{"id":4156,"date":"2021-12-01T17:16:56","date_gmt":"2021-12-01T15:16:56","guid":{"rendered":"http:\/\/www.medialog-bg.com\/?p=4156"},"modified":"2024-10-13T11:18:55","modified_gmt":"2024-10-13T08:18:55","slug":"%d0%bf%d0%be%d0%bb%d0%b8%d1%82%d0%b8%d1%87%d0%b5%d1%81%d0%ba%d0%b8-%d0%bf%d0%be%d1%81%d0%bb%d0%b0%d0%bd%d0%b8%d1%8f-%d0%b2-%d1%82%d1%83%d1%80%d1%81%d0%ba%d0%b8%d1%82%d0%b5-%d1%81%d0%b5%d1%80%d0%b8","status":"publish","type":"post","link":"https:\/\/www.medialog-bg.com\/?p=4156","title":{"rendered":"\u041f\u043e\u043b\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0438 \u043f\u043e\u0441\u043b\u0430\u043d\u0438\u044f \u0432 \u0442\u0443\u0440\u0441\u043a\u0438\u0442\u0435 \u0441\u0435\u0440\u0438\u0430\u043b\u0438 \u043f\u043e \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0438\u0442\u0435 \u0442\u0435\u043b\u0435\u0432\u0438\u0437\u0438\u0438 \u0438 \u201e\u041d\u0435\u0442\u0444\u043b\u0438\u043a\u0441\u201c"},"content":{"rendered":"\n

\u0416\u0430\u043d\u0430 \u041f\u043e\u043f\u043e\u0432\u0430<\/strong><\/p>\n\n\n\n

Political messages in the Turkish series on Bulgarian television and on Netflix<\/strong><\/p>\n\n\n\n

Zhana Popova<\/strong><\/p>\n\n\n\n

Author: assoc. prof. Zhana Popova, PhD<\/strong><\/p>\n\n\n\n

University of Sofia ‘St. Kliment Ohridski’<\/em><\/p>\n\n\n\n

Researcher ID:C-7703-2019<\/p>\n\n\n\n

ORCID ID:0000-0002-8786-1625<\/p>\n\n\n\n

Email: ztpopova@uni-sofia.bg<\/p>\n\n\n\n

\u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433, \u0431\u0440\u043e\u0439 10\/2021<\/strong><\/p>\n\n\n\n

\u041e\u0442\u0432\u043e\u0440\u0435\u0442\u0435 \u0442\u0435\u043a\u0441\u0442\u0430 \u0442\u0443\u043a Zhana Popova<\/a>Download<\/a><\/div>\n\n\n\n

\u0420\u0435\u0437\u044e\u043c\u0435<\/strong>: \u0412 \u0442\u0435\u043a\u0441\u0442\u0430 \u0441\u0430 \u043f\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u0435\u043d\u0438 \u043e\u0441\u043d\u043e\u0432\u043d\u0438\u0442\u0435 \u0438\u0437\u0432\u043e\u0434\u0438 \u043e\u0442 \u0441\u0440\u0430\u0432\u043d\u0435\u043d\u0438\u0435\u0442\u043e \u043d\u0430 \u043f\u043e\u043b\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0442\u0435 \u043f\u043e\u0441\u043b\u0430\u043d\u0438\u044f \u0432 \u0442\u0443\u0440\u0441\u043a\u0438\u0442\u0435 \u0441\u0435\u0440\u0438\u0430\u043b\u0438, \u0438\u0437\u043b\u044a\u0447\u0432\u0430\u043d\u0438 \u043f\u043e \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0438\u0442\u0435 \u0442\u0435\u043b\u0435\u0432\u0438\u0437\u0438\u0438 \u0438 \u043f\u043e \u201e\u041d\u0435\u0442\u0444\u043b\u0438\u043a\u0441\u201c. 
\u0412\u044a\u0432 \u0444\u0438\u043b\u043c\u0438\u0442\u0435, \u043f\u043e\u043a\u0430\u0437\u0432\u0430\u043d\u0438 \u043f\u043e \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0438\u0442\u0435 \u0442\u0435\u043b\u0435\u0432\u0438\u0437\u0438\u0438, \u043f\u043e\u043b\u0438\u0442\u0438\u043a\u0430\u0442\u0430 \u0435 \u0441\u0432\u044a\u0440\u0437\u0437\u0430\u043d\u0430 \u0441 \u0432\u044a\u043f\u0440\u043e\u0441\u0430 \u043a\u043e\u0439 \u043d\u043e\u0441\u0438 \u043e\u0442\u0433\u043e\u0432\u043e\u0440\u043d\u043e\u0441\u0442\u0442\u0430 \u0437\u0430 \u0440\u0435\u0448\u0435\u043d\u0438\u044f\u0442\u0430, \u0441\u0432\u044a\u0440\u0437\u0430\u043d\u0438 \u0441 \u0436\u0438\u0432\u043e\u0442\u0430 \u043d\u0430 \u0436\u0435\u043d\u0430\u0442\u0430 \u0438 \u043d\u0430 \u0434\u0435\u0442\u0435\u0442\u043e. \u0421\u0440\u0435\u0434 \u0432\u0430\u0436\u043d\u0438\u0442\u0435 \u043f\u043e\u043b\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0438 \u0442\u0435\u043c\u0438 \u0441\u0430 \u043c\u0438\u0433\u0440\u0430\u0446\u0438\u044f\u0442\u0430, \u043e\u0431\u0440\u0430\u0437\u043e\u0432\u0430\u043d\u0438\u0435\u0442\u043e \u0432 \u0447\u0443\u0436\u0431\u0438\u043d\u0430 \u0438 \u0437\u0430\u0432\u0440\u044a\u0449\u0430\u043d\u0435\u0442\u043e \u0432 \u0440\u043e\u0434\u0438\u043d\u0430\u0442\u0430, \u043a\u043e\u043d\u0444\u043b\u0438\u043a\u0442\u0438\u0442\u0435 \u043c\u0435\u0436\u0434\u0443 \u0431\u043e\u0433\u0430\u0442\u0438 \u0438 \u0431\u0435\u0434\u043d\u0438.<\/p>\n\n\n\n

\u041a\u043b\u044e\u0447\u043e\u0432\u0438 \u0434\u0443\u043c\u0438:<\/strong> \u0442\u0435\u043b\u0435\u043d\u043e\u0432\u0435\u043b\u0430; \u0442\u0443\u0440\u0441\u043a\u0438 \u0441\u0435\u0440\u0438\u0430\u043b; \u043a\u0443\u043b\u0442\u0443\u0440\u043d\u0430 \u0434\u0438\u043f\u043b\u043e\u043c\u0430\u0446\u0438\u044f;  \u041d\u0435\u0442\u0444\u043b\u0438\u043a\u0441 \u0438\u0434\u0435\u043e\u043b\u043e\u0433\u0438\u044f<\/p>\n\n\n\n

Abstract:<\/strong>The text presents the main conclusions based on the study of the politicalmessages in the Turkish series broadcasted on Bulgarian television and onNetflix. The main political messages in the series, showed on Bulgariantelevision, are the responsibility for the decisions, connect with the life of awoman and a child. Among the important political topics are: migration,education abroad and returning home, conflicts between rich and poor.<\/p>\n\n\n\n

Key words<\/strong>: telenovela; Turkish series; cultural diplomacy; Netflix ideology<\/p>\n\n\n\n

<\/p>\n\n\n\n

\u0418\u0437\u043f\u043e\u043b\u0437\u0432\u0430\u043d\u0430 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u0430<\/strong><\/p>\n\n\n\n

\u0410\u041d\u0413\u0415\u041b\u041e\u0412\u0410<\/strong>, \u0412\u044f\u0440\u0430 (2000). \u0410\u043b\u0442\u0435\u0440\u043d\u0430\u0442\u0438\u0432\u043d\u0430\u0442\u0430\n\u0442\u0435\u043b\u0435\u0432\u0438\u0437\u0438\u044f. \u0424\u0438\u043b\u043c\u0438\u0442\u0435 \u043f\u043e \u043a\u0430\u0431\u0435\u043b\u0438\u0442\u0435 \u2013 \u0444\u0430\u043b\u0448\u0438\u0432\u0438\u044f\u0442 \u0438\u0437\u0431\u043e\u0440. \u0410\u043d\u0433\u043e\u0432, \u041a\u043e\u043d\u0441\u0442\u0430\u043d\u0442\u0438\u043d (\u0440\u0435\u0434.) \u0410\u043b\u0442\u0435\u0440\u043d\u0430\u0442\u0438\u0432\u043d\u0430\u0442\u0430\n\u0442\u0435\u043b\u0435\u0432\u0438\u0437\u0438\u044f<\/em>. \u0412\u0440\u0430\u0446\u0430: \u0438\u0437\u0434.\n\u201e\u041f\u0441\u0438\u0434\u043e\u201c, \u0441. 186-209. [Angelova, Vyara (2000). Alternativnata televiziya. Filmite po kabelite\n\u2013 falshiviyat izbor\u2019. Angov, Konstantin (ed.)\nAlternativnata televiziya. Vratsa: izd. \u2018Psido\u2019, pp. 186-209]<\/p>\n\n\n\n

\u0410\u041d\u0414\u0415\u0420\u0421\u042a\u041d<\/strong>, \u0411\u0435\u043d\u0435\u0434\u0438\u043a\u0442 (1998). \u0412\u044a\u043e\u0431\u0440\u0430\u0437\u0435\u043d\u0438\u0442\u0435 \u043e\u0431\u0449\u043d\u043e\u0441\u0442\u0438. \u0420\u0430\u0437\u043c\u0438\u0448\u043b\u0435\u043d\u0438\u044f \u0432\u044a\u0440\u0445\u0443\n\u043f\u0440\u043e\u0438\u0437\u0445\u043e\u0434\u0430 \u0438 \u0440\u0430\u0437\u043f\u0440\u043e\u0441\u0442\u0440\u0430\u043d\u0435\u043d\u0438\u0435\u0442\u043e \u043d\u0430 \u043d\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u0438\u0437\u043c\u0430<\/em>. \u0421\u043e\u0444\u0438\u044f, \u0438\u0437\u0434. \u201e\u041a\u0440\u0438\u0442\u0438\u043a\u0430 \u0438 \u0445\u0443\u043c\u0430\u043d\u0438\u0437\u044a\u043c\u201c.\n[\u0410nderson, Benedikt (1998). Vaobrazenite obstnosti. Razmishlenia vurhu\nproizhoda i razprostranenieto na natsionalizma. Sofia, \u2018Kritika i humanizam\u2019]<\/p>\n\n\n\n

\u0410\u041f\u0410\u0414\u0423\u0420\u0410\u0419<\/strong>, \u0410\u0440\u0434\u0436\u0443\u043d. (2006) \u0421\u0432\u043e\u0431\u043e\u0434\u043d\u0430\u0442\u0430 \u043c\u043e\u0434\u0435\u0440\u043d\u043e\u0441\u0442. \u041a\u0443\u043b\u0442\u0443\u0440\u043d\u0438 \u0438\u0437\u043c\u0435\u0440\u0435\u043d\u0438\u044f \u043d\u0430 \u0433\u043b\u043e\u0431\u0430\u043b\u0438\u0437\u0430\u0446\u0438\u044f\u0442\u0430<\/em>. \u0421\u043e\u0444\u0438\u044f, 2006.[Apadurai, Ardzhun. 2006. Svobodnata modernost. Kulturni izmereniya naglobalizatsiyata. Sofia.]<\/p>\n\n\n\n

\u0410\u041f\u0410\u0414\u0423\u0420\u0410\u0419<\/strong>, \u0410\u0440\u0434\u0436\u0443\u043d. (2017). \u0423\u043c\u043e\u0440\u0430\u0442\u0430 \u043e\u0442\n\u0434\u0435\u043c\u043e\u043a\u0440\u0430\u0446\u0438\u044f\u0442\u0430. \u0413\u043e\u043b\u0435\u043c\u0438\u044f\u0442 \u0440\u0435\u0433\u0440\u0435\u0441. <\/em>\u0421\u043e\u0444\u0438\u044f,\n\u201e\u041a\u0440\u0438\u0442\u0438\u043a\u0430 \u0438 \u0445\u0443\u043c\u0430\u043d\u0438\u0437\u044a\u043c\u201c, \u0441. 17-34. [Apadurai, Ardzhun. (2017). Umorata ot\ndemokratsiata. Golemiyat regres. <\/em>Sofia.\n\u2018Kritika i humanizam\u2019, pp. 17-34]<\/p>\n\n\n\n

\u0411\u0410\u0423\u041c\u0410\u041d, <\/strong>\u0417\u0438\u0433\u043c\u0443\u043d\u0442 (2017). \u0421\u0438\u043c\u043f\u0442\u043e\u043c\u0438 \u0432 \u0442\u044a\u0440\u0441\u0435\u043d\u0435 \u043d\u0430 \u0435\u0434\u0438\u043d \u043e\u0431\u0435\u043a\u0442 \u0438 \u0435\u0434\u043d\u043e \u0438\u043c\u0435. \u0413\u043e\u043b\u0435\u043c\u0438\u044f\u0442\u0440\u0435\u0433\u0440\u0435\u0441. <\/em>\u0421\u043e\u0444\u0438\u044f, \u201e\u041a\u0440\u0438\u0442\u0438\u043a\u0430 \u0438 \u0445\u0443\u043c\u0430\u043d\u0438\u0437\u044a\u043c\u201c, \u0441. 35-54. [Bauman, Zigmunt (2017). Simptomi v tarsene na edin obekt i edno ime. Golemiyat regres. <\/em>Sofia. \u2018Kritika ihumanizam\u2019, pp. 35-54]<\/p>\n\n\n\n

\u0411\u041e\u0414\u0420\u0418\u042f\u0420<\/strong>, \u0416\u0430\u043d. (1995). \u0418\u043b\u044e\u0437\u0438\u044f\u0442\u0430 \u0437\u0430 \u043a\u0440\u0430\u044f \u0438\u043b\u0438 \u0421\u0442\u0430\u0447\u043a\u0430\u0442\u0430 \u043d\u0430 \u0441\u044a\u0431\u0438\u0442\u0438\u044f\u0442\u0430. <\/em>\u0421\u043e\u0444\u0438\u044f, \u201e\u041a\u0440\u0438\u0442\u0438\u043a\u0430 \u0438\n\u0445\u0443\u043c\u0430\u043d\u0438\u0437\u044a\u043c\u201c. [Bodriar, Zhan (1995). Ilyuziata za kraya ili Stachkata na\nsabitiyata. Sofia, \u2018Kritika i humanizam\u2019]<\/p>\n\n\n\n

\u0411\u0420\u0410\u0422\u041e\u0415\u0412\u0410-\u0414\u0410\u0420\u0410\u041a\u0427\u0418\u0415\u0412\u0410, <\/strong>\u0418\u043d\u0433\u0435\u0431\u043e\u0440\u0433. (2006)\n\u041d\u043e\u0432\u043e\u0442\u043e \u0435\u0432\u0440\u043e\u043f\u0435\u0439\u0441\u043a\u043e \u043a\u0438\u043d\u043e \u2013 \u0438\u0434\u0435\u043d\u0442\u0438\u0447\u043d\u043e\u0441\u0442 \u0438 \u0442\u0440\u0430\u043d\u0441\u043d\u0430\u0446\u0438\u043e\u043d\u0430\u043b\u043d\u043e\u0441\u0442. \u041f\u0440\u043e\u0431\u043b\u0435\u043c\u0438 \u043d\u0430 \u0438\u0437\u043a\u0443\u0441\u0442\u0432\u043e\u0442\u043e<\/em>, 2008, No 1, 42\u201347. [Bratoeva-Daraktchieva,\nIngeborg (2006). Novoto evropeysko kino \u2013 identichnost i transnatsionalnost.\nArt Studies Quarterly, 2008, No 1, 42\u201347.]<\/p>\n\n\n\n

\u0414\u0418\u0427\u0415\u0412, <\/strong>\u0418\u0432\u0430\u0439\u043b\u043e (2011). \u0414\u0438\u0433\u0438\u0442\u0430\u043b\u043d\u0438\u044f\u0442\n\u043f\u043e\u0441\u0442\u043a\u043e\u043c\u0443\u043d\u0438\u0437\u044a\u043c: \u0438\u0437 \u0432\u0438\u0440\u0442\u0443\u0430\u043b\u043d\u0438\u0442\u0435 \u0441\u0430\u043b\u043e\u043d\u0438 \u043d\u0430 \u0441\u0443\u0431\u043f\u043e\u043b\u0438\u0442\u0438\u043a\u0430\u0442\u0430. \u041d\u043e\u0432\u0438 \u043c\u0435\u0434\u0438\u0438 \u2013 \u043d\u043e\u0432\u0438  \u043c\u043e\u0431\u0438\u043b\u0438\u0437\u0430\u0446\u0438\u0438. <\/em>(\u0440\u0435\u0434.\n\u0414\u0438\u0447\u0435\u0432, \u0418\u0432\u0430\u0439\u043b\u043e, \u041e\u0440\u043b\u0438\u043d \u0421\u043f\u0430\u0441\u043e\u0432). \u0421\u043e\u0444\u0438\u044f, \u201e\u041e\u0442\u0432\u043e\u0440\u0435\u043d\u043e \u043e\u0431\u0449\u0435\u0441\u0442\u0432\u043e\u201c, \u0441. 15-37. [Ditchev,\nIvaylo (2011). Digitalniat postkomunizam: iz virtualnite saloni na\nsubpolitikata. Novi medii \u2013 novi\nmobilizatsii. <\/em>(ed. Ditchev, Ivaylo, Orlin Spasov, p. 15-37]<\/p>\n\n\n\n

\u041c\u0410\u0420\u0422\u041e\u041d\u041e\u0412\u0410<\/strong>, \u0410\u043d\u0434\u0440\u043e\u043d\u0438\u043a\u0430\n(2021). \u041c\u0435\u0436\u0434\u0443 \u043c\u0438\u0433\u0440\u0430\u0446\u0438\u044f \u0438 \u0443\u0441\u0435\u0434\u043d\u0430\u043b\u043e\u0441\u0442:\n\u0415\u043a\u0437\u043e\u0442\u0438\u0447\u043d\u0438\u044f\u0442 \u0434\u0440\u0443\u0433 \u0438 \u043d\u043e\u0432\u043e\u0442\u043e \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u043e \u043a\u0438\u043d\u043e. \u041a\u044a\u043c \u043a\u0443\u043b\u0442\u0443\u0440\u043e\u043b\u043e\u0433\u0438\u0447\u043d\u0438\u0442\u0435 \u043f\u043e\u043b\u0435\u0442\u0430 \u043d\u0430\n\u0438\u0434\u0435\u043d\u0442\u0438\u0447\u043d\u043e\u0441\u0442\u0442\u0430, \u0440\u0430\u0437\u043b\u0438\u0447\u0438\u0435\u0442\u043e \u0438 \u0434\u0438\u0441\u043a\u0443\u0440\u0441\u0430 \u0421\u0432\u043e\u0439\/\u0427\u0443\u0436\u0434.<\/em> \u0421\u043e\u0444\u0438\u044f: \u0418\u043d\u0441\u0442\u0438\u0442\u0443\u0442 \u0437\u0430\n\u0438\u0437\u0441\u043b\u0435\u0434\u0432\u0430\u043d\u0435 \u043d\u0430 \u0438\u0437\u043a\u0443\u0441\u0442\u0432\u0430\u0442\u0430. [Martonova,\nAndronika (2021). Mezhdu migratsia i usednalost: ekzotichniyat drug i novoto\nbalgarsko kino. Kam kulturologichnite poleta na identichnostta, razlichieto I\ndiskursa Svoi\/Chuzd. Sofia: Institut za izsledvane na izkustvata]           <\/p>\n\n\n\n

\u041c\u0418\u041d\u0415\u0412\u0410<\/strong>, \u041c\u0438\u043b\u0430 (2012). \u0421\u0435\u0440\u0438\u0430\u043b\u0438\u0442\u0435 \u043d\u0430\n\u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0430\u0442\u0430 \u0438\u0434\u0435\u043d\u0442\u0438\u0447\u043d\u043e\u0441\u0442. \u041a\u0440\u0438\u0442\u0438\u043a\u0430 \u0438 \u0445\u0443\u043c\u0430\u043d\u0438\u0437\u044a\u043c<\/em>, \u0431\u0440.39\/2012\n[Mineva, Mila (2012). Serialite na balgarskata identichnost. Kritika i humanizam, <\/em>br. 39\/2012 ]<\/p>\n\n\n\n

\u041f\u041e\u041f\u041e\u0412\u0410<\/strong>, \u0416\u0430\u043d\u0430 (2015). \u0416\u0430\u043d\u0440\u043e\u0432\u0435 \u0438 \u0444\u043e\u0440\u043c\u0438 \u043d\u0430 \u0437\u0430\u0431\u0430\u0432\u043b\u0435\u043d\u0438\u0435\u0442\u043e \u0432 \u0442\u0435\u043b\u0435\u0432\u0438\u0437\u0438\u044f\u0442\u0430<\/em>. \u0425\u0430\u0441\u043a\u043e\u0432\u043e: \u0438\u0437\u0434.\n\u201e\u041f\u043e\u043b\u0438\u0433\u0440\u0430\u0444\u044e\u0433\u201c. [Popova, Zhana (2015). Zhanrove i formi na zabavlenieto v\nteleviziata. Haskovo: Poligraf Press] <\/p>\n\n\n\n

ABBAS<\/strong>, Sadia, Hamza ABBAS<\/strong>, Saima RAFI<\/strong>, AmmarASAD<\/strong> (2021).  Re-Imaging Western CultureThrough Turkish Dramas In Urdu Renaissance \u043ef Pakistan. International Journal of Scientific & Engineering Research<\/em>,Volume 12, Issue 11, January-2021 109 ISSN 2229-5518<\/p>\n\n\n\n

A\u011eIRSEVEN<\/strong>,Nehir, Arma\u011fan \u00d6RKI<\/strong> (2017). Evaluating Turkish TV Series as Soft PowerInstruments, The International Journal of Media and Culture. <\/em> Y\u0131l 2017, Cilt 7, Say\u0131 13, pp. 836 \u2013 853.<\/p>\n\n\n\n

ALGAN<\/strong>, Ece, Ye\u015fim KAPTAN<\/strong> (2021). Turkey\u2019s TV\ncelebrities as cultural envoys: the role of celebrity diplomacy in nation\nbranding and the pursuit of soft power. The\nInternational Journal of Media and Culture. <\/em>Volume 19, 2021 – Issue 3<\/p>\n\n\n\n

MARTONOVA,<\/strong>\nAndronika (2019). Identity\nDialogues: an Approach towards the Theoretical Framework in the Aspects of\nModern Bulgarian Cinema. Post-totalitarian\nCinema in the Eastern European Countries \u2013 Models and Identities. Institute of\nArt Studies,<\/em> pp. 45-57. http:\/\/artstudies.bg\/books\/Posttotalitarian_cinema.pdf<\/a><\/p>\n\n\n\n

ARDA<\/strong>, \u00d6zlem, P\u0131nar ASLAN<\/strong>, Constanza MUJICA<\/strong> (ed.) (2021). Transnationalization Of Turkish Television Series<\/em>. <\/em>Istanbul University Press.<\/p>\n\n\n\n

ARDA,\n<\/strong>\u00d6zlem, <\/strong>\u00d6zlem \u00c7a\u011flan B<\/strong>ILSEL<\/strong> (2020). <\/strong>Cultural\nCodes Creating a Universal Context and Reception of The Audience: the Case\nStudy of \u0130stanbullu Geli\u0307n. <\/p>\n\n\n\n

BERG,<\/strong> Miriam (2020). Turkish Drama\nSerials and Arab Audiences: Why Turkish Serials Are Successful in the Arab\nWorld. Kaptan Y., Algan E. (eds) Television in Turkey.\nPalgrave Macmillan, Cham. https:\/\/doi.org\/10.1007\/978-3-030-46051-8_12<\/p>\n\n\n\n

DE\nBRUIJN, <\/strong>Petra (2013). Deep State. Visual Socio-Political\nCommunication in the Television Series and Serials of the Turkish Television\nChannel Samanyolu. TV Series<\/em>.\nhttps:\/\/journals.openedition.org\/tvseries\/2500<\/p>\n\n\n\n

MOHYDIN<\/strong>, Ravale (2020). The\nGlobal Appeal of Turkish Drama Series: A Case Study in Pakistan. <\/em>TRT WORLD\nRESEARCH CENTRE.<\/p>\n\n\n\n

MIHELJ<\/strong>, Sabina (2011). Media Nations: Communicating Belonging and\nExclusion in the Modern World<\/em>. Basingstoke: Palgrave Macmillan<\/p>\n\n\n\n

KHAN<\/strong>, Musa and Yong-jin WON<\/strong> (2020).\nTransnationalization of TV Serials: A Comparative Study of the Exportation of\nKorean and Turkish TV Serials. European\nJournal of Social Sciences<\/em> ISSN\n1450-2267 Vol. 59 No 2 April, 2020, pp. 193-208<\/p>\n\n\n\n

NYE<\/strong>, Joseph S., Jr. (2012) The Twenty-first\nCentury Will Not be a \u201cPost-American\u201d World. International Studies Quarterly\n56(1): 215-217.<\/p>\n\n\n\n

\u00d6ZT\u00fcRKMEN<\/strong>, Arzu (2018). \u201cTurkish\nContent\u201d: The Historical Rise of the Dizi Genre. <\/p>\n\n\n\n

POTHOU<\/strong>, Eleni (2020). Why soSuccessful? An Audience Research on the Turkish TV Series in Greece. VIEW Journal of EuropeanTelevision History and Culture<\/em>, 9(17), pp.62\u201378<\/p>\n\n\n\n

VIVARELLI<\/strong>,\n Nick (2019). Turkish TV Producers Adapt\nto Digital World as MIPTV Begins. Variety.<\/em> <\/p>\n\n\n\n

\u00c7ETIN<\/strong>,\nKumru Berfin Emre (2014). The \u2018Politicization\u2019 of Turkish Television Dramas. International\nJournal Of Communication<\/em>, vol. 8, Los Angeles, University of Southern\nCalifornia, Annenberg Press, 2014, pp. 2462\u20132483. <\/p>\n\n\n\n

\u0417\u0430 \u0441\u0435\u0440\u0438\u0430\u043b\u0430. bTV, 29.12.2000 \u0433.\nhttps:\/\/www.btv.bg\/seriali\/belezi\/about\/<\/p>\n\n\n\n

<\/p>\n\n\n\n

\u0416\u0430\u043d\u0430 \u041f\u043e\u043f\u043e\u0432\u0430<\/strong> \u0435 \u0434\u043e\u0446\u0435\u043d\u0442 \u0432\u044a\u0432 \u0424\u0416\u041c\u041a, \u0421\u0423 \u201e\u0421\u0432. \u041a\u043b.\u041e\u0445\u0440\u0438\u0434\u0441\u043a\u0438\u201c, \u0432 \u043a\u0430\u0442\u0435\u0434\u0440\u0430 \u201e\u0420\u0430\u0434\u0438\u043e \u0438 \u0442\u0435\u043b\u0435\u0432\u0438\u0437\u0438\u044f\u201c. \u0410\u0432\u0442\u043e\u0440 \u0435 \u043d\u0430 \u043c\u043e\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u0438\u0442\u0435 \u201e\u0414\u0438\u0430\u043b\u043e\u0433\u043e\u0432\u0438\u043c\u043e\u0434\u0435\u043b\u0438. \u041c\u0435\u0436\u0434\u0443 \u0441\u044a\u0431\u0438\u0442\u0438\u044f\u0442\u0430 \u0438 \u043c\u0435\u0434\u0438\u0439\u043d\u0438\u0442\u0435 \u043e\u0431\u0440\u0430\u0437\u0438\u201c <\/em>(\u0423\u0418 \u201e\u0421\u0432. \u041a\u043b. \u041e\u0445\u0440\u0438\u0434\u0441\u043a\u0438\u201c, <\/em>2013); \u201e\u0416\u0430\u043d\u0440\u043e\u0432\u0435 \u0438 \u0444\u043e\u0440\u043c\u0438 \u043d\u0430 \u0442\u0435\u043b\u0435\u0432\u0438\u0437\u0438\u043e\u043d\u043d\u043e\u0442\u043e \u0437\u0430\u0431\u0430\u0432\u043b\u0435\u043d\u0438\u0435\u201c (\u201e\u041f\u043e\u043b\u0438\u0433\u0440\u0430\u0444 \u042e\u0413\u201c, 2015), \u043d\u0430 `\u0447\u0430\u0441\u0442\u0442\u0430 \u0437\u0430 \u0438\u0441\u0442\u043e\u0440\u0438\u044f\u0442\u0430 \u043d\u0430 \u0411\u041d\u0422 \u0432 \u0441\u0431\u043e\u0440\u043d\u0438\u043a\u0430 \u201e\u0411\u041d\u0420 \u0438 \u0411\u041d\u0422 \u2013 \u043c\u0435\u0436\u0434\u0443 \u0434\u044a\u0440\u0436\u0430\u0432\u0430\u0442\u0430 \u0438\u043e\u0431\u0449\u0435\u0441\u0442\u0432\u043e\u0442\u043e 1989-2015)\u201c (\u0423\u0418 \u201e\u0421\u0432. \u041a\u043b. \u041e\u0445\u0440\u0438\u0434\u0441\u043a\u0438\u201c, 2017).<\/p>\n\n\n\n

\u0427\u0430\u0441\u0442 \u043e\u0442 \u0440\u0435\u0434\u0430\u043a\u0446\u0438\u044f\u0442\u0430 \u043d\u0430 \u043d\u0430\u0443\u0447\u043d\u043e\u0442\u043e\u0441\u043f\u0438\u0441\u0430\u043d\u0438\u0435 „\u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433“ www.medialog.bg<\/a>. \u041e\u0442 2017 \u0433. \u0435 \u0440\u044a\u043a\u043e\u0432\u043e\u0434\u0438\u0442\u0435\u043b \u043d\u0430\n\u043c\u0430\u0433\u0438\u0441\u0442\u044a\u0440\u0441\u043a\u0430\u0442\u0430 \u043f\u0440\u043e\u0433\u0440\u0430\u043c\u0430 \u201e\u0414\u0438\u0433\u0438\u0442\u0430\u043b\u043d\u0438 \u043c\u0435\u0434\u0438\u0438 \u0438 \u0432\u0438\u0434\u0435\u043e\u0438\u0433\u0440\u0438\u201c \u0432\u044a\u0432 \u0424\u0416\u041c\u041a.<\/p>\n\n\n\n

Zhana\nPopova<\/strong> is an Associate Professor at\nthe Faculty of Journalism and Mass Communications at Sofia University. She is\nthe author of the monographs Dialogue Models. Between Events and Media\nImages<\/em> (2013) and Genres and Forms of TV Entertainment<\/em> (2015),\na chapter in the a BNT publication BNR and BNT –\nbetween State and Society<\/em> 1989-2015<\/em> (2017).<\/p>\n\n\n\n

She is part of the editorial board of the scientific journal „Medialog“ www.medialog.bg<\/a>. She is the coordinator of the master’s program \u2018Digital Media and Video Games\u2019.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u0416\u0430\u043d\u0430 \u041f\u043e\u043f\u043e\u0432\u0430 Political messages in the Turkish series on Bulgarian television and on Netflix Zhana Popova Author: assoc. prof. Zhana Popova, PhD University of Sofia ‘St. Kliment Ohridski’ Researcher ID:C-7703-2019 ORCID ID:0000-0002-8786-1625 Email: ztpopova@uni-sofia.bg \u041c\u0435\u0434\u0438\u0430\u043b\u043e\u0433, \u0431\u0440\u043e\u0439 10\/2021 \u0420\u0435\u0437\u044e\u043c\u0435: \u0412 \u0442\u0435\u043a\u0441\u0442\u0430 \u0441\u0430 \u043f\u0440\u0435\u0434\u0441\u0442\u0430\u0432\u0435\u043d\u0438 \u043e\u0441\u043d\u043e\u0432\u043d\u0438\u0442\u0435 \u0438\u0437\u0432\u043e\u0434\u0438 \u043e\u0442 \u0441\u0440\u0430\u0432\u043d\u0435\u043d\u0438\u0435\u0442\u043e \u043d\u0430 \u043f\u043e\u043b\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0442\u0435 \u043f\u043e\u0441\u043b\u0430\u043d\u0438\u044f \u0432 \u0442\u0443\u0440\u0441\u043a\u0438\u0442\u0435 \u0441\u0435\u0440\u0438\u0430\u043b\u0438, \u0438\u0437\u043b\u044a\u0447\u0432\u0430\u043d\u0438 \u043f\u043e \u0431\u044a\u043b\u0433\u0430\u0440\u0441\u043a\u0438\u0442\u0435 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4156","post","type-post","status-publish","format-standard","hentry","category-1"],"_links":{"self":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts\/4156","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4156"}],"version-history":[{"count":9,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts\/4156\/revisions"}],"predecessor-version":[{"id":5274,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=\/wp\/v2\/posts\/4156\/revisions\/5274"}],"wp:attachment":[{"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4156"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4156"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.medialog-bg.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4156"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}