Publication: Muhafazakâr ve seküler kimlikleri konu edinen dizilere dair bir alımlama analizi
Abstract
Muhafazakâr ve seküler kimlikleri konu edinen dizilere dair bir alımlama analizi Diziler toplumsal olguları, halkın yaşayış şeklini ekrana yansıtmada araç olabilmektedir. Türk dizilerinde de toplumun farklı kesimlerinden kişilerin yaşam tarzları gösterilmektedir. Son dönemde Türk televizyon tarihine kıyasla dindar muhafazakâr grupların yaşamı dizilere daha fazla aktarılmaya başlanmıştır. İlk dönemlerde dindar kişiler daha çok tiplemeler şeklinde hizmetçi, alt sınıf, köylü özelinde ekrana yansıtılmıştır. Günümüzde ise farklı ekonomik sınıflara ait dindar muhafazakâr kişiler ekranda temsil edilmekte, önceki dizilerden ayrı olarak dindar muhafazakâr-laik seküler ilişkilerine yer verilmektedir. Türkiye’de Cumhuriyetin kuruluşundan hatta Tanzimat’tan beri toplumda dindar muhafazakâr-laik seküler karşıtlığı yaşanmaktadır. Dindar muhafazakâr kesim dini yaşayış şeklini, süregelen dini-kültürel geleneğin devamını istemektedir. Laik seküler kesimde ise dinden ayrı bir yaşayış, dinin kamusal alandan uzak tutulması düşüncesi hâkimdir. Zamanla bazı sosyopolitik olaylarla bu karşıtlık kutuplaşmaya doğru evrilmiştir. Günümüzde dindar muhafazakâr-laik seküler gruplar arasında ayrımın azaldığı, iç içe geçtiği de gözlemlenmekle beraber bazı durumlarda karşıtlıklar çatışma noktasına varabilmektedir. Ancak şehirli-köylü, zengin-fakir, işçi-işveren gibi toplumsal kesimlere dair birçok dizi çekilmişken toplumda önemli bir yere sahip bu mesele dizilerde şimdiye kadar kendine çok fazla yer bulamamıştır. ‘Kızılcık Şerbeti’, ‘Ömer’ ve ‘Kızıl Goncalar’ dizileri bu ayrımı açıkça ekrana taşıyan dizilerdir. ‘Kızılcık Şerbeti’ dizisi ekonomik olarak üst sınıftan dindar muhafazakâr ve yine üst sınıftan laik seküler iki ailenin birbirleriyle kurduğu ilişkileri anlatmaktadır. ‘Ömer’ dizisi ise orta sınıfa mensup bir imamın oğluyla orta sınıfa mensup dul bir kadın özelinde aileleriyle yaşadıkları sorunlar anlatılmaktadır. ‘Kızılcık Şerbeti’ dizisi daha çok dindar muhafazakârlık üzerinden giderken, ‘Ömer’ dizisinde geleneksel muhafazakârlık etkisi daha fazla görülmektedir. ‘Kızıl Goncalar’ dizisinde ise daha çok tarikat mensubu dindar bireyler ile entelektüel laik kişiler arasında geçen olaylar işlenmektedir. Kişilerin izledikleri şeylerden aynı mesajları almadığı düşüncesinden hareketle bu tez çalışmasına başlanmıştır. Bu konuda alımlama kuramı kullanılarak toplumsal bir çatışmanın yer aldığı bu dizilerin yine bu çatışmanın tarafları olan izleyicileri tarafından nasıl yorumlandığı incelenmiştir. Bunun için dindar muhafazakâr ve laik seküler kimliklerden bir grup kişiyle yarı yapılandırılmış görüşmeler yapılarak ait oldukları toplumsal kimliklerin bu dizileri alımlamalarında nasıl etkili olduğu tespit edilmiştir.
A reception analysis of tv series on conservative and secular identities Television series can function as an effective medium for reflecting social phenomena and portraying the lifestyles of different segments of society. Turkish television productions similarly depict the lives of individuals from diverse social, cultural, and economic backgrounds. In comparison to earlier periods in Turkish television history, the representation of religiously conservative groups has become increasingly prevalent in recent years. In earlier productions, religious individuals were often depicted in subordinate roles—such as servants, members of the lower class, or rural peasants. In contemporary series, however, religiously conservative characters from various socio-economic strata are portrayed, and unlike in previous narratives, the interactions between religiously conservative and secular individuals are also addressed. In Turkey, tensions between religiously conservative and secular segments have existed since the establishment of the Republic, and arguably since the Tanzimat era. The religiously conservative segment seeks to maintain a lifestyle grounded in religious principles and sustained by long-standing cultural traditions. In contrast, the secular segment upholds the idea of living independently from religion and limiting its role in the public sphere. Over time, certain socio-political developments have deepened this divergence, leading to moments of polarization. While the boundary between these two groups appears to have blurred in some contexts—resulting in greater social interaction—conflicts occasionally persist. Despite the significance of this dynamic in Turkish society, it has not been extensively explored in television dramas, especially when compared to themes such as urban–rural divides, economic disparities, or labor–capital relations. Notable recent examples that explicitly address this divide include “Kızılcık Şerbeti”, “Ömer”, and “Kızıl Goncalar”. “Kızılcık Şerbeti” centers on the relationships between two upper-class families—one religiously conservative and the other secular. Ömer tells the story of a middle-class imam’s son and a widowed woman from a similar socio-economic background, focusing more on traditional conservatism than overt religious conservatism. “Kızıl Goncalar”, on the other hand, revolves around interactions between members of a religious sect and secular intellectuals. This thesis is premised on the idea that audiences do not necessarily derive uniform meanings from media texts. Drawing on reception theory, the study examines how television series portraying social conflict are interpreted by audiences who are themselves embedded within that conflict. To this end, semi-structured interviews will be conducted with individuals self-identifying as religiously conservative or secular, with the aim of exploring how their social identities shape their reception and interpretation of these narratives.
A reception analysis of tv series on conservative and secular identities Television series can function as an effective medium for reflecting social phenomena and portraying the lifestyles of different segments of society. Turkish television productions similarly depict the lives of individuals from diverse social, cultural, and economic backgrounds. In comparison to earlier periods in Turkish television history, the representation of religiously conservative groups has become increasingly prevalent in recent years. In earlier productions, religious individuals were often depicted in subordinate roles—such as servants, members of the lower class, or rural peasants. In contemporary series, however, religiously conservative characters from various socio-economic strata are portrayed, and unlike in previous narratives, the interactions between religiously conservative and secular individuals are also addressed. In Turkey, tensions between religiously conservative and secular segments have existed since the establishment of the Republic, and arguably since the Tanzimat era. The religiously conservative segment seeks to maintain a lifestyle grounded in religious principles and sustained by long-standing cultural traditions. In contrast, the secular segment upholds the idea of living independently from religion and limiting its role in the public sphere. Over time, certain socio-political developments have deepened this divergence, leading to moments of polarization. While the boundary between these two groups appears to have blurred in some contexts—resulting in greater social interaction—conflicts occasionally persist. Despite the significance of this dynamic in Turkish society, it has not been extensively explored in television dramas, especially when compared to themes such as urban–rural divides, economic disparities, or labor–capital relations. Notable recent examples that explicitly address this divide include “Kızılcık Şerbeti”, “Ömer”, and “Kızıl Goncalar”. “Kızılcık Şerbeti” centers on the relationships between two upper-class families—one religiously conservative and the other secular. Ömer tells the story of a middle-class imam’s son and a widowed woman from a similar socio-economic background, focusing more on traditional conservatism than overt religious conservatism. “Kızıl Goncalar”, on the other hand, revolves around interactions between members of a religious sect and secular intellectuals. This thesis is premised on the idea that audiences do not necessarily derive uniform meanings from media texts. Drawing on reception theory, the study examines how television series portraying social conflict are interpreted by audiences who are themselves embedded within that conflict. To this end, semi-structured interviews will be conducted with individuals self-identifying as religiously conservative or secular, with the aim of exploring how their social identities shape their reception and interpretation of these narratives.