Search

Copyright of Media Research / Zeszyty Prasoznawcze is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Biuletyn Polskiego Towarzystwa Językoznawczego is the property of Polish Linguistic Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper discuses an eco-apocalyptic non-fiction, which can be described as dark biology (referring to dark fantasy, dark science-fiction or noir crime fiction). The analysis is focused on Richard Preston’s, David Quamenn’s, Karl Taro Freenfeld’s and Nathan Wolfe’s medical/ scientific nonfiction and heroic-exploratory narratives. The authors of dark narratives about viruses use the motives typical of crime, thriller, horror or sensation fiction. This analysis is set in a context of „dark ecology” — Timothy Morton’s eco-critical project. [ABSTRACT FROM AUTHOR]

Poland 1945: War and Peace by I'vfagdalena Grzebalkowska belongs to the genre of reportage, while it tends to represent history from the perspective of many microhistories or microstories. A thorough analysis of the work in the context of its genre determinants enables to define it on the one hand as a historical reportage, and on the other as a collective (auto)biography of various ethnic, national and linguistic communities, not only Polish, but also Polish-Kashubian, Polish-Silesian, Polish-Jewish, Polish-German and Polish-German-Russian-Ukrainian. It is therefore a collective and intercultural (auto)biography, which is being constructed in the course of constant confrontation with the "other". The purpose of this paper is to reflect on Grzebalkowska's book in terms of literary genre theory, to characterize it as a form of non-fiction, documentary prose, both biographical and autobiographical, collective and individual, and to comment upon its genre features in relation to such concepts as narrativism and theory of historiography. [ABSTRACT FROM AUTHOR]