It is argued that contemporary Turks are not composed or represented only by a specific identity and that the plural identity of individuals is making contemporary Turkish society as a mosaic community. Rapid technological advances have led to the change of identities by introducing new values into ...
It is argued that contemporary Turks are not composed or represented only by a specific identity and that the plural identity of individuals is making contemporary Turkish society as a mosaic community. Rapid technological advances have led to the change of identities by introducing new values into contemporary people’s thinking. Turkish society, which has emphasized a single “Türk” identity on a national level since the founding of the Turkish Republic in 1923, has also faced a trend of global identity change. From this perspective, this study tried to find the answer to the question, “What kind of plural identity do contemporary Turks have?”. Hence, this study embodied the ‘Plural Identity of contemporary Turks’ expressed in Netflix Turkey Original Series in socio-political, religious, and ethnic aspects.
was selected as a research case because it contains a vivid portrayal of contemporary Turks and Turkish society. The research method used in this study is a combination of quantitative and qualitative research, which consists of four stages: 1. Media Clipping → 2. Word Frequency Analysis of Selected Articles → 3. Extraction of a Discourse Applied to contemporary Turkish Society → 4. Analysis of Identities Expressed on based on the characters’ narratives, lines, and visual text.
“Confrontational and the third identity” discourse was extracted as a critical explanation of contemporary Turkish society. According to word frequency analysis, this discourse had socio-political, religious, and ethnic backgrounds, and it is the basis for the emergence of the plural identity. Therefore, contemporary Turks can be considered as a total of these identities as well as individually and interconnected. However, it is significant to mention that this study did not examine all plural identities of contemporary Turks and concentrated only on those depicted in .
Firstly, the socio-political aspect of the “confrontational and the third identity” is conveyed from the beginning of the series. The “confrontational identity” of Beyaz Türk and Siya Türk characters was symbolized by conflict and strong dualism in the beginning, and, as the storyline progressed, they developed a “third identity” that embraced each other.
Secondly, the religious aspect of the “confrontational and the third identity” is expressed by Muslim and non-Muslim characters. However, contemporary Turks’ religious identity does not simply distinguish between Muslim and non-Muslim because religion and faith are different concepts. Moreover, the “custom” element is reflected in the relationship between Turks and Muslims. Therefore, the researcher discovered that the discourse dealing with the religious identity of contemporary Turks could be named “Islamic Faith Discourse.” Both “confrontational” and “third identity” are divided into Muslim and non-Muslim categories. Then, each category can be further sub-categorized by the degree of convention and faith. The “third identity” was more diverse than the “confrontational” one in this respect.
Lastly, the ethnic aspect of the “confrontational and the third identity” is also argued. The conflict between the Turks and Kurds is already well-known. However, the series emphasize different perspectives about the historical event within the Kurds community as a “third identity.” It is boldly expressed in the series more than “confrontational identity. “
In the series, no character was represented by a single identity. Each character has a plural identity, a combination of identities based on different backgrounds. As the television drama reflects society, this research could also be adapted to every “Türk” living in the Turkish Republic in today’s day and age.
This thesis offers a unique and in-depth approach to the current state of the cultural contents industry and identity research. The academic significance of this research is as follows. First, the plural identity of contemporary Turks was decoded through . Next, the complexity of contemporary Turks’ images was interpreted in multiple dimensions, which leads to a more profound understanding of contemporary Turks and Turkish society.
It is argued that contemporary Turks are not composed or represented only by a specific identity and that the plural identity of individuals is making contemporary Turkish society as a mosaic community. Rapid technological advances have led to the change of identities by introducing new values into contemporary people’s thinking. Turkish society, which has emphasized a single “Türk” identity on a national level since the founding of the Turkish Republic in 1923, has also faced a trend of global identity change. From this perspective, this study tried to find the answer to the question, “What kind of plural identity do contemporary Turks have?”. Hence, this study embodied the ‘Plural Identity of contemporary Turks’ expressed in Netflix Turkey Original Series in socio-political, religious, and ethnic aspects.
was selected as a research case because it contains a vivid portrayal of contemporary Turks and Turkish society. The research method used in this study is a combination of quantitative and qualitative research, which consists of four stages: 1. Media Clipping → 2. Word Frequency Analysis of Selected Articles → 3. Extraction of a Discourse Applied to contemporary Turkish Society → 4. Analysis of Identities Expressed on based on the characters’ narratives, lines, and visual text.
“Confrontational and the third identity” discourse was extracted as a critical explanation of contemporary Turkish society. According to word frequency analysis, this discourse had socio-political, religious, and ethnic backgrounds, and it is the basis for the emergence of the plural identity. Therefore, contemporary Turks can be considered as a total of these identities as well as individually and interconnected. However, it is significant to mention that this study did not examine all plural identities of contemporary Turks and concentrated only on those depicted in .
Firstly, the socio-political aspect of the “confrontational and the third identity” is conveyed from the beginning of the series. The “confrontational identity” of Beyaz Türk and Siya Türk characters was symbolized by conflict and strong dualism in the beginning, and, as the storyline progressed, they developed a “third identity” that embraced each other.
Secondly, the religious aspect of the “confrontational and the third identity” is expressed by Muslim and non-Muslim characters. However, contemporary Turks’ religious identity does not simply distinguish between Muslim and non-Muslim because religion and faith are different concepts. Moreover, the “custom” element is reflected in the relationship between Turks and Muslims. Therefore, the researcher discovered that the discourse dealing with the religious identity of contemporary Turks could be named “Islamic Faith Discourse.” Both “confrontational” and “third identity” are divided into Muslim and non-Muslim categories. Then, each category can be further sub-categorized by the degree of convention and faith. The “third identity” was more diverse than the “confrontational” one in this respect.
Lastly, the ethnic aspect of the “confrontational and the third identity” is also argued. The conflict between the Turks and Kurds is already well-known. However, the series emphasize different perspectives about the historical event within the Kurds community as a “third identity.” It is boldly expressed in the series more than “confrontational identity. “
In the series, no character was represented by a single identity. Each character has a plural identity, a combination of identities based on different backgrounds. As the television drama reflects society, this research could also be adapted to every “Türk” living in the Turkish Republic in today’s day and age.
This thesis offers a unique and in-depth approach to the current state of the cultural contents industry and identity research. The academic significance of this research is as follows. First, the plural identity of contemporary Turks was decoded through . Next, the complexity of contemporary Turks’ images was interpreted in multiple dimensions, which leads to a more profound understanding of contemporary Turks and Turkish society.
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