Second Spring

Abstract

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.