Funkcje pejzażu dźwiękowego w polskim reportażu literackim
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In her Nobel Prize speech, the first reporter who received this award, called herself “a human ear”. Swietlana Aleksijewicz’s statement inspired Katarzyna Michalak, a radio reportage artist, who, by carefully listening, noticed an experience shared by reporters who were explaining the world around them through various media. The author of this article, inspired by the meeting of two great reporters, decided to investigate how listening and acoustic space found expression in literary reportage. This article explores a research question concerning the functions of the sound sphere, and not only related to the protagonist’s voice, but also to his acoustic environment, present in the literary reportage. Therefore, the aim of this article will be to try to answer this question by analyzing the content of four Polish literary reports: Nie ma Mariusza Szczygła (2018), Błoto słodsze niż miód. Głosy komunistycznej Albanii Małgorzaty Rejmer (2018), Agonia. Lekarze i pacjenci w stanie krytycznym Pawła Kapusty (2018) oraz Lud. Z grenlandzkiej wyspy Ilony Wiśniewskiej (2018). The analysis of the presence of sounds in literary reportage leads to the formulation of the following conclusions. Exposing the acoustic sphere in the course of the narrative plays the role of mood-formation by building the background and scenography of the story, as well as the semantic sphere. It can be a significant element of the plot or to emphasize the most important events. It also creates the characterization of the main character and gives the reader access to his emotions. It is also a reporter's expression of empathy, an attempt to convey the hero’s voice without distortions and modifications, along with its melody, intonation and natural rhythm. It can be said that by including the last aspect, the attitude of Svetlana Aleksijewicz is reflected in the work of Polish reporters, although it is implemented in various forms.
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