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Notes/Turkish/2. Konu I: Modern kültür ve medya — television, contemporary art, technology, and the two countries this theme covers
Notes · TurkishUK · A-Levels

2. Konu I: Modern kültür ve medya — television, contemporary art, technology, and the two countries this theme covers

This topic carries the first sub-theme of Edexcel's second theme, Türkiye ve Kıbrıs’ta Sanat ve Kültür. Its aspects are televizyon, çağdaş sanat, and teknolojinin kültürel etkinlikler üzerindeki etkisi. In the frozen topic map Theme 2's two sub-themes fill the two artistic-culture slots, and this is the first of them; Geleneksel sanat kültürü and the theme's research subject sit in artistic-culture-2. Theme 2 is the only theme in this specification that is not confined to Turkey: it is set in the context of Turkey and Cyprus, and a candidate whose research subject comes from this theme must base the research on either Turkey or Cyprus, on one country only. That scoping rule is what makes this topic different from every other content topic in the qualification, and it brings with it a question no other theme raises, because in Cyprus the naming of places, communities and events is itself disputed. This topic records the competing usages as usage and adjudicates none of them. The exam technique carried here is Paper 1 Section B, reading, and in particular answering open-response questions in Turkish without lifting the text.

5 sections·~32 min reading time·4 competencies·Level Standard 4 · Advanced 1

T·0333 / 12
Exam profile
AO1 · Understand and respond in writing to spoken Turkish from broadcasting, interviews and online mediaAO2 · Understand and respond in writing to written Turkish of critical, journalistic and curatorial registerAO3 · Manipulate Turkish accurately using the vocabulary of media, exhibition and digital cultureAO4 · Show knowledge and understanding of modern culture and media in Turkey and in Cyprus, and of how each is described
Operators:betimlemekçözümlemekdeğerlendirmekkarşılaştırmakyorumlamaktartışmakaktarmakgerekçelendirmek

basic level

At first-year standard the expectation is that media and exhibition vocabulary is secure, that a named institution can be described accurately in Turkish, and that a claim about a programme or an exhibition carries a date.

higher level

The full A-Level expects the two-country scope of this theme to be handled deliberately, competing namings to be recorded as usage rather than settled, and cultural judgement to be attributed to the critic who made it.

Depth

Reading depth: In depth

Text

Text size: Standard

Contents · 5 sections▾
  1. 2. Konu I: Modern kültür ve medya — television, contemporary art, technology, and the two countries this theme covers
    • 01The scope of Theme 2, the one-country rule, and the naming question in Cyprus◐
    • 02Televizyon: the institutions, the dizi, and how to write about a programme◐
    • 03Çağdaş sanat: biennials, museums, the market and the street◐
    • 04Teknolojinin kültürel etkinlikler üzerindeki etkisi◐
    • 05The same aspects in Cyprus: media, art and technology on the Turkish-speaking side of the island●
§ 01

The scope of Theme 2, the one-country rule, and the naming question in Cyprus#

●●○StandardLPPearson Edexcel 9TU0 2. Konu — Türkiye ve Kıbrıs’ta Sanat ve Kültür (scope)LPPearson Edexcel 9TU0 Paper 1 Section C — independent research, one country onlyLPDfE GCE AS and A level subject content for modern foreign languages

How the same things are named

Kıbrıs: competing usages, recorded as usageTable with 4 columns and 7 rows, Data: What is named · Turkish usage · Greek Cypriot usage · UN and legal usage; The island · Kıbrıs · Κύπρος, Kypros · Cyprus; The north · Kuzey Kıbrıs, and the KKTC declared in 1983 · τα κατεχόμενα, the occupied areas · areas not under the effective control of the Republic; The south · Güney Kıbrıs, Kıbrıs Rum kesimi · the Republic of Cyprus, Κυπριακή Δημοκρατία · the Republic of Cyprus; The line · sınır, and the Yeşil Hat · η Πράσινη Γραμμή, η νεκρή ζώνη · the buffer zone, patrolled by UNFICYP since 1964; July 1974 · Barış Harekâtı · η εισβολή, the invasion · Resolution 353, calling for withdrawal of foreign forces; The communities · Kıbrıslı Türkler and Kıbrıslı Rumlar · Τουρκοκύπριοι and Ελληνοκύπριοι · the two communities of Cyprus; The capital · Lefkoşa · Λευκωσία · NicosiaWHAT IS NAMEDTURKISH USAGEGREEK CYPRIOT USAGEUN AND LEGAL USAGETHE ISLANDKıbrısΚύπρος, KyprosCyprusTHE NORTHKuzey Kıbrıs, and the KKTCdeclared in 1983τα κατεχόμενα, the occupiedareasareas not under theeffective control of theRepublicTHE SOUTHGüney Kıbrıs, Kıbrıs Rumkesimithe Republic of Cyprus,Κυπριακή Δημοκρατίαthe Republic of CyprusTHE LINEsınır, and the Yeşil Hatη Πράσινη Γραμμή, η νεκρήζώνηthe buffer zone, patrolledby UNFICYP since 1964JULY 1974Barış Harekâtıη εισβολή, the invasionResolution 353, calling forwithdrawal of foreign forcesTHE COMMUNITIESKıbrıslı Türkler andKıbrıslı RumlarΤουρκοκύπριοι andΕλληνοκύπριοιthe two communities ofCyprusTHE CAPITALLefkoşaΛευκωσίαNicosia
Fig. 1This table is not an argument and does not settle anything. It records what different communities and institutions call the same things, because in Cyprus the naming is itself part of what is disputed, and a candidate who does not know that will make a choice without realising a choice was available. Read across a row and you have three descriptions of one referent; read down a column and you have one community's consistent vocabulary. The final column gives the language used by the United Nations and in international-legal texts, which is a usage like the others and not an adjudication between them. The two Greek entries are given in Greek because that is the form in which they occur; the sister subject modern-greek covers the same island from the Greek-language side and prints the mirror image of this table.

Key points

The specification states the scoping twice. In the preamble to the four themes: Themes 1, 3 and 4 focus on aspects of the society of Turkey only; Theme 2 focuses on aspects of the artistic and political culture of Turkey and Cyprus. At the head of Theme 2 itself: this theme is set in the context of Turkey and Cyprus, this theme covers artistic culture past and present, and if the research subject is chosen from this theme it must focus on either Turkey or Cyprus. Those two statements do not quite agree — the preamble says artistic and political culture, the heading says artistic culture — and every printed sub-theme and aspect under the theme is artistic-cultural. The printed sub-themes and aspects are the examinable content; the preamble's extra word is a drafting slip worth noticing so that you do not go looking for political content that is not there.
The one-country rule has real consequences in the marking, and they are set out in the Paper 1 Section C guidance. A student researching a Theme 2 subject must base the research on either Turkey or Cyprus, and the response in the examination must refer to that country only. If a student refers to more than one country under Theme 2, examiners are directed to mark positively by crediting the content based on the country that will gain the higher mark — which sounds forgiving but is not, because the words spent on the other country cannot score and the recommended length is only 300 to 350. The specification also notes that because a Theme 2 researcher works on one country, the unseen text set for that research subject will be general in nature and equally relevant to both. Decide your country early and write only about it.
Cyprus raises a problem no other part of this qualification raises: the names are contested, and choosing one set of names is itself taken as taking a side. The island is Kıbrıs in Turkish and Cyprus in English. The northern part has been administered since 1974 separately from the rest; a declaration of independence was made there in 1983 under the name Kuzey Kıbrıs Türk Cumhuriyeti, and it is recognised by Türkiye. On 18 November 1983 the United Nations Security Council adopted Resolution 541, which described that declaration as legally invalid and called for its withdrawal. The Republic of Cyprus joined the European Union on 1 May 2004, with the application of European Union law suspended in the areas not under the effective control of its government. Those are dated acts of named bodies and can be stated flatly.
The honest method, and the one used throughout these notes, is to record the competing usages as usage. Where a Turkish source calls something Barış Harekâtı and a Greek Cypriot source calls the same events η εισβολή, both facts about language are true and neither is a verdict; the events themselves are dated and the resolutions of the Security Council are quotable. Turkish Cypriots, Kıbrıslı Türkler, are a community with their own history, their own losses and their own cultural production, and they are treated here as such rather than as a footnote to anybody's narrative — as are Kıbrıslı Rumlar, Greek Cypriots. Because Theme 2 is artistic culture, most of what you will actually write about is television, art, festivals and craft; but the moment you name a place you have made a choice, and the disciplined thing is to know that you have.
Worked example

Paper 1 Section B: an open-response question whose answer depends on noticing an attribution

Read as in Paper 1 Section B and answer in Turkish. Adanın kuzeyinde yayımlanan gazeteler, kültürel etkinliklerin son yıllarda arttığını yazıyor. Bir tiyatro yönetmeni ise, seyirci sayısının değil, salon sayısının arttığını söylüyor. Aynı haberi aktaran güney kaynakları, etkinliklerin çoğunlukla adanın iki tarafından da katılımcı çekmediğini belirtiyor.

  1. 01Identify how many distinct positions the passage carries

    Three, and each is attributed: the newspapers published in the north, a theatre director, and southern sources reporting the same news. The verbs are yazıyor, söylüyor and belirtiyor, all present continuous, all with a named or described subject. A question of the form Metinde kaç farklı görüş aktarılıyor? wants three, and a question asking whose view differs from the newspapers' wants the director's, not the southern sources', because the director is contradicting the newspapers' measure while the southern sources are adding a different point altogether.

  2. 02Read the contrast the director actually draws

    Seyirci sayısının değil, salon sayısının arttığını söylüyor. The structure X değil, Y is not X but Y, and both nouns are in the genitive because they are the subjects of the nominalised arttığını. So the director is not denying an increase; he is saying what increased. That distinction is the point of the sentence and a summary that reports the director as disagreeing that anything increased has misread it. Turkish signals this contrast very economically and English needs a longer sentence to do it.

  3. 03Parse the third sentence's double negative carefully

    Etkinliklerin çoğunlukla adanın iki tarafından da katılımcı çekmediğini belirtiyor. Çekmediğini is the negative -DIk nominalisation of çekmek, that they do not attract; iki tarafından da means from both sides, with the ablative on taraf and the additive da. So the claim is that the events mostly do not draw participants from both sides of the island. Note adanın iki tarafı, the two sides of the island — a formulation that avoids naming either, which is itself a choice the source has made and worth noticing.

  4. 04Write the answer in Turkish without lifting

    For Yönetmenin görüşü gazetelerin haberinden hangi noktada ayrılıyor?, answer: Yönetmen, artışın seyirci sayısında değil salon sayısında olduğunu ileri sürerek gazetelerin ölçütünü sorguluyor; etkinliklerin arttığını inkâr etmiyor. Two things earn the marks: ölçüt, criterion, names what is actually at issue, and inkâr etmiyor makes explicit what the director is not saying. Reproducing the passage's own clause would show comprehension of the words but not of the argument.

Result: Model answer in Turkish: Yönetmen, artışın seyirci sayısında değil salon sayısında olduğunu ileri sürerek gazetelerin ölçütünü sorguluyor; etkinliklerin arttığını inkâr etmiyor.

Exam focus

  • Theme 2 is the only theme covering two countries. Themes 1, 3 and 4 are Turkey only.
  • Research from Theme 2 must be on ONE country and the answer must refer to that country only.
  • Dated institutional facts: Security Council Resolution 541 of 18 November 1983; EU accession of the Republic of Cyprus on 1 May 2004.
  • Record competing usages as usage. Do not adjudicate, and do not pretend a neutral name exists.

Typical mistakes

  • Assuming Theme 2 works like the others and confining it to Turkey, losing half its content.
  • Researching both countries because both are permitted. Only one may be written about.
  • Using a single set of place names without realising that the choice is itself contested.
  • Looking for political content in Theme 2 because the preamble mentions political culture. The printed aspects are artistic.

Active revision

Take one cultural institution in Cyprus and describe it in 150 words of Turkish, naming the place it stands in, and then write a further 50 words explaining in English which naming choices you made and what alternatives exist. The exercise is about the second half.

Active recall

Recall the key points — then reveal.

Sources: Pearson Edexcel Level 3 Advanced GCE in Turkish (9TU0) specification (Pearson Edexcel)

§ 02

Televizyon: the institutions, the dizi, and how to write about a programme#

●●○StandardLPPearson Edexcel 9TU0 2. Konu — Modern kültür ve medya: televizyon

Key points

The institutional history is short, datable and useful. TRT, the Türkiye Radyo Televizyon Kurumu, was established in 1964 as the state broadcaster and began television transmission in 1968; it holds a family of channels including TRT 1, TRT Haber for news, TRT Çocuk for children, TRT Belgesel for documentary, TRT Müzik, and TRT World broadcasting in English. Private television began at the start of the 1990s and was regularised by a constitutional amendment in 1993 and by radio and television law 3984 of 1994, which created the regulator RTÜK, the Radyo ve Televizyon Üst Kurulu. The governing statute is now law 6112 of 2011, and a regulation of 2019 extended RTÜK's licensing remit to on-demand and internet broadcasting. Named private channels that recur in sources include Show TV, Kanal D, ATV, Star TV and TV8.
The dizi is the central form and it has a shape English-language television does not. A Turkish drama episode, a bölüm, commonly runs well beyond two hours and is broadcast weekly rather than daily, so a season, a sezon, is a smaller number of much longer episodes; the effect on pacing and on how plot is distributed is a genuine subject for critical comment. Turkish drama is exported widely and the trade term dizi ihracatı, drama export, is used in Turkish sources; the export success is usually dated to the reception of Gümüş in Arabic-speaking markets from the late 2000s, and Muhteşem Yüzyıl, broadcast from 2011, is regularly cited as the historical drama that consolidated it. Name a series with its broadcasting years; do not claim audience figures you have not sourced.
The vocabulary for writing about television should be exact because it is exactly what the reading and listening papers use. Yapım şirketi is the production company; yapımcı the producer; yönetmen the director; senarist the screenwriter; oyuncu the actor; kadro the cast; çekim the shoot or the shot; sahne the scene; bölüm the episode; sezon finali the season finale. On the broadcasting side: yayın broadcast; yayın akışı the schedule; ana haber bülteni the main news bulletin; reyting the ratings; kanal the channel; izleyici or seyirci the viewer; hedef kitle the target audience; reklam kuşağı the advertising break; altyazı subtitles; dublaj dubbing. RTÜK's sanctions are described as uyarı, warning; para cezası, fine; and yayın durdurma, suspension of broadcast.
The critical questions that this aspect actually asks you to discuss are worth naming so that you can take a position rather than describe. They include: whether the dizi represents Turkish society or a narrow slice of it, usually a wealthy İstanbul one; what the historical drama does to history, and how historians have responded to particular series; the effect on the form of very long episodes and of ratings-driven cancellation; whether regulation protects viewers or restricts expression, which is argued in both directions in Turkey and should be presented as argued; and what the export of Turkish drama does to how Turkey is perceived abroad, which several commentators discuss under the heading of soft power. Attribute the positions, illustrate with a dated example, and say which you find better supported.
Worked example

Paper 3 Section A: listening to a broadcasting interview and answering in Turkish

You hear a producer interviewed about episode length. Work the question types that Section A actually sets on such a recording.

  1. 01Before playing: read every question and predict the vocabulary

    Section A gives you individual control of the recording, so the first pass should happen before you press play. If a question asks Yapımcıya göre bölüm süresinin uzamasının nedeni nedir?, you already know the recording will contain süre, bölüm, uzamak and probably reklam and reyting. Writing three or four expected words in the margin is not cheating; it is what makes a first listening productive rather than panicked.

  2. 02First pass: shape, not detail

    On the first play, mark only where each answer lives. A recording of an interview has a predictable architecture — a framing question, an answer, a follow-up, a qualification — and the qualification is very often where the marks are, because it is where the speaker says what they do not mean. Do not write full answers on the first pass; you will run out of time and you will write down the first plausible thing you hear.

  3. 03Second pass: the exact wording of the claim

    Suppose the producer says: Bölümlerin uzamasının tek nedeni reklam değil; haftada bir yayınlandığı için seyirci daha uzun bir hikâye bekliyor. The temptation is to answer reklam. But the sentence is a X değil construction — advertising is not the only reason — and the reason actually given is the weekly schedule and viewer expectation. The mark is on the second half. Turkish signals this with tek nedeni ... değil, and the discipline is to listen to the end of the sentence before writing.

  4. 04Answer in Turkish, in one clause, using the recording's own logic but not its words

    Yapımcıya göre bölümler yalnızca reklam nedeniyle değil, dizinin haftada bir yayınlanması ve seyircinin daha uzun bir anlatı beklemesi nedeniyle uzuyor. Two nominalisations, yayınlanması and beklemesi, both governed by nedeniyle, and the yalnızca ... değil frame preserved. Note yayınlanmak, the passive, for a programme being broadcast; yayınlamak with an object would be the channel broadcasting it.

Result: Model answer in Turkish: Yapımcıya göre bölümler yalnızca reklam nedeniyle değil, dizinin haftada bir yayınlanması ve seyircinin daha uzun bir anlatı beklemesi nedeniyle uzuyor.

Exam focus

  • TRT founded 1964, television from 1968; private television from the early 1990s; RTÜK created by law 3984 of 1994; current law 6112 of 2011.
  • A bölüm is unusually long and weekly. That structural fact drives most critical comment on the form.
  • Use the trade vocabulary: yapım şirketi, senarist, reyting, yayın akışı, hedef kitle.
  • Name a series with its broadcasting years. Do not invent viewing figures.

Typical mistakes

  • Treating dizi as simply the Turkish word for soap opera. The form, length and scheduling are different.
  • Confusing TRT, the broadcaster, with RTÜK, the regulator.
  • Writing about television regulation as though only one view of it existed in Turkey.
  • Describing a series' plot at length instead of making a critical claim about it.

Active revision

Choose one Turkish television series and write 250 words in Turkish that make a single critical claim about it — about its form, its representation of society, or its reception — supported by two located examples from episodes you have watched, with the broadcasting years given and no invented statistics.

Active recall

Recall the key points — then reveal.

Sources: Pearson Edexcel Level 3 Advanced GCE in Turkish (9TU0) specification (Pearson Edexcel)

§ 03

Çağdaş sanat: biennials, museums, the market and the street#

●●○StandardLPPearson Edexcel 9TU0 2. Konu — Modern kültür ve medya: çağdaş sanat

Key points

The contemporary-art infrastructure in Turkey is concentrated, datable and easy to name accurately, which makes it excellent material for AO4. The İstanbul Bienali has been organised by İKSV, the İstanbul Kültür Sanat Vakfı, since 1987, and İKSV also runs the city's film, music, jazz and theatre festivals. Contemporary Istanbul, the commercial art fair, has run since 2006. The museums include İstanbul Modern, opened in 2004 and rehoused in a new building in 2023; the Pera Müzesi, opened in 2005; the Sakıp Sabancı Müzesi, opened in 2002; Arter, whose current building opened in 2019; SALT, opened in 2011; and, outside İstanbul, the Odunpazarı Modern Müze in Eskişehir, opened in 2019, and the Baksı Müzesi near Bayburt. Confirm dates when you research; institutions move and rebrand.
The Turkish critical vocabulary distinguishes things English often blurs, and using it correctly signals reading. Çağdaş sanat and güncel sanat both translate as contemporary art, but güncel tends to be used for the immediately current and çağdaş for the modern period more broadly; sources use both and the distinction is worth knowing rather than policing. Sergi is an exhibition; küratör a curator; küratöryel çerçeve the curatorial framing; yerleştirme an installation; video sanatı video art; performans performance; heykel sculpture; resim painting; baskı a print; koleksiyoner a collector; galeri a gallery; sanat fuarı an art fair; açılış the opening; katalog the catalogue; sanatçı konuşması an artist's talk.
Street art belongs in this aspect and gives it a different social register. Sokak sanatı is street art; grafiti graffiti; duvar resmi or mural a wall painting; stencil is used as a loanword; and the Yeldeğirmeni district of Kadıköy in İstanbul has hosted a mural programme that Turkish sources discuss regularly. Municipal commissioning of murals, and the difference between commissioned and uncommissioned work, is a real argument in Turkish writing on the subject: some critics welcome municipal support as making art public, others describe commissioning as domesticating a form whose point was that nobody authorised it. Presenting that disagreement and taking a position on it is precisely the critical analysis the AO4 grid describes.
Two structural questions recur in Turkish writing about contemporary art and either would organise an essay. The first is the relation between private and public funding: much of the visible infrastructure is founded and funded by corporate and family foundations, and commentators disagree about whether that has enabled a scene that public funding would not have, or has shaped what the scene shows. The second is geography: the concentration of institutions in İstanbul, with Ankara and İzmir some way behind and much of Anatolia served only by touring projects, is widely noted, and initiatives outside the three big cities are usually discussed against it. Neither question has a settled answer and an examiner will reward you for saying so while still committing to a view.
Worked example

Paper 2 Section A: translating an English passage of art criticism into Turkish

Translate into Turkish. The curator argued that the exhibition was not about the city but about the people who had been moved out of it. Critics who visited in the first week complained that the wall texts explained too much. By the time it closed, the debate had become more interesting than the works themselves.

  1. 01The curator argued that the exhibition was not about the city but about the people who had been moved out of it

    Küratör, serginin kenti değil, kentten çıkarılmış insanları konu aldığını savundu. Serginin ... konu aldığını is the -DIk nominalisation with the subject in the genitive, the object of savunmak. Konu almak, to take as its subject, is the natural Turkish for to be about in this register. Kenti değil, ... insanları is the X değil, Y frame with both nouns in the accusative because both are objects of konu almak. Çıkarılmış is the -mIş participle on a passive, those who had been removed.

  2. 02Critics who visited in the first week complained that the wall texts explained too much

    İlk hafta sergiyi gezen eleştirmenler, duvar metinlerinin fazla açıklayıcı olduğundan yakındı. Gezen is the -(y)An participle, critics who toured. Yakınmak governs the ablative, so olduğundan takes the ablative on the nominalisation — a government pattern that must be learnt with the verb. Duvar metni is the natural compound for wall text. Fazla açıklayıcı, over-explanatory, is more idiomatic than a literal fazla açıklıyordu.

  3. 03By the time it closed, the debate had become more interesting than the works themselves

    Sergi kapandığında tartışma, eserlerin kendisinden daha ilginç hâle gelmişti. Kapandığında is the converb -DIğIndA, when it closed. Comparison uses the ablative on the standard: eserlerin kendisinden daha ilginç, more interesting than the works themselves. Hâle gelmek, to become, is the standard collocation with an adjective phrase. Gelmişti is the past perfect, correct because the change was complete before the closing.

  4. 04Check the register against the source

    This is criticism, not reportage, and Turkish marks the difference. Savunmak rather than söylemek for an argued position; yakınmak rather than şikâyet etmek for a critic's complaint about a work; hâle gelmek rather than olmak for a shift in character. Points-based marking will score the lexical choices separately from the grammar, so a version that is grammatically flawless in a flat register can lose several segments. Reading a page of Turkish art criticism before the examination is worth more here than another grammar drill.

Result: Küratör, serginin kenti değil, kentten çıkarılmış insanları konu aldığını savundu. İlk hafta sergiyi gezen eleştirmenler, duvar metinlerinin fazla açıklayıcı olduğundan yakındı. Sergi kapandığında tartışma, eserlerin kendisinden daha ilginç hâle gelmişti.

Exam focus

  • İstanbul Bienali since 1987, run by İKSV; Contemporary Istanbul since 2006; the major museums with their opening years.
  • Çağdaş and güncel are both used for contemporary. Know the tendency, do not enforce a rule.
  • Street art carries a live argument about municipal commissioning. Use it.
  • Two structural questions: private versus public funding, and the concentration in İstanbul.

Typical mistakes

  • Naming an institution without a date or a city, which makes the claim uncheckable.
  • Describing an exhibition rather than making a claim about it.
  • Assuming contemporary art in Turkey means İstanbul only. Say so as an argument, not as an assumption.
  • Treating a critic's judgement as a fact about the work. Attribute it.

Active revision

Write 250 words in Turkish about one contemporary art institution or one biennial edition, naming it, dating it, and describing one work or one section you have actually seen or read about in detail — then close with a claim about what the institution's funding or location does to what it shows, attributing the counter-argument.

Active recall

Recall the key points — then reveal.

Sources: Pearson Edexcel Level 3 Advanced GCE in Turkish (9TU0) specification (Pearson Edexcel)

§ 04

Teknolojinin kültürel etkinlikler üzerindeki etkisi#

●●○StandardLPPearson Edexcel 9TU0 2. Konu — Modern kültür ve medya: teknolojinin kültürel etkinlikler üzerindeki etkisi

The loop technology sets running

Teknoloji ve kültürel üretimGraph, Dijital platform → Geniş erişim, Geniş erişim → Yeni izleyici, Yeni izleyici → Geri bildirim, Geri bildirim → Finansman, Finansman → İçerik üretimi, İçerik üretimi → Dijital platform, Yeni izleyici → Canlı etkinlikDijital platformGeniş erişimYeni izleyiciGeri bildirimFinansmanİçerik üretimiCanlı etkinlikyerine mi,yanında mı
Fig. 2The aspect asks about an effect, and effects in this area are circular rather than linear, which is why a list of consequences reads so thinly. A platform widens reach; a wider audience produces measurable response; measurable response shapes what gets funded and made; what gets made returns to the platform. The dashed edge is the one that carries the argument: the same loop that brings an audience to a live event can keep it at home, and which of those dominates in a given case is exactly what a researched essay can establish for one named institution. Use the loop to structure a paragraph — take one arrow, name a real example, and say what evidence would show how strong it is.

Key points

The aspect is specifically about the effect of technology on cultural activities, so the subject is what technology does to how culture is made, distributed, paid for and attended — not technology in general. The vocabulary is largely transparent but should be used precisely: dijitalleşme is digitalisation; dijital platform a digital platform; çevrimiçi online and çevrimdışı offline; akış or video akış hizmeti streaming; abonelik subscription; içerik content and içerik üreticisi a content creator; algoritma an algorithm; sosyal medya social media; paylaşım a post or share; etkileşim engagement; canlı yayın a live stream; sanal tur a virtual tour; e-bilet an electronic ticket; telif hakkı copyright; korsan yayın piracy.
The regulatory fact worth knowing is that Turkey brought on-demand services inside the existing broadcasting framework: a regulation made in 2019 under law 6112 requires platforms providing on-demand audiovisual content in Turkey to hold a licence from RTÜK, which means that streaming services operating in the Turkish market are supervised by the same body that supervises television. Whether that is a sensible extension of consistent regulation or an extension of restriction to a space that had been outside it is argued both ways in Turkey, and an essay should present it as argued. Alongside it sits the state's own digitisation: the Kültür ve Turizm Bakanlığı has published virtual museum tours, and the Müzekart gives subscription access to state museums.
The effects that Turkish sources most often discuss are worth learning as a set of paired arguments rather than as a list of consequences. Access against attention: digital distribution puts a theatre production or a concert in front of people who could not travel to it, and simultaneously competes for the attention of the people who could. Reach against remuneration: an independent musician can distribute without a label, and can also be paid almost nothing per stream. Preservation against flattening: digitisation records craft practices and archives that were at risk, and can also present them stripped of the context that made them intelligible. Participation against performance: social media lets an audience answer back, and turns attendance into content. Each pair is a ready-made paragraph.
The pandemic period is the natural evidence base for this aspect and it is recent enough that sources are abundant in Turkish. From March 2020 Turkish theatres, cinemas, museums and festivals closed for extended periods, and a very large amount of cultural activity moved online — recorded productions released free, festivals held as streams, museum collections published as virtual tours. What happened afterwards is the interesting question and the one worth researching: which of those digital practices survived the reopening, which audiences returned and which did not, and whether institutions now treat online distribution as an extension or as a substitute. Do not assert an answer from memory; that is exactly the kind of question the specification's independent research is designed to make a student go and find out.
Worked example

Paper 1 Section B: a multiple-choice question and an open response on the same passage

Read as in Paper 1 Section B. Salgın döneminde birçok tiyatro, oyunlarını çevrimiçi yayımlamak zorunda kaldı. Bazı topluluklar bu sayede daha önce hiç seyircisi olmadığı şehirlere ulaştı. Salonlar yeniden açıldığında ise, çevrimiçi yayına devam eden toplulukların bilet satışlarının düşmediği, hatta bir bölümünde arttığı görüldü.

  1. 01The multiple-choice question, and why the distractors work

    Suppose the stem is Metne göre, çevrimiçi yayın salon satışlarını nasıl etkiledi? with options A azalttı, B etkilemedi, C bazı topluluklarda artırdı, D tamamen ortadan kaldırdı. The passage says düşmediği, hatta bir bölümünde arttığı, did not fall and in some of them even rose. B is close but wrong because the passage reports a rise in a subset; C is right. Turkish multiple-choice distractors in this paper typically differ by a quantifier or a scope word, so the exact reading of bir bölümünde, in a part of them, is what decides.

  2. 02Track the modality in the first sentence

    Çevrimiçi yayımlamak zorunda kaldı, were obliged to publish online. Zorunda kalmak carries compulsion and the absence of a choice; a version that reads simply started streaming has lost that, and a question asking whether the theatres chose to go online would be answerable only from that phrase. Turkish marks obligation in several ways — zorunda kalmak, mecbur olmak, -mAlI, gerekmek — and they are not interchangeable in tone.

  3. 03Notice the concessive built with hatta

    düşmediği, hatta bir bölümünde arttığı görüldü. Hatta means even or indeed and raises the claim rather than qualifying it. Görüldü is the passive of görmek, it was seen or it was observed, with no agent — the passage does not say who observed it, which is a limitation you could legitimately point out in an evaluative answer. Both nominalisations, düşmediği and arttığı, are governed by görüldü.

  4. 04Answer the open-response question in Turkish

    For Metnin bu bulguya ne kadar güvenilebileceği konusunda söylediği bir şey var mı?, the answer is: Metin bulguyu edilgen bir yapıyla, görüldü diyerek aktarıyor; gözlemi kimin yaptığı, hangi topluluklarda ve hangi dönemde ölçüldüğü belirtilmiyor. Bu nedenle bulgu aktarılmakta, ancak kaynağı gösterilmemektedir. This kind of answer — reading the grammar as evidence about the claim — is what separates a top-band Section B response from a competent paraphrase.

Result: Multiple choice: C. Open response in Turkish: Metin bulguyu edilgen bir yapıyla, görüldü diyerek aktarıyor; gözlemi kimin yaptığı, hangi topluluklarda ve hangi dönemde ölçüldüğü belirtilmiyor.

Exam focus

  • The aspect is technology's effect on cultural ACTIVITIES. Keep the focus there.
  • The 2019 regulation brought on-demand platforms under RTÜK licensing. State it as a fact and the assessment as argued.
  • Learn the four paired arguments: access and attention, reach and remuneration, preservation and flattening, participation and performance.
  • The period from 2020 is the best evidence base. Research what survived the reopening rather than assuming.

Typical mistakes

  • Writing a general essay about the internet instead of about its effect on cultural activity.
  • Presenting technology as simply good for access or simply bad for artists. Both halves are documented.
  • Confusing yayın, a broadcast, with paylaşım, a post. Turkish keeps them apart.
  • Claiming that online audiences replaced physical ones without evidence from a named institution.

Active revision

Choose one Turkish cultural institution or festival, find out in Turkish sources what it did online between 2020 and 2022 and what it does online now, and write 250 words in Turkish arguing whether digital distribution has become an extension or a substitute for it — using at least three of the paired arguments in this section.

Active recall

Recall the key points — then reveal.

Sources: Pearson Edexcel Level 3 Advanced GCE in Turkish (9TU0) specification (Pearson Edexcel)

§ 05

The same aspects in Cyprus: media, art and technology on the Turkish-speaking side of the island#

●●●AdvancedLPPearson Edexcel 9TU0 2. Konu — Modern kültür ve medya, in the context of Cyprus

Key points

Because Theme 2 covers Cyprus as well as Turkey, all three aspects of this sub-theme have a Cypriot version, and a candidate who has only Turkish material has covered half the theme. The Turkish-language broadcasting institution in the north is BRT, the Bayrak Radyo Televizyon Kurumu, whose radio service dates from the 1960s and which now carries both radio and television channels; alongside it are private channels and a lively Turkish-language press. Named papers that recur in sources include Kıbrıs, Yenidüzen, Havadis and Afrika, though titles open and close and you should confirm what is currently published when you research. Two large universities in the north, Doğu Akdeniz Üniversitesi in Gazimağusa and Yakın Doğu Üniversitesi in Lefkoşa, are significant cultural as well as educational institutions and bring a large international student population with them.
Turkish Cypriot culture is not a provincial version of Turkish culture and treating it as one is both inaccurate and the sort of thing an examiner notices. It has its own writers, its own musicians, its own theatre companies and its own idiom — the Kıbrıs ağzı, the Cypriot dialect of Turkish, which differs from standard Turkish in pronunciation, in some vocabulary and in a few grammatical habits, and which appears in Turkish Cypriot writing and performance as a deliberate choice. Its recent history includes displacement and loss on the Turkish Cypriot side as well as the Greek Cypriot one, and the cultural production of the island engages with that. Write about it as a culture with its own account.
The technology aspect has a specifically Cypriot dimension worth researching. Because of the island's political situation, certain kinds of digital infrastructure that are routine elsewhere — international payment services, some platform accounts, direct flights and the international dialling arrangements — work differently in the north, and Turkish Cypriot cultural organisations describe this as a practical constraint on distribution, funding and audience. At the same time digital distribution is precisely what allows a small cultural scene to reach beyond an island. Both halves are worth investigating in Turkish-language sources, and neither should be asserted from general knowledge.
Contact across the line is part of the picture and should be described factually. Crossing points along the buffer zone opened to civilian movement in April 2003, and a number of bicommunal cultural projects have operated since — shared festivals, joint exhibitions, and collaborations in music and theatre. The Home for Cooperation, established in the buffer zone in Nicosia in the 2010s, is a documented example of a shared cultural and educational space. Assessments of how much such projects achieve differ sharply, and the disagreement is between Cypriots as much as between outside observers. State what exists, date it, and attribute the assessments; if you offer a view, mark it as your own.
Worked example

Paper 1 Section C: opening a research answer on a Cyprus-based subject

You have chosen the Theme 2 research subject and based it on Cyprus. The statement is: Geleneksel kutlamalar, Kıbrıs’ta artık yalnızca turistler için yapılmaktadır. Draft the opening and the country-scoping sentence.

  1. 01State the country choice explicitly in the first two lines

    Araştırmamı Kıbrıs üzerine yaptım ve bu cevapta yalnızca Kıbrıs’taki kutlamaları ele alacağım. The examiner marking a Theme 2 answer is directed to credit the country that scores higher if two appear, but every sentence about the other country is a sentence that cannot score. Announcing the choice does two useful things: it commits you, and it tells the examiner that the single-country rule is being applied deliberately rather than by accident.

  2. 02Reject the absolute in the statement before conceding its half-truth

    İfade, kısmen doğru bir gözlemi mutlaklaştırdığı için yanlıştır. The verb mutlaklaştırmak, to absolutise, is a high-register derivative and exactly the right tool: the statement contains yalnızca, only, and a single counter-example defeats it. Naming the logical shape of the statement, rather than merely disagreeing with it, is a move the AO4 grid rewards as critical analysis.

  3. 03Bring the research in as evidence, not as background

    Araştırmam sırasında incelediğim yerel gazete haberleri ve belediye duyuruları, kutlamaların önemli bir bölümünün mahalle ölçeğinde ve ziyaretçi beklentisinden bağımsız olarak sürdürüldüğünü gösteriyordu. Note the sources are named as kinds — local newspaper reports, municipal announcements — which is what the specification means by at least two authentic sources, and the verb gösteriyordu is a past continuous marking what the sources showed at the time of reading.

  4. 04Set out the shape of the rest of the answer

    Aşağıda önce günümüzdeki kutlamaları, sonra modern yaşamın bunlar üzerindeki etkisini, son olarak da bu kutlamaların ada yaşamındaki yerini ele alacağım. This sentence is doing grid work: it announces that all three aspects will be covered, which is the AO4 requirement, and it does so in one line rather than three. In a 300-to-350-word answer, an announced structure that is then followed is worth the twenty words it costs.

Result: Araştırmamı Kıbrıs üzerine yaptım ve bu cevapta yalnızca Kıbrıs’taki kutlamaları ele alacağım. İfade, kısmen doğru bir gözlemi mutlaklaştırdığı için yanlıştır. Araştırmam sırasında incelediğim yerel gazete haberleri ve belediye duyuruları, kutlamaların önemli bir bölümünün mahalle ölçeğinde ve ziyaretçi beklentisinden bağımsız olarak sürdürüldüğünü gösteriyordu.

Exam focus

  • Half of Theme 2's content is Cypriot. A Turkey-only preparation covers half the theme.
  • BRT is the public broadcaster in the north; the Turkish-language press and two large universities are the other institutions to know.
  • Kıbrıs ağzı is a real dialect used deliberately in writing and performance, not an accent to be mentioned in passing.
  • Crossing points opened in April 2003; bicommunal cultural projects date from then. Attribute the assessments of them.

Typical mistakes

  • Treating Turkish Cypriot culture as a regional variant of Turkish culture.
  • Naming a newspaper or a festival without checking whether it is currently published or currently held.
  • Writing about the north's digital constraints from general impression rather than from sources.
  • Presenting bicommunal projects either as a solution or as a token. Cypriots disagree about this and the disagreement is the fact.

Active revision

Research one Turkish Cypriot cultural institution, festival or company in Turkish-language sources, and write 300 words in Turkish describing what it does, when it was founded, what it has produced recently, and what its practitioners say about their audience — with every evaluative claim attributed and every place name written in the form your source used.

Active recall

Recall the key points — then reveal.

Sources: Pearson Edexcel Level 3 Advanced GCE in Turkish (9TU0) specification (Pearson Edexcel)

Contents

Section -- / 05

    • 01The scope of Theme 2, the one-country rule, and the naming question in Cyprus◐
    • 02Televizyon: the institutions, the dizi, and how to write about a programme◐
    • 03Çağdaş sanat: biennials, museums, the market and the street◐
    • 04Teknolojinin kültürel etkinlikler üzerindeki etkisi◐
    • 05The same aspects in Cyprus: media, art and technology on the Turkish-speaking side of the island●

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From notes into training

2. Konu I: Modern kültür ve medya — television, contemporary art, technology, and the two countries this theme covers

Reinforce this topic with matching tasks from the question bank.

~32
min
4
Competencies
Practise

References & sources

Sources

Pearson Edexcel

  • Pearson Edexcel Level 3 Advanced GCE in Turkish (9TU0) specification

Previous topic

3. Konu: Türkiye üzerinde görüşler — human geography, the environment, and Türkiye’de Turizm

Next topic

2. Konu II: Geleneksel sanat kültürü — theatre, music, craft, and Geleneksel kutlamaların değişmesi

EuraStudy·Notes T·03·MMXXVI

Carry on to the next topic — your learning path is kept.