The construction of self/national identity and the other in Ottoman TV series produced in the AK Party period
Cogent Arts and Humanities, cilt.13, sa.1, 2026 (ESCI, Scopus)
- Yayın Türü: Makale / Tam Makale
- Cilt numarası: 13 Sayı: 1
- Basım Tarihi: 2026
- Doi Numarası: 10.1080/23311983.2026.2730787
- Dergi Adı: Cogent Arts and Humanities
- Derginin Tarandığı İndeksler: Emerging Sources Citation Index (ESCI), Scopus, Art Abstracts, Art Index, Art Source, Humanities Abstracts, Index Islamicus, Directory of Open Access Journals, Art, Design & Architecture Collection (ProQuest), Art, Design & Architecture Collection (ProQuest), Arts Premium Collection (ProQuest), Humanities Source Ultimate (EBSCO)
- Anahtar Kelimeler: AKP, historical television, multimodal discourse analysis, national-Islamic identity, Neo-Ottomanism, populism
- İstanbul Medipol Üniversitesi Adresli: Evet
Özet
This article comparatively analyzes five Ottoman-themed Turkish television series broadcast during the AK Party (AKP) period—Diriliş: Ertuğrul, Kuruluş: Osman, Mehmed: Sultan of Conquests, Barbaroslar: Sword of the Mediterranean, and Payitaht Abdülhamid—to ask how popular history dramas participate in the cultural construction of national identity. The corpus comprises the first three complete episodes of each series, fifteen episodes in all. Drawing on a multimodal hybrid of Fairclough’s Critical Discourse Analysis, Reisigl and Wodak’s Discourse-Historical Approach, and van Dijk’s ideological square, the analysis identifies a recurrent repertoire beneath thirteenth- to nineteenth-century differences of setting: a charismatic and divinely legitimated leader, a ghazā-justice mission, and external-threat frames frequently accompanied by internal betrayal. The repertoire recurs unevenly, and its realization varies by title and scene rather than following a single audiovisual formula. Read alongside scholarship on neo-Ottomanism, populism, and broadcasting, these resources can be read as part of a broader cultural-hegemonic repertoire that keeps Ottoman-Islamic references routinely available for a populist, national-Islamic articulation of belonging. The findings concern how the texts are organized; they do not establish audience effects, producer intention, state coordination, or derivation from specific policies. The study contributes a scene-traceable five-title comparison that extends previous single-title and paired analyses.