Literary reportage has long exhibited intermedial traits. The longest tradition in this type of text is the combination of text and photo. Based on the theory of intermediality, literature is seen as a medium that conveys information, emotions and ideas. They can be expressed mono-medially (exclusively through a single medium, language) or multi-medially (through the combination of several media). This study analyzes the photo-text combination in the literary reportage „Die Slawen von nebenan – Sorbische Reise durch Deutschland” from the collection “Die sterbenden Europäer” (2001) by the Austrian author Karl-Markus Gauß. It involves two media: on the one hand, the text, which conveys information and creates images through linguistic expressions, and on the other, the photograph as an independent medium that brings information and emotions closer to the reader through visual means. According to Irina Rajewsky’s typology, the interplay of photo and text would be classified as a media combination.

In order to determine the interaction between the two media and to analyze their influence on the overall effect of the literary work, the text is examined in detail, taking into account its linguistic characteristics, its style, its structure, its content, its narrative perspective and its composition. At the same time, the composition, lighting, coloring, perspective of photos and their placement in the text are examined. Particular attention is paid to how the photographs relate to the text and what influence they have on its overall message. This includes analyzing how text and photographs interact, complement or possibly contradict each other. Furthermore, the intermedial relationships between the text and the photographs as different media are discussed. It analyzes how this interaction influences the overall effect of the literary work and what significance it has for understanding it. 

Only two photographs appear on the 39 pages of the reportage: of the cemetery in Ralbicy/Ralbitz and the library in Slepo/ Schleife. K.-M. Gauß devotes the first chapter to a verbal description of the old cemetery. About ten pages later, the photo that confirms what has been written is presented. It takes up the whole page and is accompanied by the caption “Die Geometrie der Toten, Ralbicy/Ralbitz” (“The geometry of the dead, Ralbicy/Ralbitz”). Such a distant placement of the image can be influenced by layout, design and other technical constraints, as well as by the author’s intention to present the image to the recipient later. The metaphorical caption shows the contrast between the terms “geometry” and “dead”, which could create a tension or an unusual connection between order and finitude.

The second image in the literary reportage was captioned “Der Wert der Bücher, Slepo/Schleife”, (“The value of books, Slepo/Schleife”) and depicts a part of the facade of the Jakub Lorenc-Zaleski Central Library, with an old window. In contrast to the photo of the cemetery, whose visual representation is also linguistically detailed, the picture has no verbal accompaniment other than a signature. The reader is also unaware of whether there is a need for the library in the present day. However, the inestimable value of what is hidden behind the window of the library, which can also be seen as a window into the world of Sorbian culture, remains undeniable. 

Both the cemetery and the Sorbian library embody the identity of the people and are considered symbolic incarnations of Sorbian culture, preserving the collective memory and history of the people. Their significance goes beyond their mere physical presence and manifests itself in a symbolic depth in which they represent the values and traditions of the Sorbian community. These places act as archives of Sorbian heritage, storing a rich spectrum of information and meanings that are passed down from generation to generation. The aspects mentioned above could speak in favor of the selection of the photographs.

The results suggest that the interaction of text and photography not only reinforces the factual level of the reportage, but also builds up a new narrative level. The use of photography is not limited to the illustrative function, it acts as a central core point of content, on which deeper vertical structures are built that provide insight into the history of the Sorbs. This intermedia approach ensures a deeper understanding of the complex nature of reality and the techniques through which it is represented. From this perspective, the literary reportages of K.-M. Gauß contribute to making the history, traditions and way of life of the minorities accessible to a wider audience, which is of great importance due to the ever-changing social and political landscapes.