The crross-sectional adaptation of literature in television: Aşk-ı Memnu and the transformation of the life style

Being one of the most important cultural aspects of societies, literature and novel as a genre in particular, presents the problem of adaptation since the existence of cinema. Cinema has always established interrelated relations with other art branches that existed before it. It has achieved the most powerful bond with literature to provide with raw materials. With the technological convergence in Turkey, just as cinema, television which has become an integral part of everyday life, have started to use novel as a source for its series. With ever-increasing competition, the channels have produced TV series as a narrative genre in order to give the audience a pleasant time in prime-time hours and provide commercial benefits to them. Within this process, prominent novels of Turkish literature started to meet with television screens instead of preliminary scenarios because the adaptations were thought as a kind of guaranteed profit. Today, since television is accepted as a storyteller, the production of TV series as texts enables us to see television as a part of intertextuality. Intertextuality can be defined not only as the relationship of texts with the text, but also as an interaction with other fields of art. Each branch of art carries traces from other art forms that have emerged before it. The script is similar to the novel due to its structure and in this sense it reproduces the literary work that existed before it. In this study, the series adapted from Halit Ziya Uşaklıgil's Aşk-ı Memnu novel with the same name in 1975 and 2008 were examined in terms of intertextuality in the axis of the concepts of Mihail Bakhtin and Gérard Genette. The transformation of the lifestyle presented in two different versions, which originate from the same novel and adapted to television as series with different approaches, is traced on the plane of intertextuality within historical continuity.