into a third age, the Age of the Holy Spirit, because of the major shift in consciousness (akin to the change which occurred 2000 years ago with the birth of Christ). Alongside the exploration of individuation in the fairy tales, this thesis also considers parallels with the Christian story and indications of its development or renewal.

This thesis discusses the female identity in the Franco era. It spans the years leading up to the formation of the Second Republic through the years immediately following Franco’s death. Using Carmen Martin Gaite’s novels Entre Visillos and El Cuarto de Atrás and Josefina Aldecoa’s trilogy Historia de una Maestra, Mujeres de Negro, and La Fuerza del Destino, I show how women were limited by society’s narrow idea of happiness for females in this time period. The ideals of the patriarchal order were so ingrained in the Spanish people that women themselves became promoters of the sexist ideology that was a part of Franco’s regime. Women who had goals for themselves in addition to or other than marrying and having children were viewed as strange. This thesis points out that perhaps those women were not so strange after all, and highlights the need for authentic communication in order for women to redefine themselves and their goals. Martin Gaite and Aldecoa not only use their novels to give women in this time period a voice, but also to point to the importance of remembering these years and all of their trauma as they were for individuals.

En este trabajo analizamos la representación del amor en Algo tan parecido al amor (2007), una novela española escrita por Carmen Amoraga. El análisis se realiza en tres partes, primero, se hace un recorrido por los distintos aspectos de las relaciones amorosas representados en la novela. Después, tomando como punto de partida la estructura de la narración, investigamos cómo se relaciona con los rasgos de la novela sentimental, basándonos en las teorías de Ciplijauskaité (2004). Por último, nos interesamos por los aspectos feministas de la novela. En Algo tan parecido al amor el amor se representa de varias maneras. El matrimonio se presenta como una institución social importante, los adulterios son el eje de la narración, pero no se hacen de manera transgresora. Se puede apreciar una crítica a la solución de la novela rosa tradicional en el sentido de que la novela cuestiona el vínculo entre el amor y la felicidad. Existe una relación contradictoria con respecto a los rasgos de la novela sentimental. La novela no requiere la colaboración de un lector activo. Detrás de las tres narradoras homodiegéticas hay una voz narradora omnisciente que dirige el centro de atención, un rasgo de la novela sentimental, pero también se hace uso de la estrategia anti-sentimental de la ironía. La dicotomía entre la mujer casada y la amante es la más tratada en la novela, no la que hay entre la mujer y el hombre de la pareja. No obstante, las mujeres y los hombres se relacionan de manera algo diferente con el tema, siendo la sexualidad y la reproducción los campos donde las diferencias se hacen más notables. El hecho de que la novela tenga como objetivo entretener más que llevar a cabo un cambio social contribuye a la interpretación de su falta de valores feministas.

<p>What does it mean in Spain to talk about national cuisine? This dissertation examines how three of Spain's most prominent intellectuals of the early twentieth century&mdash;Emilia Pardo Bazán, Carmen de Burgos, and Gregorio Marañón&mdash;confronted that question in their writing in cookbooks at a pivotal moment in Spain's history. Pardo Bazán, a feminist writer and novelist, authored two cookbooks, <italic>La cocina española antigua</italic> (1913) and <italic>La cocina española moderna</italic> (1914). Burgos, a teacher, newspaper columnist, and novelist, authored <italic>La cocina moderna</italic> (1906), <italic>¿Quiere usted comer bien?</italic> (1916), and <italic>Nueva cocina práctica</italic> (1925). Marañón, a physician and statesman as well as a writer, penned the prologue to Basque chef and restaurant-owner Nicolasa Pradera's 1933 cookbook <italic>La cocina de Nicolasa</italic>. These authors were active during a period that saw enormous changes in Spain's political structure and demographics, and in social and gender roles, and each of them engaged with the debates about Spain and the modern nation that consumed intellectual thinkers of the time. And yet each of these authors chose to write about cooking and food in a genre intended for the use of middle-class women in their homes.</p><p>Their writing in cookbooks, I posit, offered Pardo Bazán, Burgos, and Marañón the opportunity to address directly the middle-class female readers who stood at the nexus of their anxieties regarding Spain's modernization. These anxieties were generated by shifting social structures as women gained access to education and to paid employment outside of the home, and as a newly mobilizing working class threatened the social order through political and labor organization, as well as with violence and unrest. By teasing out the contradictions in their cookbook prologues, I show how these intellectuals use Spanish cuisine to promote a vision of Spain's modernization that corrects for the instabilities generated by those same modernization processes. </p><p>In Chapter One, I demonstrate how Pardo Bazán uses Spain's <italic>cocina antigua</italic>, catalogued in <italic>La cocina española antigua</italic> (1913), to "write the nation into existence" (Labanyi). By positioning cooking and cuisine in parallel to the dominant masculine nation-building discourses of the period, Pardo Bazán maps a role for her women readers, and for herself as a woman writer, in the task of building a modern Spanish nation. In Chapter Two, I focus on Pardo Bazán's second cookbook, <italic>La cocina española moderna</italic> (1914), and show how she uses Spain's modern cuisine to inculcate her female readers with the middle-class values that she believes will serve as a bulwark against the increasing unrest of the working class. In contrast to Pardo Bazán, who designates a conventional role for middle-class women in return for protection against the working class, Carmen de Burgos argues that there is no contradiction between women's domestic roles and having a public role and an intellectual life. Chapter Three analyzes how she uses a strategy of "double writing" (Zubiaurre) to show the importance of cuisine to the public sphere and to criticize the still extant obstacles to women's public activity. Chapter Four focuses on Gregorio Marañón's construction of Basque chef and restaurateur Nicolasa Pradera in his prologue to her cookbook. Marañón uses the prologue to promote a palatable version of Spain and its modernity to outsiders. Yet his version of Spain's modernity depends on reinscribing figures like Pradera into traditional, anti-modern gender and class roles. </p><p>At a moment in which the international media identify in Spanish cuisine "the new source of Europe's most exciting wine and food" (Lubow 1), this project historicizes the notion of "Spanish cuisine" at the center of Spanish haute cuisine. It also represents a foundational study in food cultural studies in Spain, offering a critical examination of cookbooks as a genre and as crucial texts in the <italic>oeuvres</italic> of Emilia Pardo Bazán, Carmen de Burgos, and Gregorio Marañón.</p> / Dissertation