Nazwy dźwięków jako wyznaczniki przestrzeni industrialnej w {Ziemi obiecanej} Władysława Reymonta
Sound Names Seen as Exponents of Industrial Space in Władysław Reymont’s The Promised Land

Summary/Abstract: The terminology which names auditory sensations used in {The Promised Land} is quite varied. In Reymont’s novel one can come across for instance: speech lexemes, terms connected with professional musical performance (including terms of musical science), and sound names of nature and its states. {The Promised Land} also contains sound names connected with industrial landscape such as sounds of working machinery. However one can notice that in comparison with other ranges of tonal terminology of the novel these sounds are fewer and less authenticated. This fact is rather surprising because of two reasons: i) the subject of the novel and ii) the impressions it creates which would rather suggest a high frequency of industrial sound names. Nevertheless, despite the lack of tonal notations of industrial sensations the mimesis of the novel is in this respect extremely evocative. In order to ‘industrialise’ the represented world of the novel Reymont on the one hand used tonal vocabulary of other ranges (by adopting various and numerous shifts and instances of synaesthesia) and on the other hand he used a number of plot and textual (stylistic) solutions which imitate rich industrial-related notations. The present paper is a study of ways in which tonal vocabulary was used in order to ‘industrialise’ the language of the novel. It also shows how these efforts were consciously and persistently adopted by the writer, which undermines the former opinions about Reymont’s writing technique.

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