DOCSLIB.ORG

Martin Engelbrecht's Theatre De La Milice Etrangere

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Martin Engelbrecht's Theatre De La Milice Etrangere Martin Engelbrecht’s Theatre de la Milice etrangere: Engraving "Otherness" from Affective Subjecthood to the Habsburg Empire of Man By Acer Lewis Submitted to Central European University Department of History In partial fulfillment of the requirements for the degree of Master of Arts Supervisor: Professor Robyn Dora Radway Second Reader: Professor Laszlo Kontler CEU eTD Collection Vienna, Austria 2021 i STATEMENT OF COPYRIGHT Copyright in the text of this thesis rests with the Author. Copies by any process, either in full or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. CEU eTD Collection ii Abstract This thesis attempts a textual and visual analysis of a little known and unstudied print collection, Martin Engelbrecht’s Theatre de la Milice etrangere: Schau-Bühne verschiedener bißhero Teutschland unbekannt gewester Soldaten von ausländischern Nationen (ca. 1742). This collection depicts irregular soldiers from the Habsburg borderlands with the Ottoman Empire, who were recruited to fight in the War of Austrian Succession. These men, women, and children are depicted marching, fighting, resting, and eating as they passed through Southern Germany. Unique poetic texts caption each print, and provide commentary from multiple different perspectives upon these figures. Costume books are frequently analyzed as depictions of human cultural alterity or otherness and may include some contextualization with contemporary cultural and political debates. However rarely do scholarly analyses of costume collections show these to be active works of art which engage with contemporary discourses to propose new meanings. This thesis identifies several textual and visual rhetorical elements, which when contextualized within seventeenth and eighteenth century shifts in the intellectual culture of the Enlightenment and the Rococo, reveal this collection to be a deeply engaged political and cultural commentary on the CEU eTD Collection Habsburg state and the young Queen Maria Theresia. iii Acknowledgements To Mariam, for endless support and coffee in the park Thanks also to Professors Radway and Kontler for advice and support, Robin Bellers and Sanjay Kumar for feedback, and friends for friendship. My sincere appreciation to Christopher Frey at Antiquariat INLIBRIS, Peter Harrington at the Brown University Library, Jim McDougall, Anna Weinberger at the Heeresgeschichtliches Museum Collection, and Vit Lucas at the Getty Library for research aid and making these amazing prints available to during a pandemic. CEU eTD Collection iv Table of Contents Introduction ................................................................................................................................ 1 Framework of Analysis ........................................................................................................... 5 Thesis Roadmap: ................................................................................................................... 7 Chapter 1: Contexts and Materiality ........................................................................................... 9 Introduction ............................................................................................................................ 9 What ....................................................................................................................................... 9 What is the Theatre de la Milice etrangere? ........................................................................ 9 What is a costume book? ...................................................................................................10 What do these prints look like? ..........................................................................................12 When .....................................................................................................................................14 When was the collection made? .........................................................................................14 Where....................................................................................................................................21 Where was the collection produced? ..................................................................................21 Where did the collection circulate? .....................................................................................22 Who .......................................................................................................................................24 Who was Martin Engelbrecht? ...........................................................................................24 Who produced it? ...............................................................................................................25 Who was it produced for? ..................................................................................................26 Who does it depict? ...........................................................................................................27 How? .....................................................................................................................................30 How was collection made? .................................................................................................30 How was the collection used? ............................................................................................31 How might have Engelbrecht accessed the soldiers he depicted? .....................................33 Why .......................................................................................................................................34 Why was this collection produced? ....................................................................................34 Conclusions ...........................................................................................................................37 Chapter 2: Emotional “Otherness” and Maria Theresia .............................................................38 Introduction ...........................................................................................................................38 CEU eTD Collection Chapter Roadmap: .............................................................................................................39 The Early-Modern Fascination with Emotions: .......................................................................40 Le Brun’s Passions and the Conférence sur l’expression: ..................................................40 Emotions for Othering: .......................................................................................................43 v Venice and the Dalmatians ................................................................................................45 Quantitative Analysis of Emotions in the Theatre: ..................................................................47 Qualitative Analysis of Emotions in the Theatre collection: ....................................................49 Emotions and Power: ............................................................................................................51 Loyalty and Love of the Queen ..............................................................................................54 Conclusion ............................................................................................................................60 Chapter 3: Green Sprigs and the “Empire of Man” ....................................................................63 Introduction ...........................................................................................................................63 Green Sprigs as an Emblem of Nature: .................................................................................65 The “wilde Mann” as Emblem of Nature against Civilization: ..............................................70 Nature and Francis Bacon’s “Empire of Man”: .......................................................................72 Philosophy and the Aristocratic “Garden Français”: ...........................................................74 The Nature of the Theatre de la Milice etrangere within the “Empire of Man”: ........................76 The Nature of Buffon and the Rococo:...................................................................................77 Maria Theresia’s Leafy Throne ..............................................................................................80 Conclusions: ..........................................................................................................................81 Conclusions to the Thesis: ........................................................................................................82 Figures Cited: ...........................................................................................................................86 Bibliography: ........................................................................................................................... 101 CEU eTD Collection vi All images are used with permission, and are not for reproduction. List of illustrations [Figure 1] Martin Engelbrecht, #37 “Ein voller Courage von seiner Liebsten Abschied nehmender Pandur” (Augsburg,
Load more

Recommended publications
  • The Turkish Publication
    Erik Fischer with Ernst Jonas Bencard and Mikael Bøgh Rasmussen and a Contribution by Marco Iuliano Melchior Lorck volume 3: Catalogue Raisonné Part one: The Turkish Publication Translation: Dan Marmorstein The Royal Library Vandkunsten Publishers, Copenhagen Contents volume 1: Biography and Primary Sources Preface A comprehensive survey of the oeuvre The life and works of Melchior Lorck Documents related to the artist and the events of his life Bibliography Credits volume 2: The Turkish Publication, 1626 Edition Facsimile of a Copy in The Royal Library volume 3: Catalogue Raisonné Part one: The Turkish Publication Prefatory remarks 7 The structure of the catalogue 21 Abbreviations 24 Catalogue 25 Concordances 267 Credits 292 volume 4: The Constantinople Prospect Introduction Technique and Inscription Melchior Lorck’s Istanbul in the European context Credits The Constantinople Prospect. A Reproduction of the Original in the Leiden University Library Prefatory remarks to the catalogue On the different editions of The Turkish Publication volume 5: Today, Melchior Lorck’s Turkish Publication des- year catalogue number(s) ignates a collection of 128 woodcuts with Turkish Catalogue Raisonné 1565 1 motives. It seems likely that the woodcuts were 1570 2-14 Part two: Paintings, Drawings, Graphic Works and Architecture originally intended to illustrate a set of books that 1575 15-19 would represent – in words and pictures – the Prefatory remarks 1576 22-31, 33-36, 38-54 day’s Turkish military, clothing, costumes and 1579 55-56 The structure of the catalogue architecture, among other things. The motives 1581 57-77 were gathered on Lorck’s trip to Turkey in 1555- Catalogue 1582 78-110, 112-117, 119-122, 124-125 59; the objective of the publication was clearly Addenda et corrigenda to Vols.
    [Show full text]
  • Before the Odalisque: Renaissance Representations of Elite Ottoman Women Heather Madar
    Early Modern Women: An Interdisciplinary Journal 2011, vol. 6 Before the Odalisque: Renaissance Representations of Elite Ottoman Women Heather Madar he much-mythologized harem of the Ottoman sultans occupied a Tcentral place in European Orientalist thought for centuries.1 The harem, presented as an exotic world of forbidden sexuality inhabited by compliant yet sexually voracious women, appears in literature, art, and travel writing. While the most famous expressions of this harem fixa- tion date from later centuries,2 a focus on the harem as libidinous zone is demonstrably present in written sources from the sixteenth century. Yet an exploration of sixteenth-century European images turns up a surprising dearth of imagery in this vein. While Renaissance art lacks the languid odalisques or detailed views of the physical environment of the sultan’s harem familiar from later works, a series of largely overlooked representa- tions of elite Ottoman women do exist. Dating from the mid-sixteenth century, these images feature imagined portraits of sultanas — elite women such as Ottoman princesses, the sultan’s mother (valide sultan), or the sul- tan’s preferred concubine (haseki).3 Hurrem, the wife of sultan Süleyman, and his daughter Mihrimah appear most frequently in this genre. Yet strik- ing differences are immediately evident between their depiction and later, more familiar, views of the harem and harem women. The women shown in the Renaissance tradition were members of the sultan’s harem, yet they are not shown within a harem setting, nor do the images make reference to it. Although they are visually marked as Other, largely through the atten- tion given to their exotic dress, they are also presented as women who are of interest as individuals, possessing status and political significance.
    [Show full text]
  • LARRY A. SILVER Curriculum Vitae Born
    LARRY A. SILVER Curriculum Vitae Born: 14 October 1947. U. S. Citizen. married, two children. UNDERGRADUATE EDUCATION: University of Chicago, A. B., June 1969 Concentration: Art. Special Honors. General Honors GRADUATE EDUCATION Harvard University, Department of Fine Arts M. A., 1971; Ph. D., 1974 Dissertation: Quinten Massys (Director: Seymour Slive) ACADEMIC POSITIONS U. of California, Berkeley, 1974-1979 Lecturer in History of Art, 1974-1975 Assistant Professor of History of Art, 1975-1979 Northwestern University, 1979-1997 Associate Professor of Art History, 1979-1985 Professor of Art History, 1985-97 Chairman, Dept. of Art History, 1983-1986, 1997 Master, Chapin/Humanities Residential College, 1988-91, 1992-94, 1996-97 Martin J. and Patricia Koldyke Professor of Teaching Excellence, 1996-98 Smith College, Ruth and Clarence Kennedy Professor in the Renaissance, autumn 1994 Semester at Sea (University of Pittsburgh; University of Virginia; Colorado State) Fall 2001; Fall 2006; Summer 2008; Summer 2010; fall 2012; spring 2018 U. of Pennsylvania, 1997--2017 Farquhar Professor of the History of Art, emeritus 2017--present Chair of Graduate Group in History of Art, 1998-2000 Interim Chair, spring, 2005 Bogen Faculty Exchange Professor, The Hebrew University, fall 2007 Member, graduate group, German, 1999-- Member, graduate group, History, 2001— Director, University Scholars, 2010-17 President, Phi Beta Kappa, Delta Chapter, 2010-12 GRANTS and AWARDS: Woodrow Wilson Fellowship, 1969-1970 Danforth Graduate Fellowship, 1969-1974 Kress Foundation
    [Show full text]
  • "The Secessionists Are the Croats
    Rachel Rossner "The secessionists are the Croats. They've been given their own pavilion. .": Vlaho Bukovac's Battle for Croatian Autonomy at the 1896 Millennial Exhibition in Budapest Nineteenth-Century Art Worldwide 6, no. 1 (Spring 2007) Citation: Rachel Rossner, “‘The secessionists are the Croats. They've been given their own pavilion. .’: Vlaho Bukovac's Battle for Croatian Autonomy at the 1896 Millennial Exhibition in Budapest,” Nineteenth-Century Art Worldwide 6, no. 1 (Spring 2007), http://www.19thc- artworldwide.org/spring07/141-qthe-secessionists-are-the-croats-theyve-been-given-their- own-pavilion-q-vlaho-bukovacs-battle-for-croatian-autonomy-at-the-1896-millennial- exhibition-in-budapest. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2007 Nineteenth-Century Art Worldwide Rossner: Vlaho Bukovac's Battle for Croatian Autonomy at the 1896 Millennial Exhibition in Budapest Nineteenth-Century Art Worldwide 6, no. 1 (Spring 2007) "The secessionists are the Croats. They've been given their own pavilion. .": Vlaho Bukovac's Battle for Croatian Autonomy at the 1896 Millennial Exhibition in Budapest by Rachel Rossner Croatia and Slavonia—[upon hearing these words] what German will think of anything except the "Croats and pandours," who gave us so much misery in the seven-year war, and of Slovaks selling mouse-traps? In our country, we know little else about the lands that lie in the direction of the Balkans except that they really are there…No one thinks to travel through their land, unless he is an exceptionally rich and passionate hunter, wishing to hunt bears and other furry animals in the virgin forests and wild heights.[1] Who would have expected art from a country of pandours and bears (fig.
    [Show full text]
  • What the Renaissance Knew Piero Scaruffi Copyright 2018 "I Know That I Exist
    A History of Knowledge Oldest Knowledge What the Jews knew What the Sumerians knew What the Christians knew What the Babylonians knew Tang & Sung China What the Hittites knew What the Japanese knew What the Persians knew What the Muslims knew What the Egyptians knew The Middle Ages What the Indians knew Ming & Manchu China What the Chinese knew The Renaissance What the Greeks knew The Industrial Age What the Phoenicians knew The Victorian Age What the Romans knew The Modern World What the Barbarians knew 1 What the Renaissance knew Piero Scaruffi Copyright 2018 http://www.scaruffi.com/know "I know that I exist. But what is this I that I know?" (Descartes) “The Army causes Taxes; Taxes cause Discontents; and Discontents make an Army necessary” (Lord Bath, 1749) To do is to be - Descartes To be is to do - Voltaire Do be do be do - Frank Sinatra (Men’w Restrooms, Greasewood Flats, Scottsdale) I play the notes, in order, as they are written. It is God who makes the music. 2 (Johan Sebastian Bach) What the Renaissance knew • Bibliography – Paul Kennedy: The Rise and Fall of the Great Powers (1987) – Henry Kamen: Empire (2002) – Gregory Freeze: Russia (1997) – Geoffrey Hosking: Russia and the Russians (2001) – Simon Schama: "A History of Britain" (2000) – John Crow: “The Epic of Latin America” (1980) – Mary Beth Norton: A People And A Nation (1986) – Daniel Hall: "A History of Southeast Asia" (1955) – Robert Jones Shafer: “A History of Latin America” (1978) – Peter Burke: Culture and Society in Renaissance Italy (1987) – Peter Wilson: “The
    [Show full text]
  • Könyv Standard06-192.Indb
    CONVIVIA NEOLATINA HUNGARICA 1. Humanista történetírás és neolatin irodalom a 15–18. századi Magyarországon CONVIVIA NEOLATINA HUNGARICA 1. MTA Bölcsészettudományi Kutatóközpont Irodalomtudományi Intézet Budapest, 2015 CONVIVIA NEOLATINA HUNGARICA 1. Humanista történetírás és neolatin irodalom a 15–18. századi Magyarországon Szerkesztette Békés Enikő – Kasza Péter – Lengyel Réka MTA Bölcsészettudományi Kutatóközpont Irodalomtudományi Intézet Budapest, 2015 A kötet megjelenését támogatta a Nemzeti Kulturális Alap © Szerzők, 2015 © MTA BTK, 2015 ISBN 978-615-5478-15-4 ISSN 2416-125X Minden jog fenntartva, beleértve a sokszorosítás, a nyilvános előadás, a rádió- és televízióadás, valamint a fordítás jogát egyes fejezeteket illetően is Kiadja az MTA Bölcsészettudományi Kutatóközpont Irodalomtudományi Intézet Felelős kiadó: Fodor Pál Nyomdai előkészítés: MTK BTK Történettudományi Intézet tudományos információs témacsoport Vezető: Kovács Éva Borító: Horváth Imre Tördelés: Palovicsné Tihanyi Éva Nyomdai munka: Prime Rate Kft. Felelős vezető: dr. Tomcsányi Péter Tartalom Előszó . 7 Havas László A magyarországi neolatin kutatások helyzete: eredmények, hiányosságok, távlatok . 9 Ritoókné Szalay Ágnes Jacobus Publicius művei Mátyás király háborúiról és Vitéz Jánosról. Az Universitas Histropolitana vonzásában . 17 Ekler Péter Augustinus Moravus Olomucensis: Catalogus episcoporum Olomucensium. Adatok a Catalogus keletkezésének történetéhez . 25 Bobay Orsolya A török terjeszkedés visszhangja Ioachimus Vadianus Mela-kommentárjában . 32 Szabó András Majdnem történetíró. Forgách Imre befejezetlen történelmi munkája az 1588-as szikszói csatáról . 40 Nagy Gábor „num Historia … sit … interpolata et corrupta?” Isthvánffi Miklós Historiaeja első kiadásának két szöveghelyéről . 48 Csehy Zoltán Militiae Martisque decus. Adalékok Istvánffy Miklós történelmi tárgyú epitáfi umainak szövegmintázataihoz . 57 Petneházi Gábor Egy kevésbé heroikus gesztus? Zrínyi ujjának mikrofi lológiája avagy a comma Zrinianum . 66 Szvorényi Róbert A Báthory Zsigmondnak ajánlott történeti művek előszavai .
    [Show full text]
  • THE ISTANBUL LETTERS of ANTUN VRANČIĆ Croatian and English Translation of Selected Latin Letters
    Karta Istanbula. Autor: Giovanni Francesco Camocio. Tiskano u Veneciji 1566. Antique map of Istanbul. By: Giovanni Francesco Camocio. Printed in Venice in 1566 Ilustracija na naslovnici: portret Antuna Vrančića, autor: Martin Rota Kolunić (Martinus Rota) Illustration on the cover page: portrait of Antun Vrančić by Martin Rota Kolunić (Martinus Rota) CARIGRADSKA PISMA ANTUNA VRANČIĆA Hrvatski i engleski prijevod odabranih latinskih pisama THE ISTANBUL LETTERS OF ANTUN VRANČIĆ Croatian and English Translation of Selected Latin Letters Objavljeno pod pokroviteljstvom Hrvatske akademije znanosti i umjetnosti Published under the auspices of the Croatian Academy of Sciences and Arts Zrinka Blažević / Anđelko Vlašić Urednici / Editors CARIGRADSKA PISMA ANTUNA VRANČIĆA Hrvatski i engleski prijevod odabranih latinskih pisama THE ISTANBUL LETTERS OF ANTUN VRANČIĆ Croatian and English Translation of Selected Latin Letters Istanbul, 2018. / Istanbul 2018 SADRŽAJ / CONTENTS Predgovor g. Oğuza Aydemira / Foreword by Mr. Oğuz Aydemir 10 Predgovor dr. sc. Marijane Borić / Foreword by Marijana Borić, PhD 12 Predgovor Nj.E. Mustafe Babüra Hızlana / Foreword by H.E. Mustafa Babür Hızlan 16 Predgovor urednika / Editors’ foreword 18 Uvodna studija / Introductory study 24 Izvještaj o prvim aktivnostima prvoga carigradskog poslanstva od 1. rujna 1553. godine / 66 Report on the frst Istanbul mission’s frst activities, September 1, 1553 Pismo Antuna Vrančića Pavlu Gregorijancu od 31. listopada 1554. godine / 105 Antun Vrančić’s letter to Pavao Gregorijanec, October
    [Show full text]
  • THE RUSSIAN ARMY and the EASTERN QUESTION, 1821-34’ Ph.D
    1 ‘THE RUSSIAN ARMY AND THE EASTERN QUESTION, 1821-34’ Ph.D. ALEXANDER BITIS THE LONDON SCHOOL OF ECONOMICS AND POLITICAL SCIENCE, 2000 UMI Number: U615B58 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U615B58 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 lH £ S £ S F 3530 • ^ ,p 0' ^ t ABSTRACT This dissertation consists of a study of the role of the Russian army in Russo-Turkish relations from the outbreak of the Greek War of Independence to the conclusion of the Mohammed Ali crisis. It focuses primarily on the activities of the Russian Second Army - a force quartered in the southern regions of the Russia and designated to conduct military operations against the Ottoman Empire in Europe. Under the leadership of General P. D. Kiselev, the General Staff of this army conducted a thorough research of previous Russo-Turkish wars (1711-1812) and integrated the lessons of these campaigns into a new strategic and tactical doctrine. Ultimately, this research was to result in the formulation of an innovative new Turkish war plan which proposed that the Russian army, for the first time in its history, cross the Balkan mountain range and march on Constantinople.
    [Show full text]
  • DISTINCTION Five Centuries of Portraiture
    DISTINCTION Five Centuries of Portraiture portrait seems straightforward enough; it is a likeness of an individual. However, the ways people present themselves, the ways they wish to be A represented, and the ways artists choose to portray their sitters are much more complicated than they may seem. This exhibition challenges the basic definition of a portrait as a likeness, by considering the meaning behind the image—how physical form and individual identity are conveyed in various poses, attitudes, emblems, and artistic styles. An assumption about portraits is that they show how an individual sitter looked. While an attempt to convey appearance is true to an extent, we can never know how accurate a depiction is without having seen the sitter ourselves. We should approach portraits as interpretations of appearance, whatever their degree of verisimilitude or abstraction. They are, after all, still representations even if they are naturalistic—such as those by Hans Mielich, George Caleb Bingham, Gavin Hamilton, and Thomas Hart Benton—or claim to be drawn “from life”—for instance, William Hogarth’s Simon Lord Lovat. Even with examples of photorealism—seen here in works by Andy Warhol, Chuck Close, and Willie Cole—photographs have been manipulated to communicate particular ideas about their subjects. Each work of art displayed here is more than a suggestion of a sitter’s features and comportment, but also a statement about what makes an individual distinct from his or her peers. Using aesthetic and cultural cues, these images communicate the status, character, or significance of those they depict. Posture, clothing, hairstyle, insignia, and text—all of these are points of decision-making for both sitter and artist.
    [Show full text]
  • Europe's Turkish Nemesis
    THEHABSBURGSANDTHEIRCOURTSINEUROPE,1400–1700.BETWEENCOSMOPOLITISMANDREGIONALISM Europe’sTurkishNemesis LarrySilverȋȌ AmericanswholivedthroughtheColdWarwiththeSovietUnionfromWorldWarIIuntilthelate twentieth century probably can well imagine from the Iron Curtain what life was like across the ChristianͲMuslimfrontierduringthesixteenthcentury.EversincethefallofConstantinopletothe OttomanTurksin1453,threatsfrombothmilitaryattackaswellasideologicalwaragainstthealien religionofIslampreoccupiedtheconsciousnessandcreatedaclimateoffearinEuropeanChristian states. Nowhere was this anxiety concerning the rival superpower greater than within the loose GermanͲspeaking confederation known as the Holy Roman Empire, led by Habsburg emperor Maximilian I (r. 1493–1519).1 Indeed the eventual frontier between Catholics and Muslims, established after the battle of Mohács in Hungary (1526), still coincides almost exactly with the modern, hostile frontier between Catholic Croatia and Orthodox Serbia (Catholics who remained behind the Ottoman lines were forced to convert to Islam and became the Muslims of BosniaͲ Herzegovina). Fig.1MapoftheDanube,byWillemandJohannBlaeu, NovusAtlas(Amsterdam,1636). InanatlasmapoftheDanubewatershed,producedbyJohannBlaeuinAmsterdamduring the 1630s we see this confrontation institutionalized around the image caption (fig. 1). Here this heightened awareness of both a political and religious frontier, manned against a mysterious and foreignenemyattheborder,ispersonifiedbytheconfrontationoftwopairsoffigures.Ononeside, theeast,asultan
    [Show full text]
  • The Dialectics of Orientalism in Early Modern Europe
    the dialectics of orientalism in early modern europe Edited by marcus keller javier irigoyen-garcía The Dialectics of Orientalism in Early Modern Europe Marcus Keller • Javier Irigoyen-García Editors The Dialectics of Orientalism in Early Modern Europe Editors Marcus Keller Javier Irigoyen-García University of Illinois at University of Illinois at Urbana-Champaign Urbana-Champaign Champaign, IL, USA Champaign, IL, USA ISBN 978-1-137-46235-0 ISBN 978-1-137-46236-7 (eBook) https://doi.org/10.1057/978-1-137-46236-7 Library of Congress Control Number: 2017939329 © The Editor(s) (if applicable) and The Author(s) 2018 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication.
    [Show full text]
  • The Enemy at the Gate Habsburgs, Ottomans and the Battle for Europe
    046501374-text.qxd:Layout 1 2/17/09 11:06 AM Page iii The Enemy at the Gate Habsburgs, Ottomans and the Battle for Europe ANDREW WHEATCROFT A MEMBER OF THE PERSEUS BOOKS GROUP NEW YORK 046501374-text.qxd:Layout 1 2/17/09 11:06 AM Page iv Copyright © 2008 by Andrew Wheatcroft Published in the United State 2009 by Basic Books, A Member of the Perseus Books Group Published in Great Britain 2008 by The Bodley Head, Random House Extracts for T.S. Eliot’s “Little Giddling” and “The Dry Salvages” reproduced by kind permission of the Estate of T.S. Eliot and Faber and Faber Ltd. All rights reserved. Printed in the United States of America. No part of this book may be reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information, address Basic Books, 387 Park Avenue South, New York, NY 10016-8810. Books published by Basic Books are available at special discounts for bulk purchases in the United States by corporations, institutions, and other organizations. For more information, please contact the Special Markets Department at the Perseus Books Group, 2300 Chestnut Street, Suite 200, Philadelphia, PA 19103, or call (800) 810-4145, ext. 5000, or e-mail [email protected]. A CIP catalog record for this book is available from the Library of Congress. LCCN: 2008938931 ISBN-13: 978-0-465-01374-6 British ISBN: 9780224073646 10 9 8 7 6 5 4 3 2 1 046501374-text.qxd:Layout 1 2/17/09 11:06 AM Page v For Denise Gurney Wheatcroft 1914–2007 Mutter, du machtest ihn klein, du warsts, die ihn anfing; dir war er neu, du beugtest über die neuen Augen die freundliche Welt und wehrtest der fremden.
    [Show full text]