Literature
Reportage
Reportage is a form of literature that presents factual information in a narrative style, often focusing on real-life events and experiences. It aims to provide a detailed and accurate account of events, often incorporating journalistic techniques such as interviews and firsthand observations. Reportage is valued for its ability to convey the truth of a situation while engaging readers through storytelling.
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4 Key excerpts on "Reportage"
eBook - PDF- Charles Bazerman, Adair Bonini(Authors)
- 2009(Publication Date)
- Parlor Press, LLC(Publisher)
The Reportage is conceived as an extension or deepening of the news in the first and second definitions, and as an independent genre in the last one. The third definition, however, consists of a mixed explana-tion. In terms of the features considered here (the purpose of the genre; aspects of the production, the reading and of the social roles involved; the rhetorical organization; and the nomenclature) little can be raised from these definitions. Considering the whole explanation (and not only the definitions), the literature on the subject offers some details, but the interesting and relevant point to the issue discussed here is the nomenclature aspect. In relation to the nomenclature for Reportage, the Brazilian journalistic literature presents a set of discussions and proposals. I present these classifica-tions below, also trying to display them from the least to the most consistent in terms of how they approximate to the notion of genre. Sodré and Ferrari (1986) understand that the Reportage occurs in three ways: • Fact-story: “Involves the objective reporting of events, which fol-lows in writing the inverted pyramid form. As in the news, the facts are narrated in sequence, in order of importance” (p. 45); • Action-story: “It’s a more or less stirring report, which always begins with the more attractive fact going down step by step to the exposure of the details. What matters in these Reportages is the events being narrated in a personal way, next to the reader, who is involved with the visualization of the scenes, as if in a movie” (p. 52); • Quote-story: “It is the documented report that presents elements in an objective manner, accompanied by quotations which supple-ment and clarify the subject. . . . It is expository and similar to a research. Sometimes, it has a denouncing character. But, in most cases, supported by data which grounds it, it acquires a pedagogical status, taking a stand about the subject in question” (p. 64).
eBook - PDFChinese Reportage
The Aesthetics of Historical Experience
- Charles A. Laughlin, Rey Chow, Harry Harootunian, Masao Miyoshi, Rey Chow, Harry Harootunian, Masao Miyoshi(Authors)
- 2002(Publication Date)
- Duke University Press Books(Publisher)
On the other hand, my selection of texts has largely been governed by the classification of a corpus of works as Reportage by Chinese cultural institutions for over fifty years, a pro-cess I will describe in more detail toward the end of this introduction. Viewed in historical perspective, the word Reportage, originally a French noun meaning any kind of journalistic work, was adopted by German communist writers in the 1920s to refer specifically to agitational inves-tigative reports on the labor movement. Reportage was soon elevated to the status of a literary genre by the Czech writer Egon Erwin Kisch, who boldly claimed that Reportage would displace fiction as the domi-nant genre of the age. Aided by the popularity of his works, Kisch’s exu-berant promotion of the genre helped it spread throughout the major urban centers of the world as part of the international proletarian cul-tural movement. 2 ‘‘Deliberately literary’’—the idea that nonfiction writing can be a cre-ative art form takes some getting used to. Especially in light of today’s conventional understanding of art, perpetuated through our education and the media, creative art is supposed to rely principally on the imagi-nation, specifically the imagination of an autonomous individual. The notion of the individual that lay behind this understanding is part of the legacy of Enlightenment humanism. The private individual is one of the Enlightenment’s principal epistemological and social categories, and its apparent universality is often critiqued as deceptively concealing its own historicity. The ideology surrounding the individual promotes certain narrative configurations, creating a canon and a standard of nar-rative writing (fictional and otherwise) that features a dramatic plot, structural closure, psychological exploration, and the construction and development of characters in ways that fulfill these expectations.
- James Hodapp(Author)
- 2022(Publication Date)
- Bloomsbury Academic(Publisher)
Graphic Novels and Comics as World Literature 18 the tension between free-flowing mobility and physical immobility that is indexed in the form and content of their pages. In their book Reportage Illustration, Gary Embury and Mario Minichiello define “Reportage [as] ‘event-based’, meaning that it is an art applied to things of significance happening in the world” (2018, 1). While the examples I include in this chapter exist at the edges of different translation and publication zones, and already have a strong claim upon the category of World Literature, I also opt here for graphic Reportage over graphic nonfiction because the term emphasizes the reporting of stories from— rather than about—the spaces of exception documented in their pages. It is true that all of this graphic work is authored by artists based in the Global North. However, on the one hand, these artists have themselves inhabited the spaces of exception they draw, even if only for a temporary period; and on the other, they all capture the stories and testimonies—often in recorded, direct speech—of the dispossessed and disenfranchised who remain incarcerated in those spaces. As Chute might contend, this drawing “enters the public sphere as a form of witness that takes shape as marks and lines because no other technology could record what it depicts” (2016, 265). Graphic Reportage explicitly refutes the shortened media cycles of 24-hour news channels and the objectifying photographic gaze (Orbán 2015; Davies 2020c), insisting on directly recorded testimony while deploying literary techniques that self-reflexively implicate readers—and even the authors themselves—in the politics of carceral humanitarianism (Rifkind 2020). With this eclectic blending of different literary technologies, graphic Reportage deepens World Literature to break out stories from the carceral spaces of refugee camps, detention centers, and border cities.
- Phyllis Frus(Author)
- 1994(Publication Date)
- Cambridge University Press(Publisher)
To arrive at this kind of reading of journalism is difficult, under the dominant conceptions of literature today, for only certain nonfictional narratives - some New Journalism and nonfiction novels, for example - WHAT ISN'T LITERATURE? 5 are regarded as belonging to literature, and their designation by special terms such as "literary journalism" and "the literature of fact" shows that they are exceptions. Honoring only selected forms ofjournalism as literature emphasizes the line that separates the two modes, confirming the late-nineteenth-century notion of literature that arose specifically to exclude journalism and other factual narrative, defining literature as a collection of timeless works of universal value and appeal. In other words, only works that transcend their context need apply for the cat- egory. If we look at some of the ambiguities in the positions of those who would set journalism off from literature, we may see why the separation is vulnerable to reading as well as writing practices that blur it; then a theory that would collapse all discourse back into one category - such as the one I am proposing - may seem more appropriate. My goal is to break down the hard line between literature, specifically novels and short stories, which we regard as created fictions, and nonliterary texts - journalism, biography, history, essays - which we think of as records of actuality. I propose to substitute for the concept of "literariness" the practice of what could be termed "literary reading" but which, for clarity, I shall term "reading for the process," or "reflexive reading." In brief, I will argue that as readers we produce what we call "literature" when we read to discover how a text, through its style, "makes" reality, that is, when we read its content through its form.
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