Straddling Empires: Revolt and Religion in Early Modern Dalmatia. Dursteler, E. R. In The World of the Siege. Representations of Early Modern Positional Warfare, of History of Warfare,, pages 129–155. Brill, Leiden, January, 2019. ![Straddling Empires: Revolt and Religion in Early Modern Dalmatia [link]](https://bibbase.org/img/filetypes/link.svg "link")
Paper abstract bibtex The notion of a siege presupposes the existence of boundaries – an inside and an outside.* Contemporary representations of sieges, which were widely popu-lar in the early modern era, visually emphasize this fundamental characteristic for both practical and aesthetic purposes. Before the start of hostilities, siege plans were often prepared on the fly to serve a strategic purpose, namely the “prime requirement” of achieving “deadly accuracy.” After a siege was lifted, paintings and prints with “spectacular visual effect[s]” were produced to cele-brate and memorialize the event.1 These siege views, particularly those from an elevated perspective, clearly delineate the assembled combatants: The be-siegers encircle the city, castle or fortress, whose walls cocoon and mark off the defenders inside. These orderly, often aesthetically satisfying depictions of what were in the end highly violent and messy affairs, give the impression of unambiguously clearcut battle-lines. However, abandoning the bird’s-eye view for the worm’s perspective of the social and cultural context on the ground reveals a much more equivocal reality. This is evident in the noted capture and subsequent siege of the mighty Ottoman fortress of Clissa (Klis, Croatia) in 1596, an epi-sode that raises a variety of questions about the tension between the represen-tations and realities of conflict, the complexity and imprecision of boundaries, and their relationship to the malleability of political and religious identity along the frontiers of the early modern Mediterranean. It also suggests the ways in which the portrayal of such conflicts by contemporaries, as well as by subsequent generations of scholars, can distort and decontextualize these events in the service of conflicting narratives and imperatives.
@incollection{dursteler_straddling_2019,
address = {Leiden},
series = {History of {Warfare},},
title = {Straddling {Empires}: {Revolt} and {Religion} in {Early} {Modern} {Dalmatia}},
shorttitle = {Straddling {Empires}},
url = {https://www.academia.edu/39776381/Straddling_Empires_Revolt_and_Religion_in_Early_Modern_Dalmatia},
abstract = {The notion of a siege presupposes the existence of boundaries – an inside and an outside.* Contemporary representations of sieges, which were widely popu-lar in the early modern era, visually emphasize this fundamental characteristic for both practical and aesthetic purposes. Before the start of hostilities, siege plans were often prepared on the fly to serve a strategic purpose, namely the “prime requirement” of achieving “deadly accuracy.” After a siege was lifted, paintings and prints with “spectacular visual effect[s]” were produced to cele-brate and memorialize the event.1 These siege views, particularly those from an elevated perspective, clearly delineate the assembled combatants: The be-siegers encircle the city, castle or fortress, whose walls cocoon and mark off the defenders inside. These orderly, often aesthetically satisfying depictions of what were in the end highly violent and messy affairs, give the impression of unambiguously clearcut battle-lines. However, abandoning the bird’s-eye view for the worm’s perspective of the social and cultural context on the ground reveals a much more equivocal reality. This is evident in the noted capture and subsequent siege of the mighty Ottoman fortress of Clissa (Klis, Croatia) in 1596, an epi-sode that raises a variety of questions about the tension between the represen-tations and realities of conflict, the complexity and imprecision of boundaries, and their relationship to the malleability of political and religious identity along the frontiers of the early modern Mediterranean. It also suggests the ways in which the portrayal of such conflicts by contemporaries, as well as by subsequent generations of scholars, can distort and decontextualize these events in the service of conflicting narratives and imperatives.},
language = {en},
number = {126},
urldate = {2022-01-21},
booktitle = {The {World} of the {Siege}. {Representations} of {Early} {Modern} {Positional} {Warfare}},
publisher = {Brill},
author = {Dursteler, Eric R.},
month = jan,
year = {2019},
pages = {129--155},
}
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Before the start of hostilities, siege plans were often prepared on the fly to serve a strategic purpose, namely the “prime requirement” of achieving “deadly accuracy.” After a siege was lifted, paintings and prints with “spectacular visual effect[s]” were produced to cele-brate and memorialize the event.1 These siege views, particularly those from an elevated perspective, clearly delineate the assembled combatants: The be-siegers encircle the city, castle or fortress, whose walls cocoon and mark off the defenders inside. These orderly, often aesthetically satisfying depictions of what were in the end highly violent and messy affairs, give the impression of unambiguously clearcut battle-lines. However, abandoning the bird’s-eye view for the worm’s perspective of the social and cultural context on the ground reveals a much more equivocal reality. 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