Direklerarası, the core of Ramadan entertainment in late Ottoman Istanbul, rose to prominence toward the end of the nineteenth century at about the same time as entertainment hubs in Paris, Berlin, Tokyo, and New York. Thanks to the legitimacy provided by the Holy Ramadan, which played a positive role in reducing public suspicion and uneasiness among Muslim families towards the products of early mass culture, Direklerarası seems to draw a larger children's audience compared to Pera and Galata, the epicenter of European-style entertainment and a location where non-Muslims were heavily populated. As a result, many children were introduced to emerging modern mass culture at Direklerarası, which offers a large variety of shows and spectacles grouped under the name of lubiyat in the Ottoman world, including theater, musical plays, juggling, circus, concerts, shadow theater and cinema. This article focuses on childhood experiences at Direklerarası using a wide range of primary sources from archival documents and official regulations to Ottoman periodicals and memoirs. It aims to discuss the moral and aesthetic concerns arising from the fact that the spheres of adults and children were not yet clearly separated from each other, as well as how this experience at Direklerarası was remembered later as a childhood memory.

中文翻译：

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奥斯曼帝国晚期伊斯坦布尔对现代大众文化的早期认识：Direklerarası 儿童观众的经历

Direklerarası 是奥斯曼帝国晚期伊斯坦布尔斋月娱乐的核心，大约在 19 世纪末与巴黎、柏林、东京和纽约的娱乐中心同时崛起。由于斋月的合法性，它在减少公众对早期大众文化产品的怀疑和穆斯林家庭的不安方面发挥了积极作用，与欧洲的中心佩拉和加拉塔相比，Direklerarası似乎吸引了更多的儿童观众。风格的娱乐场所和非穆斯林人口稠密的地方。因此，许多孩子在 Direklerarası 接触到了新兴的现代大众文化，这里提供各种以奥斯曼世界卢比亚特 (lubiyat)名义分组的表演和奇观，包括戏剧、音乐剧、杂耍、马戏、音乐会、皮影戏和电影院。本文重点介绍了 Direklerarası 的童年经历，使用了从档案文件和官方法规到奥斯曼期刊和回忆录等各种主要来源。它旨在讨论由于成人和儿童的领域尚未明确划分而产生的道德和审美问题，以及后来如何将 Direklerarası 的这段经历作为童年记忆而铭记。