Abstract The Turkish TV dramas Magnificent Century and Resurrection Ertuğrul share a number of traits: Both reprise the country’s Ottoman (or proto-Ottoman) past by focusing their story on a heroic figure; both raised the ire of critics for their lack of historicity; and both have been highly successful, ruling ratings on the same competitive Wednesday night prime time slot, with Resurrection coming in to take Century’s place after that show left the air. Despite these similarities, the projects represent quite different takes on the Ottoman past and the issue of history’s role in the Turkish present. While Century arguably partakes in what Svetlana Boym calls reflective nostalgia, Resurrection is a highly restorative project. In this article, I detail the differences between these projects and explain their success in light of the shifting political environment in Turkey. I begin with a characterization of Century and the ‘problem’ it posed for a conservative government that was deeply invested in an idealized Ottoman past. I next turn to Resurrection, which I see as a government reaction to Century, and explain that it succeeds where other imitators failed due to the careful choice of a hero with a relatively blank historical slate. Finally, I argue that Resurrection practices a different attitude toward history than does Century, heralding for a government that not only seeks to glorify and idolize the past, but also to claim ownership of it.

中文翻译：

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ResurReaction：壮丽的世纪和复活的土耳其（原始）奥斯曼帝国的竞争视野Ertuğrul

摘要土耳其电视剧《壮丽的世纪》和《复活的埃尔图鲁尔》具有许多特点：两者都通过将故事集中在一个英雄人物上来再现该国的奥斯曼帝国（或原始奥斯曼帝国）。两者都因缺乏历史性而引起批评家的愤怒；两者都取得了巨大的成功，在同一个竞争性的星期三晚上黄金时段确定了收视率，而在该节目停播之后，复活将取代Century。尽管有这些相似之处，但这些项目代表了奥斯曼帝国的过去和土耳其目前的历史地位问题截然不同的观点。尽管Century可以参加Svetlana Boym所说的反思性怀旧，但是复活是一个高度恢复性的项目。在这篇文章中，我详细介绍了这些项目之间的差异，并根据土耳其不断变化的政治环境解释了它们的成功。首先，我将对Century进行表征，并说明它对保守的政府提出的“问题”，该政府对理想化的奥斯曼帝国的过去进行了深入的投资。接下来，我转向复活，我认为这是政府对Century的反应，并解释说它在其他模仿者由于谨慎选择历史相对空白的英雄而失败的情况下获得了成功。最后，我认为复活对世纪的态度不同于世纪，对世纪的态度不同，这预示着一个政府不仅要美化和崇拜过去，而且要求拥有历史。首先，我将对Century进行表征，并说明它对保守的政府提出的“问题”，该政府对理想化的奥斯曼帝国的过去进行了深入的投资。接下来，我转向复活，我认为这是政府对Century的反应，并解释说它在其他模仿者由于谨慎选择历史相对空白的英雄而失败的情况下获得了成功。最后，我认为复活对世纪的态度不同于世纪，对世纪的态度不同，这预示着一个政府不仅要美化和崇拜过去，而且要求拥有历史。首先，我将对Century进行表征，并说明它对保守的政府提出的“问题”，该政府对理想化的奥斯曼帝国的过去进行了深入的投资。接下来，我转向复活，我认为这是政府对Century的反应，并解释说它在其他模仿者由于谨慎选择历史相对空白的英雄而失败的情况下获得了成功。最后，我认为复活对世纪的态度不同于世纪，对世纪的态度不同，这预示着一个政府不仅要美化和崇拜过去，而且要求拥有历史。