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1

Wizualność jako dominanta reportażu literackiego. Wokół książki Długi film o miłości. Powrót na Broad Peak Jacka Hugo-Badera

100%

Żyrek-Horodyska E.

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nr 2 (122)

143-157

EN

The purpose of this article is to discuss the role of visuality in contemporary literary reportage. In my analysis I focus on the book Długi film o miłości. Powrót na Broad Peak by Jacek Hugo-Bader, published in 2014. I present that this text can be read as an example of reportage which affects several senses, but it gives priority to image. I analyze the photograph published in the book as well as their descriptions created by the journalist.

2

Between Testimony and Irony: Points of View in “Chernobyl Prayer. A Chronicle of the Future” by Swietlana Alexievich

72%

Horodecka M.

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nr 8(11) cz.1

55-68

EN

The article is an analysis of Swietlana Alexievich’s book Chernobyl Prayer. A Chronicle of the Future and aims to examine its predominant narrative strategies. The author points to the role of monologues, mottos, irony, titles, and subtitles, which help to describe the process of showing the witness’ point of view and, simultaneously, Alexievich’s interpretation of the gathered data.

3

Między "Ustami Italji" a brzegiem Nervi. Przypadek Kazimiery Alberti

72%

Janas J.

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nr 1

39-69

IT

Nell’articolo si fondono diverse prospettive interpretative. La prima si concentra sul volume di poesie Usta Italji, pubblicato negli anni ‘30, nel quale Kazimiera Alberti, inconsapevolmente, preannuncia il suo futuro. Le “escursioni poetiche” tra le varie città italiane, rafforzate da elementi di stampo autobiografici, mostrano una soggettività letteraria tutta femminile. Il discorso biografico rappresenta una cornice per le esperienze affettive quali malinconia, tristezza e passione. Oggi chiameremmo tale esperienza legata ad un dato luogo come “poetica dello spazio”, nella quale gli elementi reali si collegano a quelli immaginari. La seconda parte dell’articolo è dedicata al soggiorno di Kazimiera Alberti in Italia. Soggiorno che certamente non può essere trattato come un semplice viaggio di piacere o a fini turistici. L’analisi del codice della memoria culturale dà vita ad una rappresentazione convincente dello sforzo con cui il poeta cerca un proprio modo di “vivere” in un mondo che si divide tra il tragico passato polacco e la sicurezza della terra italiana. Le riflessioni sulla lettera di Kazimiera Alberti indirizzata a Maria Grabowiecki non possono essere trattate come una mera procedura d’interpretazione, ma anche, e soprattutto, un impulso per cogliere, per quanto sia possibile, il fulcro centrale del lavoro dell’Alberti. Si tratta di un gesto di ri-creazione, un tentativo di ri-apertura del mondo verso i grandi miti culturali; una passione creativa la cui evocazione poetica diventa reale come l’isola “immaginaria” di Capri.

EN

The article conjoins several interpretative perspectives. The first one focuses on Kazimiera Alberti’s volume of poetry entitled Usta Italji [The Mouth of Italy] published in the 1930s, in which Alberti unconsciously predicts her future. Her poetic excursions into Italian cities, enhanced by autothematic tropes, reveal the writerly-feminine subjectivity. What the biographical discourse delineates there is the frame for affective experiences, such as melancholy, sadness, and passion. This experience of the place would be identified today as the poetics of space, in which actual addresses merge with made up after-images. The second part of the article is devoted to Kazimiera Alberti’s experience of living in – and not only sightseeing – Italy. An analysis of the cultural memory code makes it possible to accurately portray the effort with which the poet seeks an original way of inhabiting the world that spans between the tragic Polish past and the Italian space of salvage. A reflection on Kazimiera Alberti’s letter to Maria Grabowiecka becomes not only an interpretative procedure but also – and primarily – a trigger to discuss the (arguably) central theme in Alberti’s oeuvre: the gesture of re-creation. This gesture stands for the attempt to re-create the world in the language of great cultural myths, or for the creative passion whose poetic evocation is Capri – an island equally real and “made up” or imagined.

4

Marka: reporter. O widoczności medialnej Mariusza Szczygła

58%

Żyrek-Horodyska E.

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nr 1

105-128

EN

The aim of this article is to discuss the personal brand creation of the reporter Mariusz Szczygieł. The author claims that there is a strong relation between the increasing popularity of non-fiction and a significant change in the social perception of reporters. Nowadays the journalists not only publish new journalistic books, but they are also strongly involved in their promotion. The analysis of the strategies used by Mariusz Szczygieł lead to the conclusion that the process of creating the image by the reporter consists of his activity in social media, his involvement in numerous activities going beyond standard journalistic duties and his decision to use the autobiographical motifs in his reportages. These strategies allow to significantly increase the author’s media visibility and they have an influence on the greater recognition of this author among the readers.

PL

Niniejszy artykuł poświęcony jest omówieniu strategii kreowania marki osobistej przez reportera Mariusza Szyczygła. Zauważyć można, iż wraz ze wzrastającą popularnością twórczości non-fiction ulega zmianie status jej autorów, którzy – wydając kolejne tomy reportażowe – aktywnie angażują się w ich promocję. Jak pokazuje przykład Szczygła, wykreowaniu pożądanego przez reportera wizerunku sprzyja jego aktywność w mediach społecznościowych, angażowanie się w liczne działania wykraczające poza działalność stricte dziennikarską, jak też autobiografizowanie dyskursu reportażowego. Strategie te pozwalają istotnie zwiększyć medialną widoczność autora, przekładającą się na jego szerszą rozpoznawalność wśród odbiorców.

5

Polski reportaż w Szwecji

51%

Zadencka M.

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tom 18

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nr 3

326-344

EN

The article discusses three doctoral theses (of Anna Jungstrand, Anita Pluwak and Cecilia Aare) defended at Swedish universities that focused on the genre of reportage and included among other things the analyses of texts by Polish authors – Hanna Krall, Ryszard Kapuściński, Wojciech Tochman and Jacek Hugo-Bader. The article describes the theoretical starting points of these research works and the methods of identifying the characteristic features of the Polish authors’ writing style: the creation of “credibility” of the literary reportage from the perspective of multilevel narrative ( Jungstrand), the “meeting situation” between readers and characters of the reportage (Aare) and the interplay of temporal perspective with the “technique of pressure” if a reportage text is to be read from the perspective of Peter Brooks’ theory of melodrama (Pluwak). Conclusions of the researchers were juxtaposed with the voices of critics (Peter England, Joan Tiberg), commented upon was also the Maciej Zaremba’s thesis about the role of communist censorship in formation of writing style of Polish reporters that appeared in the preface to the anthology of Swedish translations of Polish reportages (2006) that was also repeated by Jungstrand and Aare.

PL

Artykuł omawia trzy prace doktorskie obronione na uczelniach szwedzkich (Anny Jungstrand, Anity Pluwak i Cecilii Aare) poświęcone gatunkowi reportażu i zawierające między innymi analizy tekstów polskich autorów – Hanny Krall, Ryszarda Kapuścińskiego, Wojciecha Tochmana i Jacka Hugo-Badera. Opisane zostały teoretyczne punkty wyjścia tych prac badawczych oraz sposoby ujmowania charakterystycznych cech warsztatu polskich pisarzy: jak budowana jest na poziomie wielopoziomowej narracji „wiarygodność” reportażu literackiego (Jungstrand), „sytuacja spotkania” między czytelnikami i bohaterami reportażu (Aare) oraz jak perspektywa czasowa współgra z technique of pressure, jeśli odczytywać tekst reportażu w perspektywie teorii „melodramatyczności” Petera Brooksa (Pluwak). Ustalenia badaczek zestawione zostały z głosami krytyków (Peter Englund, Joar Tiberg), skomentowana też została powtórzona przez Jungstrand i Aare teza Macieja Zaremby ze wstępu do antologii szwedzkich tłumaczeń polskich reportaży (2006) o roli komunistycznej cenzury w formowaniu warsztatu polskich reportażystów.