Papers by MARIA ANTONIA PANIZO BÜYÜKKOYUNCU
LITERA, 2017
Cándido María Trigueros was a man of encyclopedist mind, deeply interested in science and literat... more Cándido María Trigueros was a man of encyclopedist mind, deeply interested in science and literature, who cultivated all kinds of literary genres. After his death, his narrative production is collected in Mis pasatiempos. Almacén de fruslerías agradables. In this collection we find a novel entitled Cuatro cuentos en un cuento which serves as a model for shipwreck and captivity stories. The aim of this paper is to analyze how the author, using a Baroque narrative pattern, displays in his work a renovated model of the castaway-captive character who, stands for the enlightened ideology, morality and discourse on one hand and on the other represents the continuity of a literary genre.
LITERA, 2011
Gertrudis Gómez de Avellaneda's short story, "La dama de Amboto" (The Dame of Mt. Amboto), is cla... more Gertrudis Gómez de Avellaneda's short story, "La dama de Amboto" (The Dame of Mt. Amboto), is classified under the genre of Romantic legends. The authoress develops a fictive narrative in which the theme, characters and motives inscribe themselves perfectly in the discourse of canonical Romanticism. However, the reading of this text in the light of the theories of feminist criticism exposes to us a discourse in which develop and take shape a whole network of subject matter and narrative strategies that subvert the norms of Romantic canon and center the text on the subjectivity of the woman writer. The aim of this essay is to analyze these strategies and demonstrate that Avellaneda plays a main role in the formation and diffusion, into the Hispanic countries, of the feminine tradition that began to speak, in a decisive way, in 19th Century. ÖZET Gertrudis Gómez de Avellaneda'nın "La dama de Amboto" (Amboto Dağının Kadını) başlıklı kısa öyküsü Romantik efsane türüne girer. Yazarın konu, karakter, ve kişilerin davranış nedenleri yönünden Romantik yazın geleneği söylemine tümüyle uyan bir anlatı kurgusu geliştirdiği görülür. Ancak, öyküyü feminist eleştiri kuramları ışığında okuduğumuzda, içinde Romantizm geleneği normlarına aykırı düşen bir içerik ve anlatı yöntemleri örgüsünün biçimlenip geliştiği, ve metni kadın yazarın öznelliğine odaklayan bir söylem saptarız. Bu makalenin amacı sözü edilen yöntemlerin incelenmesi ve 19.yy'da kararlı bir biçimde sesini yükseltmiş olan kadın yazını geleneğinin oluşumunda ve özellikle Hispanik ülkelerdeki yayılış sürecinde Avellaneda'nın ne denli önemli bir rolü bulunduğunu göstermektir.
Actas del I Simposio Internacional sobre Literatura y Cultura Hispánicas (Selección) , 2019
In every moment of literary history, the change from one generation to other use to be a natural ... more In every moment of literary history, the change from one generation to other use to be a natural process, a part of historical and existential evolution. In the same way, the cultural, historical or literary memory evolves in different stages with a sense of uninterrupted continuity. However, in some moments of the history of a cultural community , the normalcy, the continuity of historical process of development breaks. As a result of this, disruptions and ruptures arise, sometimes in a very traumatic way, in the historical memory of that community. The history of Spain and the history of Spanish literature in the 20th century are both marked by civil war and Franco's dictatorship. During the second half of the century, Spain goes through one of these breaks that will have important implications in the continuity of the historical and cultural memory. The normalization process of the cultural memory began to take shape in Spain in the seventies and it involved different social agents. The aim of this paper is to analyze the important role that Spanish poetry has played at the end of the century in this normalization, in the retrieval and dissemination of a cultural and poetic tradition that had been rejected. At the end of the 1970s, in the context of important political, social and cultural changes the rejected tradition is required to complete not only an individual but also a collective identity.
Gertrudis Gómez de Avellaneda's short story, " La dama de Amboto " (The Dame of Mt. Amboto), is c... more Gertrudis Gómez de Avellaneda's short story, " La dama de Amboto " (The Dame of Mt. Amboto), is classified under the genre of Romantic legends. The authoress develops a fictive narrative in which the theme, characters and motives inscribe themselves perfectly in the discourse of canonical Romanticism. However, the reading of this text in the light of the theories of feminist criticism exposes to us a discourse in which develop and take shape a whole network of subject matter and narrative strategies that subvert the norms of Romantic canon and center the text on the subjectivity of the woman writer. The aim of this essay is to analyze these strategies and demonstrate that Avellaneda plays a main role in the formation and diffusion, into the Hispanic countries, of the feminine tradition that began to speak, in a decisive way, in 19th Century.
Cándido María Trigueros was a man of encyclopedist mind, deeply interested in science and literat... more Cándido María Trigueros was a man of encyclopedist mind, deeply interested in science and literature, who cultivated all kinds of literary genres. After his death, his narrative production is collected in Mis pasatiempos. Almacén de fruslerías agradables. In this collection we find a novel entitled Cuatro cuentos en un cuento which serves as a model for shipwreck and captivity stories. The aim of this paper is to analyze how the author, using a Baroque narrative pattern, displays in his work a renovated model of the castaway-captive character who, stands for the enlightened ideology, morality and discourse on one hand and on the other represents the continuity of a literary genre.
Thesis by MARIA ANTONIA PANIZO BÜYÜKKOYUNCU
Tesis Doctoral, 2005
In the decade of the eighties, a group of young poets who will transform the poetic atmosphere em... more In the decade of the eighties, a group of young poets who will transform the poetic atmosphere emerges in the Spanish poetry scene, proposing a change which was becoming visible since the end of the 70´s.
In 1983, Luis García Montero, together with two other young poets, will offer a new alternative to poetry – “the other sentimentality” - which will bring about controversy in the Spanish poetry of the times.
The new poetry, of a figurative style, based on realism and tradition, which will soon be known as “poetry of experience”, will become the leading tendency during the eighties and nineties and will have in Luis García Montero its central representative figure and most clear proponent.
In the present study we will analyze this poetic change originated between the end of the 70´s and beginning of the 80´s, focusing on the figure of García Montero. For this purpose we have divided our study in four parts. In the first one, of a more general kind, we will analize the situation of the Spanish poetry during the last third of the XX century. In the second one, we will approach the biography of García Montero, his poetic theory and his literary work. In the third part, we will examine two essential elements of his poetry: tradition and reality, as well as the themes deriving from them. Finally, we will analyze one of the books of the poet – Habitaciones separadas -, which is one of the best works of this writer and was awarded the 1994 National Prize of Poetry.
With the analysis of the poetry of García Montero, first from a thematic point of view and later with the study of a work which represents a closed corpus within his poetic development, we attempt to establish the way in which his theoretical principles materialize in his poetry and which are the distinctive features of his poetic personality.
Book chapter by MARIA ANTONIA PANIZO BÜYÜKKOYUNCU
İspanyol Dili ve Edebiyatı Araştırmaları / Estudios de Lengua y Literatura Hispánicas, 2020
Edition by MARIA ANTONIA PANIZO BÜYÜKKOYUNCU
İSPANYOL DİLİ VE EDEBİYATI ARAŞTIRMALARI II ESTUDIOS DE LENGUA Y LITERATURA HISPÁNICAS II, 2023
'e aittir. Yayımcının ve yazarın izni olmaksızın elektronik ve mekanik herhangi bir kayıt sistemi... more 'e aittir. Yayımcının ve yazarın izni olmaksızın elektronik ve mekanik herhangi bir kayıt sistemi veya fotokopi ile çoğaltılamaz, kopyalanamaz. Ancak kaynak gösterilerek kısa alıntı yapılabilir. Her hakkı mahfuzdur. Bu kitapta yayımlanan yazıların etik, bilimsel ve hukuki sorumluluğu yazar(lar)a aittir. Yayınevi uluslararası bir yayınevidir.
Book by MARIA ANTONIA PANIZO BÜYÜKKOYUNCU
Este libro se centra en el análisis del modelo narrativo del idilio en la novela española de fina... more Este libro se centra en el análisis del modelo narrativo del idilio en la novela española de finales del siglo XVIII.
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Papers by MARIA ANTONIA PANIZO BÜYÜKKOYUNCU
Thesis by MARIA ANTONIA PANIZO BÜYÜKKOYUNCU
In 1983, Luis García Montero, together with two other young poets, will offer a new alternative to poetry – “the other sentimentality” - which will bring about controversy in the Spanish poetry of the times.
The new poetry, of a figurative style, based on realism and tradition, which will soon be known as “poetry of experience”, will become the leading tendency during the eighties and nineties and will have in Luis García Montero its central representative figure and most clear proponent.
In the present study we will analyze this poetic change originated between the end of the 70´s and beginning of the 80´s, focusing on the figure of García Montero. For this purpose we have divided our study in four parts. In the first one, of a more general kind, we will analize the situation of the Spanish poetry during the last third of the XX century. In the second one, we will approach the biography of García Montero, his poetic theory and his literary work. In the third part, we will examine two essential elements of his poetry: tradition and reality, as well as the themes deriving from them. Finally, we will analyze one of the books of the poet – Habitaciones separadas -, which is one of the best works of this writer and was awarded the 1994 National Prize of Poetry.
With the analysis of the poetry of García Montero, first from a thematic point of view and later with the study of a work which represents a closed corpus within his poetic development, we attempt to establish the way in which his theoretical principles materialize in his poetry and which are the distinctive features of his poetic personality.
Book chapter by MARIA ANTONIA PANIZO BÜYÜKKOYUNCU
Edition by MARIA ANTONIA PANIZO BÜYÜKKOYUNCU
Book by MARIA ANTONIA PANIZO BÜYÜKKOYUNCU
In 1983, Luis García Montero, together with two other young poets, will offer a new alternative to poetry – “the other sentimentality” - which will bring about controversy in the Spanish poetry of the times.
The new poetry, of a figurative style, based on realism and tradition, which will soon be known as “poetry of experience”, will become the leading tendency during the eighties and nineties and will have in Luis García Montero its central representative figure and most clear proponent.
In the present study we will analyze this poetic change originated between the end of the 70´s and beginning of the 80´s, focusing on the figure of García Montero. For this purpose we have divided our study in four parts. In the first one, of a more general kind, we will analize the situation of the Spanish poetry during the last third of the XX century. In the second one, we will approach the biography of García Montero, his poetic theory and his literary work. In the third part, we will examine two essential elements of his poetry: tradition and reality, as well as the themes deriving from them. Finally, we will analyze one of the books of the poet – Habitaciones separadas -, which is one of the best works of this writer and was awarded the 1994 National Prize of Poetry.
With the analysis of the poetry of García Montero, first from a thematic point of view and later with the study of a work which represents a closed corpus within his poetic development, we attempt to establish the way in which his theoretical principles materialize in his poetry and which are the distinctive features of his poetic personality.