Second Spring
The last chapter analyses four more identities that the Çemberlitaş Hamamı has taken on in the twentieth and twenty-first centuries: that of a tourist attraction promoted by a long lineage of Orientalist painters, travel writers and, lately, guidebooks; that of an emblem for an Ottoman past that many Turkish citizens now rediscover in the wake of a postmodern nostalgia for an Ottoman past that is imagined to be both simpler and more authentic—also known as Ottomania; that of a modern workplace; and that of a digital entity with an online presence.
Keyword(s):
2020 ◽
Vol 4
(1)
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pp. 27-42
Keyword(s):
2019 ◽
Vol 2019
(7)
◽
pp. 453-459
2019 ◽
Vol 4
(10)
◽
pp. 109
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