ZAPROSZENIE NA OTWARTE SEMINARIUM ZAKŁADU LITERATUROZNAWSTWA I KULTUROZNAWSTWA IS PAN

 

Serdecznie zapraszamy na kolejne seminarium
Zakładu Literaturoznawstwa i Kulturoznawstwa IS PAN,
które odbędzie się 9 stycznia 2018 roku o godz. 12.30
w pracowni Instytutu Psychologii PAN (ul. Jaracza 1)

 

Podczas seminarium dr Agnieszka Kaim zaprezentuje tekst pt. „Współczesny fenomen tureckich seriali lub neoosmański podbój Bałkanów i Bliskiego Wschodu", którego abstrakt prezentujemy poniżej. Seminarium prowadzone jest w języku polskim. Po prezentacji wszystkich uczestników zapraszamy do dyskusji.

 

Źródło: http://www.filmweb.pl 


This paper is an attempt to analyze the phenomenon of the export of the TV dramas produced in the last decade in Turkey, and their sale across the world, viewed from the perspective of intercultural and social relations, whilst not ignoring the political and economic aspects involved. The paper starts with the tradition of promoting the particular drama style that stems from the Turkish Bollywood - Yeşilçam, named after a street situated in the centre of Istanbul, and the hub of most cinema studios, actors and directors, dating as far back as the 1950s-1970s. The Yeşilçam industry has produced an array of genres, all of which share both a specific cultural connotation and a cinematic language that has evolved over time, but which still sits at the core of contemporary TV production, with an Arabesque emotional sensitivity. The socio-political aspect covers factors such as the transformation of the Turkish television industry in the late 1990s and 2000s, and the shifts in both local and global markets that have created export opportunities for Turkish dramas.
The popularity of Turkish dramas within the territories of the Turkish republics, the Balkans and the Middle East is completely understandable, from a cultural proximity thesis, as being the emanation of a common Ottoman heritage. However, in the proposed paper there is also a discussion of their (especially „Magnificent Century") popularity in Central European countries like Poland, and of factors contributing to this, such as the oriental part of the Slavic soul, the hidden memory of the long-lasting historical relations between Poland and Turkey, and their common inter- border influence.
When it comes to the Middle East, the Turkish TV novel has advanced social change, in an Islamic world still searching for its own identity. The Turkish idea of the promotion of modernity without the loss of religious values has been applied to common social tastes. Stories imported from Turkey are tailored towards Arab audiences, and combine a modern, very luxurious lifestyle with conservative values. The plots offer a sense of freedom for women and promote a particularly emancipating lifestyle.
The storytelling-style of these dramas has a very epic flavour, reminiscent of the Arabian Nights structure, orientalising the Orient, in a manner popularised in European culture, but criticised by E. Said. Thanks to their very prolific and skillful screenwriters, who are careful observers of public mores, including the shifts between social groups, the plots of these dramas serve to diminish the feeling of inferiority so prevalent among rural immigrants in the Turkish metropolis. They encompass a nostalgia focusing on the Ottoman past, which has been termed Ottomanalgia (by Ufuk Adak).
Apart from their artistic and economic value, these Turkish dramas could be regarded as a political tool of the Turkish government, which supports this industry with subsidies. The political goals of president Tayyip Recep Erdogan and the leading AKP party, including that of becoming a leader in the region, have somehow given birth to the creation of theories that the TV industry has been part of a deliberate agenda to spread Turkish influence around the Islamic world.
The paper also discusses these dramas from the perspective of the author's own experience as a translator of screenplay dialogues from Turkish into Polish, with an attempt at some intercultural translation.