{"title":"第二个春天","authors":"Nina Macaraig","doi":"10.3366/edinburgh/9781474434102.003.0008","DOIUrl":null,"url":null,"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.","PeriodicalId":288378,"journal":{"name":"Cemberlitas Hamami in Istanbul","volume":"99 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Second Spring\",\"authors\":\"Nina Macaraig\",\"doi\":\"10.3366/edinburgh/9781474434102.003.0008\",\"DOIUrl\":null,\"url\":null,\"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.\",\"PeriodicalId\":288378,\"journal\":{\"name\":\"Cemberlitas Hamami in Istanbul\",\"volume\":\"99 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-02-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Cemberlitas Hamami in Istanbul\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3366/edinburgh/9781474434102.003.0008\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cemberlitas Hamami in Istanbul","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3366/edinburgh/9781474434102.003.0008","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
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.
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