Literary Journalism in the Cold War: Affective Structures of Transperipheral Solidarity in Thought-Images between Ryszard Kapuściński and Gabriel García Márquez

在我的项目中，我想探索雷扎德Kapuściński和加布里埃尔García Márquez的文学新闻文本的审美文化和政治内容，并为冷战文学新闻的诗学比较研究做出贡献。关于拉丁美洲关于该地区编年史的研究争论（作为文学新闻的一种特殊类型），我的跨文化方法可以作为跨历史文学研究的起点。我还想把这个问题延伸到拉丁美洲的书面文化的“原始类型”，或者它是否只是关于术语的连续性或类型的话语功能，到东欧的背景下，并对不断变化的纠缠和潜在的联系进行细致入微的动态理解。我的项目的主要目的是a)将报告文学/编年史概念化为一种体裁，促进两个不同社区之间的外部交流，从而建立一个新的文学社区；b)阐述体裁类型学和美学方法论之间的联系，并重新定义这种文学在冷战政治和社会背景内外的文学和伦理有效性。基于两位作者的文本，我想详细阐述迄今为止未被探索的美学和知识结构以及文学关系网络，并在冷战两极分化的世界跨国背景下，为外围文学团结的交织历史和美学提供新的视角。这两位作者被视为调解人，在翻译意义的过程中，允许富有成效和不可预测的想象在“银桥”上流动（Kundera 2015, 104），连接“位于两端的西方两个边缘；两个被忽视的，被蔑视的，被遗弃的土地，两个贱民的土地”（同上）。我将西方的两个边缘，拉丁美洲和东欧，概念化为特定的历史条件塑造了当地文学新闻发展的空间。

In my project, I would like to explore the aesthetic-cultural and political content of literary-journalistic texts of Ryszard Kapuściński and Gabriel García Márquez, and contribute to the comparative study of the poetics of of Cold War literary journalism. With regard to the Latin American research debate on the history of the chronicle in the region (as a particular genre of literary journalism), my cross-cultural approach can serve as a starting point for transhistorical literary studies. I would also like to extend the questions of whether it is the 'proto-genre' of written culture in Latin America, or whether it is only about the continuity of the term or a discursive function of the genre, to the Eastern European context and create a nuanced and dynamic understanding of changing entanglements and potential connections.The main aims of my project are a) to conceptualize reportage/chronicle as a genre that facilitates transperipheral communication between two different communities and thus establishes a new literary community, and b) to elaborate a link between the genre-typological and the aesthetic-methodological approach and to redefine the literary and ethical validity of this literature in and beyond the political and social context of the Cold War.Based on the texts of the two authors, I would like to elaborate the hitherto unexplored aesthetic and intellectual structures and networks of literary relations and shed new light on the interwoven history and aesthetics of peripheral literary solidarities in the transnational context of the world polarised by the Cold War. The two authors are seen as mediators who, in the process of translating meaning, allow productive and unpredictable imaginaries to flow across a "silvery bridge" (Kundera 2015, 104), connecting "two edges of the West located at its opposite ends; two neglected, disdained, abandoned lands, two pariah lands" (ibidem). I conceptualize the two edges of the West, Latin America and Eastern Europe, as spaces in which particular historical conditions have shaped the local development of literary journalism.