Dijital Kadı: TRT’nin “Mehmed: Fetihler Sultanı” Dizisinde Paratext, Nostaljik Kodlama ve İslami Adalet

Abstract

YouTube başlıklarının çerçevelenme biçimi izleyicilerin İslami adalet üzerine ürettikleri söylemi hangi yollarla şekillendirir? Çalışma, Mehmed: Fetihler Sultanı'ndaki (2024–2025) Kadı Hızır Çelebi sahnelerinden derlenen 28 videoyu ve 2.886 yorumu üç korpusa ayırıp karşılaştırmıştır. Şeriat söylemi nötr derlemelerde %2'nin altında kalırken hem tematik başlıklı kliplerde hem de bağımsız fan kanallarında %11'in üzerine çıkmaktadır. Osmanlı nostaljisi ise her üç korpusta %29–34 bandında sabit kalarak format-üstü bir söylem oluşturmaktadır. Kurumsal kürasyon dışındaki fan videoları aynı söylemsel örüntüyü yeniden ürettiğinden, paratekst etkisi kurumsal tercihten değil içerik–başlık etkileşiminden kaynaklanır. Makale iki kavramsal katkıda bulunurken, iki analitik gözlemle mevcut çerçeveleri genişletir. Nostaljik kodlama, siyasi taleplerin apolitik nostaljik bir dile büründüğü mekanizmayı adlandırır. Dijital kadı, İslami yargı bağımsızlığı simgesinin platform aracılığıyla güncel eleştirinin taşıyıcısına dönüştürülmesidir. Üretken karşı-Oryantalizm, tersine özcülük eleştirisini platform-aracılı öz-temsil alanına taşır. Nostaljik tersine dönüş ise pasif devrim teşhisini, devlet destekli nostaljinin aşağıdan yukarıya temellük edilmesine genişletir. Ayrıca çift-yönlü bir zamansal işlem neo-Osmanlı dramayı klasik tarihsel eğlenceden ayırır. Bu işlemde geçmiş nostaljik kodlama yoluyla şimdileştirilirken, şimdi de senaryoya yerleştirme yoluyla tarihselleştirilir. Bu kavramlar parateksti siyasi bir filtre olarak konumlandırırken tarihî dramanın izleyici arzularını harekete geçiren altyapısal rolünü görünür kılar.

Keywords

• Paratekst
• İslami Adalet Söylemi
• Nostaljik Kodlama
• Dijital Kadı
• Karşı-Oryantalizm

The Digital Qadi: Paratext, Nostalgic Coding, and Islamic Justice on TRT’s “Mehmed: Fetihler Sultanı”

Abstract

How does the framing of a YouTube title shape what audiences say about Islamic justice? This study presents a three-corpus comparative analysis of Kadı Hızır Çelebi's scenes in Mehmed: Sultan of Conquests (2024–2025), drawing on 28 videos and 2,886 commentaries. Sharia discourse remained below 2% in neutral compilations but rose above 11% in both thematically titled clips and independent fan channels, while Ottoman nostalgia stayed at 29–34% as a supra-format baseline. Because fan videos outside corporate curation reproduced the same pattern, the paratextual effect derives from content–title interaction rather than corporate preference. The article advances two conceptual contributions and two analytical observations. Nostalgic coding names the mechanism by which political demands take on apolitical nostalgic language. The digital qadi names the platform-mediated reanimation of Islamic judicial independence as a vehicle for critique. Productive counter-Orientalism extends inverse-essentialism critique into platform-mediated self-representation, and nostalgic reversal extends passive-revolution diagnosis into bottom-up appropriation of state nostalgia. A double temporal operation, where the past is made present through nostalgic coding while the present is made past through scripted embedding, further distinguishes neo-Ottoman drama from historical entertainment. These concepts position paratext as a political filter foregrounding the infrastructural role of historical drama in mobilizing audience desire.

Keywords

• Paratext
• Islamic Justice Discourse
• Nostalgic Coding
• Digital Qadi
• Counter-Orientalism

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