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EN
Augustów Roundup for families that experienced this catastrophe was an event known as "slash in time". The suffering it caused divided lives of many people into time before and after the roundup. This experience obscured the drama of the recently ended war, and at the same time it was an apex of the misery for communities of the North-Eastern Poland during the 6 years of war and post-war. The trauma of war had not been yet overcome when the first months of "liberation" in 1945 brought about a tragedy that resulted in mental and physical suffering of the orphaned for decades. They could talk about it publicly for the first time in over 40 years. It was registered by Alicja Maciejowska.
EN
This article consists of two parts. In the first one, I analyse relations between a reportage and a feature. Differences can be found in the way these notions are defined by scholars in Poland and in Western Europe. Polish radio documentaries are based on authenticity, while in a feature the truth intermingles with fiction. My Lobotomy, by David Isay and Piya Kochhar, serves as an example of a work which presents both authentic characters and some fictional elements. In the second part of the article I focused on the analysis of this American feature. As far as I am concerned, what makes the work most interesting is the relationship between the protagonist’s authentic and spontaneous reactions and the read out narrative sequences.
EN
The article consists of two parts. In the first, I analyse the relations between reportage and the feature. There are differences in the definitions of the two genres, in statements by researchers, and in the Polish and western European understanding of the feature and reportage. The main element in Polish radio documentaries is authenticity, while in the feature truth is mixed with fiction. An example of work with a mix of authentic characters and fiction is My Lobotomy by Dave Isay and Piya Kochher. In second part of the article, I focus on an analysis of this American feature. In my opinion, the most interesting aspect is the relation between the authentic, spontaneous reactions of the main characters and the narrative parts, which are read.
EN
Looking at the various definitions of radio documentary found in academic literature, several common elements can be found which typify the genre. These are: sound as the main constructional element, authentic events constituting the starting point, stress on the aesthetic quality of the relation, the considered authorial concept and its functioning through the medium of radio. In the last two decades, alongside the hitherto functioning and recognised terms applied in relations to radio news reporting, have appeared new ones: the feature; documentary programme/documentary radio broadcast/fictional radio broadcast/docudrama; radionovel; news blogs. In the age of new media, convergent forms have also appeared, among which we should mention: photocasts; multireports; sound maps. This situation means that it’s worth thinking about the hitherto genres, because they seem to be insufficient in the current media situation. Hence, the article presents a proposal for a typology of artistic aural forms. It presents a division based on the channel used to deliver the message, the means of production and governing function.
EN
This article consists of two parts. In the first one, I analyse relations between a reportage and a feature. Differences can be found in the way these notions are defined by scholars in Poland and in Western Europe. Polish radio documentaries are based on authenticity, while in a feature the truth intermingles with fiction. My Lobotomy, by David Isay and Piya Kochhar, serves as an example of a work which presents both authentic characters and some fictional elements. In the second part of the article I focused on the analysis of this American feature. As far as I am concerned, what makes the work most interesting is the relationship between the protagonist’s authentic and spontaneous reactions and the read out narrative sequences.
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EN
The author takes up the question of the narrativity of the artistic radio message that is radio documentary. It looks at documenatry from the perspective of psychological research on storytelling. Hence it considers the radio documentary as a large-scale narration composed of smaller aural forms, constituting small narrations. The author examines numerous levels of the in-depth news report, lexical, prosodic and also phonic features. It also shows how the theory of radio documentary connects to narrative identity.
EN
Radio documentary is a sound form of reality covering, therefore may not be considered as a direct source for its authors. Nevertheless, within contemporary radio production, there are reportages constituting peculiar transfer of literary content. In this article, they are labeled as reportage concretization of literature. This type of practice is an audio aspect characteristic of contemporary culture intermedia transpositions. The article discusses specific conditions of literature translation to radio documentary formula and presents model variants of sound realizations.
PL
Reportaż radiowy jest dźwiękową formą relacjonowania rzeczywistości, literatura nie stanowi zatem bezpośredniego źródła dla jego twórców. Jednak w obrębie współczesnych produkcji radiowych znajdują się reportaże realizujące swoisty transfer literackich treści. W niniejszym artykule określono je jako reportażowe konkretyzacje literatury. Tego typu praktyki są audialnym aspektem charakterystycznych dla współczesnej kultury intermedialnych transpozycji. Artykuł omawia szczegółowe warunki przeniesienia literatury do formuły reportażu radiowego oraz prezentuje modelowe warianty realizacji dźwiękowych.
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