Akademik Veri Yönetim Sistemi
BELLETEN, cilt.90, sa.317, ss.263-302, 2026 (AHCI, Scopus, TRDizin)
Built by Damad & Idot;brahim Pasha on the historical Divanyolu between Vezneciler and the Sehzade Mehmed Complex in the 1720s, the arasta with colonnaded arcades in front of its shops came to be known as Direkleraras & imath;. By the 1860s, the district, encompassing the street and its surroundings, became part of an entertainment and social milieu centered around teahouses, literary caf & eacute;s and coffeehouses in Beyaz & imath;t. By the 1880s, Direkleraras & imath; had transformed into the main hub of entertainment and spectacles in the historical peninsula with the rise of theatrical activities. Women, benefiting from the modernization and reform processes, participated in Direkleraras & imath;'s vibrant social and entertainment scene through activities like promenades and theater. Ottoman state archives and contemporary periodicals reveal that the discourse on its entertainment culture was predominantly centered on Muslim Ottoman women, whose increasing visibility in urban public spaces created tensions around morality, gender relations, clothing and spatial segregation. This article examines Muslim Ottoman women's engagement with Direkleraras & imath;'s social and entertainment milieu, the restrictions and bans they faced, and their strategies to navigate prevailing gender norms. Drawing on official documents regulating women's urban behavior, periodicals discussing Direkleraras & imath;'s entertainment culture and theater advertisements, it explores how authorities and social environments responded to women's presence as strollers and theatergoers. These sources have the potential to reveal how the political authorities and various social circles responded to women's promenades and their presence as theatergoers on Direkleraras & imath; Street and how the attitudes, expectations and initiatives of these groups shaped women's urban experiences.