From Heraclitus to Baudelaire the river has appeared as a metaphor for life, winding safely from its source to the sea. Can you help us add more convenient ways to donate PayPal, WeChat, gift cards. Danube is not simply a masterpiece of travel, it is an odyssey. We are looking for experts in payments for anonymous merchants. with serendipitous details they come at us one after the other in brilliant abundance. Historiography, as a language of communication, has an implicit, immanent, strong comparative aspect.A splendid book, Magris peppers his journey. Historiography is a form of representing the past in the terms of the prevailing contemporary cultural settings, but at the same time, it represents a search for the proper voice on how to address the world on your past, how to translate your experience, and how to negotiate your place in the world. I have insisted on this dialogic form because it challenges the dichotomies between national narratives and supranational histories and focuses on the internal tensions in the transnational writing of history. The third response was the sublimation of the excluded periods, with emphasis on their differentiation from the Western cultural elements, that is, the dismissal of the Western “canon.” All these strategies should be examined together because they are aspects of a dialogue that has produced the conceptual subtext of historiography. His best-selling novel Danube (1986) has. The second was the indication and the promotion of the “neglected contributions” to the Western course of history. Claudio Magris, professor of German literature at the University of Trieste. The first was the suppression of certain aspects of the national history because they were excluded by the canon. Instead of adopting a rigid dualism between main and subaltern discourse, or between “Orientalism” and “Occidentalism,” we could see four main strategies, which are dependent on time and political agendas.
The canon of historiography and the way of handling the canon have been used as a vehicle of values and norms, and as a way of constructing concepts and cultural attitudes in the making of national history and identity. The purpose of this chapter is to explore the conceptual structure of writing national historiographies, as part of a dialogue between the canon and the strategies to overcome it.
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