Compositio y argumentación en la poesía de Rui Moniz

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                            [a] => Compositio y argumentación en la poesía de Rui Moniz
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                            [a] => Like his contemporaries, Rui Muñoz (whose poetic activity dates from the 1460s or 1470s) indulged in the practice of borrowing texts. This article will take two directions: the first concerns the practice of quotation, which reveals the poet's creativity as well as his attempts to renovate the dialogical genres, bilingualism, and intertextuality; the second concerns the connection between compositio and argumentation. The integration of the first part of an anonymous canción at the end of the stanzas that constitute a famous decir con citas, shapes a paradigmatic case of this genre which, by always inserting the same fragment in the same position, is similar to the gloss and underlines the hybrid character of this particular composition. If the adaptation of verses of the Gospels of St. John and St. Matthew represents a particular kind of quotation, then the fragments are adapted to the context into which they are inserted; the insertion of passages in Latin into a text written in Portuguese also suggests a kind of bilingualism whose function is different from that observed in other compositions of Resende's cancionero in which both languages coexist. The poet's work with compositio, with its use of figurae pero ordinem such as anastrophe, hyperbaton, and isocolon, as well as the syntactic structure of the poet's verses, reinforces Rui Moniz's argumentative project while underlining his command of rhetoric and relegating to lesser importance the libertine tone of some of the compositions.
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                            [t] => Revista de Cancioneros impresos y manuscritos
                            [x] => 2254-7444
                            [g] => Nº. 5,  2016,  pags. 1-29
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