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EN
This article discusses the phenomenon of imitating by 20th-century reportage prose of the historically diverse varieties of the so-called non-numerical verse (Mediaeval asyllabic verse and contemporary graphical text). The author argues that prose and non-numerical verse constitute not only mutually opposite forms of textual organisation but also, as it were, two voices (understood in formal mimesis categories) between which a broad scale of imitative options emerges. In this way, he explains the phenomenon of analogy between the structure of line and the structure of sentence, as described in metrics/prosody studies. The main part of this article presents quotations from the output of R. Kapuscinski, H. Krall, S. Szmaglewska, and M. Wankowicz, each containing short, one-sentence, paragraphs, which enables to compare the two units, i.e. line and paragraph. This comparison indicates that certain phenomena hitherto approached as typically versification-related ones, such as obligatory pause, intersemiotic equivalence, or even enjambement (with respect to a certain melodic form), all appear in prose as well, and it is prose, in fact, that is their mother area out of which they at times tend to be transferred into the domain of verse. In its final section, the article refers to declamation models related to prose, highlighting their role in the shaping of the presently binding method of giving so-called free verse and of overcoming its relation with recorded and graphically organised text, a relation proving stronger than for numerical verse.
EN
The article, being part of the debate on cognitive assumptions of the nonfiction literature is a polemic with the theses of Paweł Zajas’s work Jak świat prawdziwy stał się bajką: O literaturze niefikcjonalnej. (How the real world has become a fable. On nonfiction literature), questioning, in reference to Lejeune’s referential pact, the epistemological dimension of a part of modern reportage literature.
EN
The article refers to forming the genre of reportage in the 19th century, pointing at its strict connectioin with the literature of that time. The process of the genre reconstruction is hindered, on the one hand, by the morphological openness of the form related to the types of expression which appeared in the press (letter, report, journey description, feuilleton, article) as well as in belles-lettres (novella, story), on the other hand, not high opinion of a reporter’s work, usually associated with sensation and chase after novelties. Despite these hindrances Polish literature notes in the 19th century and at the beginning of the 20th century a number of splendid models of report writing, from J.I. Kraszewski, through Sienkiewicz, Reymont or Korczak, today perceived as an important stage of forming the modern interest in documentary writing.
EN
This article attempts at a comprehensive interpretation of the cycle written by the Polish writer and reporter who has died this year. Presenting the areas of artistic activity which were fundamental to the building of Ryszard. Kapuscinski's original vision of the world, including photography, travel, personal afterthought, the authoress' intent is to prove that the multiplicity and apparent incoherence of the literary raw material have enabled him to aptly and persuasively describe the nature of our contemporary time. The world seen by this author as a collage makes him put pieces of reality into a whole that merges incongruent elements, showing them in a new and understanding perspective.
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