Through this article, I aim to present the results of my empirical research concerning the representations of Turkish culture projected by Turkish television soap operas and their reception by Greeks. More precisely, the narrative that nourished the Greek War of Independence, is based not only to the direct descendants of modern Greeks from ancient Greeks but also to the difference between the modern Greek identity and the Turkish culture which was considered as the exact opposite. Thus, negative stereotypes emerged from both sides and these stereotypes dominate collective imaginaries until today. During the period of the economic crisis, as Greek television channels did not have the means to produce local series, they turned to productions from the neighboring country. Turkish television soap operas propose an "alternative modernity" as not only they contain ingredients that conduct the viewer into a fantasy world of globalized consumerism and romantic love that defies national boundaries, but they also project traditional family structures and gender roles. It is this element that differentiates the soap operas in question from the American prototype. This "alternative modernity" seems to be more familiar to Greek audiences than the modernity proposed by occidental television products. As a consequence, through the consumption of Turkish drama series, Greeks have the possibility to re-examine the representation they have for the Turks and are invited to discover not only the cultural differences but also the common traits between the two populations.

En nous basant sur les données recueillies pendant notre enquête empirique sur la réception des feuilletons turcs par les Grecs, nous mettons à l’épreuve dans ce texte la notion de soft power (Nye, 2004). L’attrait des feuilletons télévisés turcs auprès des publics grecs est dû à la proximité culturelle entre les deux pays, mais cette proximité culturelle n’abolit pas les différends politiques entre ces populations voisines, pas plus que le goût pour les feuilletons télé turcs ne signifie un soutien de la population grecque au gouvernement turc. Plus précisément, notre enquête confirme le rôle joué par plusieurs facteurs tels que la prédisposition du public, les relations diplomatiques en vigueur entre deux pays, la vision du monde des téléspectateurs ou encore la mémoire collective, familiale et/ou personnelle comme tiers-médiateur de la réception de ces fictions sérielles.

Turkish soap operas propose an alternative modernity marked not only by tra-ditional family structures and gender roles but also by the social conservatism im-posed by the current government. Nevertheless, the soap operas in question are also under the pressure of representing social change, particularly as far as wom-en's rights are concerned. Through this article, the author aims to highlight the ways in which Greek women resist to the patriarchate through their decoding of these particular media texts. Based on the results of an audience ethnography, the author demonstrates that the resistance of meaning receivers is neither always op-positional to the media text, nor necessarily progressive.

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This paper aims to present the results of our empirical research concerning the reception of Turkish television serials in Greece. More precisely, in this paper we tempt to approach the representations projected by the Turkish serial entitled "Futmagul'un suçu ne?" as well as their reception by the public in Greece. The serial in question provides a particular representation of rape: under the cover of a "feminist" ideal (the persecution of the man who raped into a trial) it conveys representations and archetypes that are in accordance with the dominant patriarchal organization and principles; therefore, it contributes to the legitimation of violence against women. Our analysis focuses on the reception of this serial by women in Greece. Our research revealed that the majority of women who were part of the sample, develop through their interpretation various strategies against patriarchate despite the fact that they do not always recognize the archetypical stereotypes projected by the serial in question.